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The Final Conflict (Omen III)


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Anyone out there agree that the late great Jerry Goldsmith's score for Omen III is rather overlooked in comparison to the original Omen score ?

I would say the opposite when it comes to the younger generation of soundtrack listeners. I would say many of them are more aware of The Final Conflict than the original "The Omen" score or "Damien : Omen II", because Omen III TFC is much more accesible in listening terms than the other two scores. It has that more accesible orchestral sound that anyone can jump into. With the two earlier Omen scores, it takes most people quite a while to appreciate the mastery behind them. Certainly that has been my observation anyway, that more younger soundtrack listeners on the web who seem to talk about Omen III TFC than they do the first two.

Melange - Loves all three, and in Deluxe. :fouetaa:

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Runaway Train and Broken Ice are amazing. But nothing beats The Monastery, The Second Coming and The Hunt.

My sentiments exactly Marian - regardless of the fact that the film is highly flawed, the finale is very powerful coupled with the film!

The Omen's love theme is quite simply one of Goldsmith's greatest compositions. Richard Donner was really at his finest from '75 - '78, I adore the direction and camerawork he employed for The Omen & Superman!

Radio Flyer , Conspiracy Theory, Assasins, Timeline........??!! What happened to you Dick!

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Runaway Train and Broken Ice are amazing. But nothing beats The Monastery, The Second Coming and The Hunt.

My sentiments exactly Marian - regardless of the fact that the film is highly flawed, the finale is very powerful coupled with the film!

The Omen's love theme is quite simply one of Goldsmith's greatest compositions. Richard Donner was really at his finest from '75 - '78, I adore the direction and camerawork he employed for The Omen & Superman!

Radio Flyer , Conspiracy Theory, Assasins, Timeline........??!! What happened to you Dick!

I've yet to see Radio Flyer, Assasins and Timeline, but Conspiracy Theory was very good. But I don't think his career recovered after he was sacked from Superman II.

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Dicky boy hasn't been the same since he did that awful LADYHAWKE movie.

Hitch, awaiting Lethal Weapon 5: I'm way too old for this shit.

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I love all 3, but the third is my favorite. I think it's the most sincere score of the three. The first two were a bit comically over the top at time. Mainly due to Ave Satani. I find it too be a bit jokey, where as The Final Conflict theme speaks of real evil (to me, at least). But the choral work in the second film is just unparalleled. It's spectacular in all three films, but in the second film in particular, 'Broken Ice' and 'Runaway Train' are amazing tracks.

IMO 'The Hunt' is probably Jerry's most exhilerating piece of music, short of The enterprise theme. And the main titles of that movie are probably among the best out there. This is case in point of Jerry giving a terrible movie a fantastic score. He's rarely written a better score, and rarely scored a worse movie.

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The track "The Final Conflict" is awesome.

Dick Donner...I don't consider him a "great" director, but he's definitely got skill at making thrilling entertainment. He's one of the best popcorn directors ever. I haven't seen Timeline yet, but as for Assassins, I thought it was an excellent movie. Not great, but satisfying entertainment. Maverick is probably one of the best small-to-big screen remakes ever made. Goonies successfully became an iconic movie for a generation or two. Lethal Weapon...what can I say? Cops, comedy, and Kamen. Lethal combination. It's been a while on Radio Flyer and Conspiracy Theory, though.

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Well I mean it's awesome because everybody meshes so well. Bill Goldman and Dick Donner just seem to have a chemistry that's a recipe for gold. There's a lot of the same Butch & Sundance humor from Goldman in Maverick that seems like it'd fit perfectly with Donner's directing. And it did. Then you add Gibson's chops for comedy as displayed in the Lethal Weapon trilogy (up to the release of Maverick). Plus the whole premise of the TV show seemed like the perfect breeding ground for all that talent to flourish.

Somebody did their homework.

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So do I, the cast shines and the comedy actually works.

It's not a film you can take seriously, but it's a hell of a lot of fun.

Indeed. It's the kind of light film only good filmmakers could make. You've got that cast, Donner and Goldman, it certainly doesn't hurt to have Vilmos Zsigmond shoot it, and Randy Newman provided a lovely Western score, with a theme that is reminiscent of the tv show's theme, but totaly right for the movie and the time. It's one of those rare films that is just a really solid good time, time and time again. I love watching it with someone who's never seen it before, it really makes the film fresh in my eyes (though the same could be said for most comedies, or probably most movies, in general).

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