Film Review: The Omega Man (1971)

Charlton Heston emerged as one of Hollywood’s most iconic actors during the latter half of the 20th century, renowned for embodying larger-than-life roles in epic historical dramas and science fiction. His career was defined by films like The Ten Commandments and Ben-Hur, but his forays into sci-fi—particularly The Planet of the Apes (1968) and Soylent Green (1973)—cemented his status as a genre titan. The Omega Man (1971), directed by Boris Sagal, offered Heston a chance to complete a trifecta of post-apocalyptic classics, yet the film floundered in its ambition, failing to achieve the mythic stature of its predecessors. Despite its potential, the movie remains a flawed but intriguing artifact of 1970s cinema, hampered by uneven storytelling and period-specific missteps.

The Omega Man boasts formidable genre credentials as an adaptation of Richard Matheson’s 1954 novel I Am Legend, a cornerstone of speculative fiction that has inspired multiple iterations. The story’s cinematic legacy includes the 1964 Italian black-and-white The Last Man on Earth (starring Vincent Price) and the 2007 blockbuster I Am Legend with Will Smith. Each version reflects its era’s anxieties, yet Sagal’s film occupies a unique niche, blending Cold War anxieties with exploitation tropes.

Set in a desolate Los Angeles in 1977—then a futuristic vision—the film follows Colonel Robert Neville (Heston), a military scientist who survived a global biological warfare outbreak caused by a Sino-Soviet conflict. Immune due to a self-administered serum, Neville believes himself the last human until encountering Lisa (Rosalind Cash), a survivor from a small group led by The Dutch (Paul Koslo). The plague’s mutated victims, now photosensitive albino zealots in the apocalyptic cult The Family, led by the charismatic Matthias (Anthony Zerbe), stalk Neville at night while he hunts them by day. Neville’s quest to save Lisa’s brother Richie (Eric Laneuville)—who begins exhibiting symptoms—drives a race against time to produce a cure using his own blood.

Produced by Warner Bros., The Omega Man benefits from a higher budget than its low-key Italian predecessor, evident in its haunting depictions of abandoned cities and meticulous world-building. The first half excels in atmosphere, immersing viewers in Neville’s fragile existence. Heston’s soliloquies—laced with dark wit—humanize his isolation, balancing grim survivalism with moments of levity. Scenes like Neville talking to a bust of Caesar or watching the Woodstock documentary in a derelict theatre underscore his psychological unraveling and the film’s ironic commentary on cultural decay.

The screenplay, written by poet John William Corrington and his wife Joyce, diverges sharply from Matheson’s novel. Joyce, a chemist, replaced vampirism with a pulmonary infection, rendering the infected as human-like fanatics rather than supernatural beings. This choice prioritized scientific plausibility but diluted the novel’s existential dread. The script also jettisons lengthy flashbacks of Neville’s past, opting for a streamlined narrative that frames the apocalypse as a Cold War-era biological disaster—a reflection of Vietnam-era anxieties about warfare and societal collapse.

Yet the film’s 1970s roots surface in its exploitation leanings. Gunfights, pyrotechnics, and a thrilling motorcycle chase cater to action audiences, while Neville and Lisa’s tentative romance—featuring nudity and overt sexuality—exploits the era’s prurient tastes. Meanwhile, cultural references ground the story in its time: Lisa’s Black Power-inspired style and The Family’s Manson-esque cult dynamics feel derivative, though the Woodstock sequence offers sardonic contrast between hippie idealism and post-apocalyptic nihilism.

The film’s unraveling begins with the introduction of Lisa and the survivor group. The subplot introduces contrivances that undermine tension: characters act illogically , and the finale devolves into melodrama. The script’s inability to resolve its central conflict leaves the ending emotionally hollow, prioritizing spectacle over coherence. Compounding this is Ron Greiner’s intrusive score, which undermines suspense with jaunty melodies during tense moments—a misstep that distracts from the film’s intended gravitas.

Heston, however, anchors the film with his trademark gravitas. His performance—complete with a shirtless scene for fans—captures Neville’s stoicism and vulnerability. Anthony Zerbe shines as Matthias, a chillingly charismatic antagonist, while Rosalind Cash, though occasionally miscast, delivers a nuanced portrayal of Lisa. Notably, their on-screen kiss was erroneously hailed as Hollywood’s first interracial kiss, a myth debunked by historians but underscoring the era’s racial tensions.

Ultimately, The Omega Man is a missed opportunity. Its blend of post-apocalyptic dread, horror, and exploitation elements is inventive but uneven. While it holds historical significance as a precursor to later adaptations and cult classics like 28 Days Later, its reliance on dated tropes and rushed plotting prevent it from ascending to true classic status. The film endures as a fascinating yet frustrating curio—a reminder of what might have been with sharper focus and restraint.

RATING: 5/10 (++)

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