Tag Archives: The Omen (1976)

Parker on the screen #4: Slayground (1983)

SLAYGROUND, Peter Coyote, 1983, TM and copyright ©Universal Film Corp. All rights reserved

Next in my series on Don Westlake aka Richard Stark’s criminal character of Parker on the screen is the 1983 film, Slayground.

Slayground is based on the 1971 book of the same name, the 14th instalment in the first cycle of Westlake’s Parker series. I am going to put my cards on the table up front and say that while Slayground is among my least favourite of that earlier tranche of Parker novels, I think is film, however, is very good. It has very little to do with the book, but as I said early in this series, I’m not going to get hung up on how much the films adhere to their source material.

The novel depicts what happens after Parker and his criminal associates are forced to to hire a second-rate wheelman for an armoured car heist they are planning. The job goes wrong and Parker narrowly escapes the law with $74,000 from the robbery. He stumbles across an amusement park called Fun Island, closed for the winter, and figures it is as good a place as any to hide until the heat from the job dies down. A major hitch arises when a couple of corrupt cops make Parker entering the park.… Read more

When Satan ruled our screens: The Omen turns 40 years old

The OmenWhen audiences emerged from the first screenings of The Omen, which debuted in the United Kingdom on 6 June 1976, they found customised posters affixed to the front of cinemas declaring: “Today is the sixth day of the sixth month of Nineteen-Seventy Six.”

The marketing gimmick played into the well-known satanic ‘number of the beast’ in the Book of Revelation, which features prominently in The Omen. Nearing the film’s dramatic climax, Robert Thorn (Gregory Peck) finds a birthmark of three sixes on his adopted son Damien’s scalp, the mark, he has been warned, of the Antichrist.

Forty years after its release, critical analysis of The Omen has nearly always taken a backseat to the film’s reputation as a ‘cursed movie’, a status resulting from the string of mishaps, injuries and deaths loosely associated with its filming and post-production. This has obscured its legacy as one of the more genuinely frighting of the satanic-themed films that flooded cinemas in the 70s.

You can read my latest piece for the British Film Institute on The Omen, it’s influences and the wave of 70s cinema with Satanic, witchcraft and occult themes, in full here.

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