The Omega Man
The World Is Dead. One Survivor. Then The Others. Crawling In Darkness. The Strangest Sect Of All. *Hunting The Last Man On Earth.*
Robert Neville, a doctor, due to an experimental vaccine, is the only survivor of an apocalyptic war waged with biological weapons. The plague caused by the war has killed everyone else except for a few hundred deformed, nocturnal people calling themselves "The Family". The plague has caused them to become sensitive to light, as well as homicidally psychotic.
Early scenes with Charlton Heston roaming through an abandoned Los Angeles machine-gunning albinos are terrific. I can't think of a better actor than Heston to convey this kind of solitude because he doesn't play up the sadness or the poignancy of it - it almost seems like he enjoys being alone, until you realize that's impossible, and that he sits through Woodstock for the 800th time and plays chess with a dummy because he doesn't have anything better to do (by the way, is there a more potent cultural stew than Charlton Heston sitting in an empty movie theater lip-syncing Woodstock and wielding a rifle? We're all just people, maaan).
The movie falters a bit when it comes to the…
The first third of this movie might be one of my all-time favorite first thirds of any movie. Charlton Heston, last man on Earth(ish), losing his mind, talking to himself, playing dress-up, shooting random mutants (From his cold dead hand!), watching WOODSTOCK in an abandoned L.A. movie theater -- does it get any better and sadder than that?
Okay, so Matthias and The Brotherhood represent the militant counter-culture; somewhere along the lines of the Black Panthers or the Yippies.
And Chuck Heston is the everyday Joe. Sure, maybe he likes his whiskey, but he ain't no hophead!
So that makes Rosalind Cash and her sect the baby-boomer-peace-hippies who used to be normies, but now they're infected with the horrible ideas of those long-haired freaks. They'll turn into shiftless layabouts any day unless Chuck can save them!
All muddled politics aside, The Omega Man is still a lot of fun. Funny to think the interracial kiss was such a big fucking deal at the time.
Me la perdí en sus numerosas emisiones televisivas y ahora casi me alegro. Charlton Heston en plan macho alfa, descamisandose cada dos por tres y haciendo méritos ya para presidente de la asociación nacional del rifle.
Rosalind Cash poco aporta a la película aparte de varios desnudos semigratuitos y cubrir la cuota de minorías étnicas, que debía ser lo que tocaba en el 71.
Y todo ese tufillo pseudohippie antibelicista pero no, ... cuesta entenderla hasta en su época.
Decir que esta película puede tener algo que ver con la maravillosa novela de Matheson sería un insulto.
"Build coffins, that's all you'll need."
This did drag in parts but it has some cool moments and a pretty funky score.
It's amazing to think that this is based on the same source material as Will Smith's "I Am Legend" film. They couldn't be more different in almost every way, which is an interesting statement on how different creative visions interpret the same material.
As usual, Charlton Heston plays a crazy man in a world he never made. As usual, it's really hard to root for him, as he's something of a dick. I'm not sure how much sense the plot makes, but Heston chews his way through it. The apocalypse was never so hairy and sweaty!
Ei teagi millal viimati sai nähtud filmi, kus soundtrack loodud atmosfäärile totaalselt vastu vastu töötab ning kogu loo, koos Charlston Hestoni tüüpiliselt puise näitlemisega, üsna koomiliseks muudab.
Filmil oli potensiaali aga küstiav teostus tõmbab kõigele heale vee peale.
Kõige tobedam koht filmiajaloos: Charleston Heston teel lintšimisele peas peakate, mida tavaliselt kasutati nurka istuma pandud kooliõpilaste peal. Mispärast?!?
I didn't think I would care for this just because it seems so hokey. It was actually pretty great though!
I guess Charlton Heston is an acquired taste and despite having seen quite a few films with him in the lead, I still haven't quite managed to accept him as a an actor of the caliber that people make him out to be.
There are many of his contemporaries from Hollywood who exude the same kind of hard-ass quality, but far surpass him in terms of acting - among them Marlon Brando, Paul Newman and even Steve McQueen. That being said, I'm not really sure if it's Heston or the horrible story itself that scratches me the most about The Omega Man. After all, here is a film that remakes a screen version of a classic story that essentially invented…
Surprisingly goofy; the first 30 or so minutes are essentially absurdist comedy. Still, how much better would this movie be if Heston never said anything?
Fun sci-fi with Heston doing his best NRA promotion.
One of many gritty, militant post-apocalyptic thrillers that '70's horror delivered on a regular basis, going right for the source and adapting Matheson's original I Am Legend story that started the "last man alive" trend in popular fiction. Charlton Heston is alone on screen talking to himself and living the life of a scavenging vampire exterminator in a dead, desolate cityscape for almost the entire first half of the film, and with that lack of character interaction in a thriller like this, one would think it would work against the picture cinematically, but on the contrary, it's an unnerving experience for about forty minutes or so that does wonders to establish Neville's terminal loneliness and constant stress to survive. The addition of the creepy, cult-like vampire clan surrounding and taunting him in the background only adds to the film's impressively oppressive atmosphere. The ghoulish "Neeeeeviiiiiille..." taunt I won't soon forget.
There is the promise of a great an interesting movie here, along the lines of a Soylent Green, but it loses interest in the social aspects to focus on B-Movie schlock fairly early on. One of the things The Omega Man really gets right is its art direction and sound editing. The first act or so of the film does a fantastic job of portraying an abandoned, post-apocalyptic Los Angeles; the excellent use of silence and the numerous long shots of deserted streets are especially effective here. Additionally, Heston is an appealing screen presence as usual, and there are hints of class and racial conflict here that could be interesting (Heston's Neville holes up in a luxurious penthouse while those…