Showing posts with label The Omega Man. Show all posts
Showing posts with label The Omega Man. Show all posts

Sunday, April 13, 2008

My "I Am Legend" Experiment

I must confess that I have never read Richard Matheson's I Am Legend (an oversight I hope soon to correct). In fact, I had never even seen any of its cinematic incarnations until a few months ago. Once the newest Will Smith version hit theaters, I took it upon myself to watch the previous two adaptations before venturing out to see the latest.

And so, thanks to Netflix, I was able to see The Last Man on Earth (1964) with Vincent Price, and The Omega Man (1973) with Charlton Heston. Of course, I wasn't the only one with this bright idea, and a months-long delay in acquiring the latter film caused me to forgo the Will Smith vehicle during its theatrical run. Instead, I waited until it hit DVD and immediately plopped it at the top of my queue.

The idea, naturally, was to compare and contrast all three versions. And now that I've seen all three I can do that. So where do they rank?

All in all, I'd have to say that I definitely enjoyed The Last Man on Earth the most, and The Omega Man the least. I Am Legend falls somewhere in the middle.

Maybe it's because Last Man worked the best for me as a pure horror movie. Granted, it couldn't be made today, as in a post-Night of the Living Dead world it would seem far too derivative. But there was something about Vincent Price's classic performance, as well as the zombie-like creatures, that made that picture a very chilling experience. The sequence in which Price watches his daughter and wife slowly succumb to the disease is heartwrenching, and the scene in which he buries his wife, only to have her return home from the grave is downright bloodcurdling. Compare that to the much weaker flashback sequence in which Will Smith's family is summarily wiped out.

As for Omega Man, I just couldn't get into it. I know the film has a much greater cult status, but it didn't compare favorably to me at all. For one, the decision to turn it into an action movie took away a lot of the impact. The creatures are the most human-like of all three versions, speaking, thinking, and even eating regular food. This was a major disappointment. And while the camp value does give the film a certain "guilty pleasure" quality, it doesn't hold up well.

Smith's version is a cut above Heston's, returning some of the emotional impact of Last Man on Earth, as well as some of the horror elements. I may be wrong, but I got the impression that the creatures were depicted the most faithfully to Matheson's novel in this latest version as well. That said, the CGI work was terrible, and took me right out of it. Human facial expressions and movement remains the Achilles heel of CGI--and besides, there was no reason they couldn't have been depicted with mostly practical effects.

Unfortunately, Will Smith is the least memorable of all three leading men, lacking both the chops and the gravitas. Particularly, it speaks volumes to how much our culture has devolved when in The Omega Man we have a Neville who collects rare art masterpieces, plays chess with a bust of Ceasar and quotes T.S. Eliot; and in I Am Legend we have a Neville who hits the video store every day, thinks Bob Marley is the height of Western music, and quotes Shrek.

Still, Smith did a much better job than I expected, and the film was better than I expected it to be. But don't get me started on the pat Hollywood ending. Perhaps I'd have a higher opinion of it all if it had been the first adaptation made.

In closing, it's about time I read I Am Legend. For any book to inspire such a varied series of adaptations is quite a feat, and speaks to a healthy dose of textual richness that is no doubt present in the source material.

Sunday, April 6, 2008

Charlton Heston 1923-2008

America lost a class act yesterday, whether you agreed with his politics or not. One of the last great connections to old-school Hollywood, Oscar-winner Charlton Heston passed away after a six-year struggle with Alzheimer's Disease.

Although best known for his roles in historical epics like The Ten Commandments, Ben-Hur and El Cid, as well as his classic turn in The Planet of the Apes, Heston did make some contributions to the horror genre in his later years, including cult sci-fi/horror faves The Omega Man and Soylent Green, and an appearance in the H.P. Lovecraft-inspired In the Mouth of Madness.

He was part of the first generation of American method movie actors that hit the scene after World War II, along with guys like Gregory Peck, Burt Lancaster, Rod Steiger, and of course, Marlon Brando. Some called his style hammy, and he certainly wasn't above chewing on some scenery here and there, but there's no question he was also iconic.

Unfortunately, his embrace of the conservative movement in the wake of Barry Goldwater's presidential bid, as well as his long-running association with the National Rifle Association alienated a segment of his audience. I remind those who are quick to judge that he also stood by Dr. Martin Luther King during the Civil Rights movement and actually fought for gun legislation in the wake of the King and Kennedy brothers assassinations.

But all that aside, today I choose to celebrate his art, and the contributions he made to the American film aesthetic. Whatever Chuck Heston was, there's one thing that can't be denied--he was larger than life. And there aren't many public figures about which that can still be said.