Brookwood Military Cemetery & The Omen

When the Jews return to Zion
And a comet rips the sky
And the Holy Roman Empire rises,
Then you and I must die.
From the eternal sea he rises,
Creating armies on either shore,
Turning man against his brother
‘Til man exists no more.

Question: What do 1960s anthropomorphic pop group The Banana Splits and the Antichrist have in common?

Answer: They were both directed by filmmaker Richard Donner.

All photos shot with Mamiya 645 Pro TL on Ilford FP4. Developed in Rodinal 1+99 for 60 minutes

Donner would go on to have great success with action blockbusters such as Superman (1978) and Lethal Weapon (1987). However, back in the early 70s he was known as a safe pair of hands with a solid body of TV work under his belt. He started his career in the late 1950s, gaining a reputation as a reliable TV director. Get Smart and The Man from U.N.C.L.E. were a couple of the shows he worked on. Possibly most memorable, at least to those of us that grew up watching (reruns of) The Twilight Zone, was Nightmare At 20,000 Feet (watch). William Shatner, flying home after recovering from a mental breakdown, is the only person on the flight who can see a terrifying creature on the wing. Fearing the monster will bring the plane down, and realising everyone else thinks he’s crazy, he starts to wonder if he’s having a relapse. Air travel definitely hasn’t got any less stressful in the intervening years.

Although Donner directed a few features in his early career, it was the release of The Omen in 1976 that, in his own words, changed his life. David Seltzer was approached to write the screenplay in 1973. The Exorcist had been a huge commercial hit that year, and other studios were looking for their own supernatural horror to be The Next Big Thing. But although The Omen purported to be based on biblical prophecy, you’ll struggle to find verses like the one at the top of the page in the Bible. Seltzer made them all up.

American diplomat Robert Thorn is in Rome where his wife Katherine gives birth to a boy. Tragically, unknown to Katherine, the boy dies shortly afterwards. The hospital chaplain comes up with a cunning plan for Thorn to secretly adopt an orphan whose mother died giving birth to him. Thorn’s up for it, but thinks it’s best not to mention it to his wife. They name the child – insert thunder roll and lightning strike here – Damien. Thorn is later appointed U.S. Ambassador to the United Kingdom, and moves to London with Katherine and Damien. After a series of grisly events, Thorn comes to believe his son is the Antichrist. Something I’m sure most parents can sympathise with.

There were a number of notable actors up for the part of Robert Thorn. William Holden turned it down, saying he didn’t want to be in a film about the Devil. Ironically, he went on to play Thorn’s brother in the 1978 sequel. Charlton Heston didn’t want to spend the winter in Europe. Roy Schneider was in the frame at one point, as was Dick Van Dyke. Van Dyke didn’t accept, undoubtedly fearing reprisals due to his appalling cockney accent in Mary Poppins. However, I was pleased to note his apology in 2017. Presumably there’s now an amnesty and it’s safe for him to set foot in London once again. Charles Bronson was another contender, although that would have made it a very different movie. “Charles Bronson would have made it a joke”, reflected screenwriter David Seltzer in 2014. No, what was needed was someone serious. An actor with gravitas and dignity, someone that could make this admittedly far-fetched script believable.

Gregory Peck wasn’t initially that keen. He didn’t like the idea of a horror film. Besides, he was battling his own demons at that point. His eldest son, Jonathan, was found dead in his home earlier that year, in what authorities believed was a suicide. But his friends, and particularly his agent, were worried about him and keen to get him working again. Donner pitched it to him as more a kind of suspense picture than a horror. There are no explicitly supernatural events in the movie. Everything that happens could just as easily be the result of tragic coincidence and religious mania. Thorn, driven mad by the horrific deaths of people around him, is convinced by some religious nutters that his adopted son is the Antichrist. We’ve all been there.

Peck loved it, and filming began in England in October 1975.

There are some striking scenes in the movie. David Warner’s character getting a permanent cure for headaches, for one (watch). But like all the best movies, it’s the final scenes that’s are some of the most memorable.

In the penultimate scene, Thorn is confronted by armed police as he attempts to kill Damien on a church altar with a set of sacrificial knives. He raises the dagger, plagued with self-doubt, unclear if he’s looking at an innocent child or the Devil.

“Please Daddy, no”, pleads the boy.

“Stop, or I’ll fire”, yells the cop.

With final resolve, Thorn grits his teeth. He plunges the dagger down. A shot rings out. The bullet leaves the gun barrel in slow motion. Fade to black.

The final scene was shot in Brookwood Military Cemetery, but the initial version is not what made it to the final cut.

The US president is presiding over a burial ceremony with three coffins. One each for Robert, Damien, and Katherine. When Alan Ladd Jnr, President of Twentieth Century Fox, saw the footage he asked if there was any to do it and keep the boy alive. No problem, said Donner. This required a pickup 1 shot that was filmed on the green at Shepperton Studios. In this final shot we see just two coffins. The camera pulls away from the backs of the President and his wife, revealing Damien standing between them. He turns to look directly to camera, before smiling and creating one of the creepiest moments in cinema history. Good call, Mr Ladd.

Watch the final scene with Donner’s commentary here.

Here is wisdom, let him that hath understanding, count the number of the beast, for it is the number of a man and his number is 666.

– Revelation 13:18

1. A pick-up is a small, relatively minor shot filmed or recorded after the fact to augment footage already shot. When entire scenes are redone, it is referred to as a re-shoot. Both types of shots usually occur after continuity, logic, or quality issues are identified during the film editing process. In other words, such shots occur months after the sets have been struck, the costumes and props have been stored, and all the cast and most of the crew have moved on to other projects. If the issues had been identified during principal photography, the director would simply have asked for another take.

Brookwood Cemetery

New girlfriend, work, travel, jazz gigs, breaking up with girlfriend, gym, travel, new girlfriend, politics, work, boxing, breaking up with girlfriend. These are just some of the trivialities over the last 12 months that have cut in to my available time for doing the more important things in life. Like wandering round old cemeteries.

Mamiya 645 Pro TL / Ilford Delta 100 / Developed in D76 1+1

brookwood cemetery

At 500 acres, Brookwood was the largest cemetery in the world when it opened in 1854, and it’s still the UK’s largest today. I’m really lucky in that it’s just a short drive from me, but best of all is that its occupants give me just the right level of social interaction I’m looking for at the moment.

If I lived on the equator then I’d see the sun 90° overhead at noon. But in the UK, even at the height of summer it only reaches around 60°, and in winter doesn’t even make 20°. The cemetery’s filled with hundreds of very tall trees that the sun doesn’t have a hope of peaking over at this time of year. It’s a challenge to find areas where the sun can break through. But where it does, you get those long raking shadows I’m rather fond of.

Smack bang in the centre of the cemetery lies the Saint Edward Shrine Church. This and the buildings beyond belong to the Saint Edward Brotherhood, a small Orthodox Christian monastery that was formed in 1982 to care for the Church in which the sacred relics of Saint Edward the Martyr are enshrined. Edward was the eldest son of King Edgar the Peaceful, but was not his father’s acknowledged heir. On Edgar’s death in the year 975 the leadership of England was contested, with some supporting Edward’s claim to be king and others supporting his younger nephew Harry. Edward was eventually chosen as king, after which Harry went on to marry an American television actress, Lady Megan of Markle.

The path of sorrow, and that path alone,
Leads to the land where sorrow is unknown.
~ William Cowper

I see a great deal of discussion online about people’s techniques for shooting film and the way in which they experiment. A lot of stuff is along the lines of “Yeah I know FP4 is rated at 125, but I’m shooting it at 71.5 iso and then dropping it in bucket of developer for a week that I made myself out of organic unicorn fur and lard.” It does sometimes seem that the experimentation is more important than actually creating pleasing pictures. And that’s absolutely fine of course, because we should all just be doing what we enjoy.

Most of my own experimentation these days is with darkroom printing, but that’s only because I still don’t know what I’m doing. But when it comes to developing film, I’ve spent many years whittling down the films and developers I use in order to produce consistent and predictable results. For example, with medium format it’s always FP4 and Tri-X stand developed in Rodinal. It consistently gives me results I‘m happy with. But with the recent renaissance in traditional photography that I don’t think many people saw coming, and with new emulsions coming to the market and old ones reborn, maybe now’s the time for me to be a bit more adventurous again.

I was rummaging through the film box in my fridge and found two rolls of Delta 100 that had just slipped past it expiry date. Developed with some D76 that really needed to be used up, and I’m happy with the results. Oh yeah, I’m really starting to mix things up a bit now. Crazy, eh?

Right, I’m off to round up a few unicorns.


Ely, On Film

I could give half a dozen geeky reasons why I tend to stand develop my medium format films in Rodinal, but they’d all be lies. Ultimately it’s just because I’m lazy.

  • Drop the film in the tank
  • Crash on the couch and watch an episode of totalitarian fly-on-the-wall documentary The Handmaid’s Tale, just so I know what to expect
  • Stop, fix, wash, dry
  • Voilà

However, the last roll of FP4 I developed this way seemed to have a lot more grain than is typical, and just as I was pondering whether I’d done something differently, I came across the remains of a bottle of Kodak HC-110 under the sink. Like Rodinal, HC-110 tends to live forever in its undiluted form and would probably even survive a nuclear holocaust. Which may well prove to be useful, given current events. I’d previously given it a go with a few 35mm films and not been too keen on the results, but I thought it was worth trying on the roll of 120 FP4 I shot last weekend on my trip back to the area I grew up in.

Ely is a small market town about 80 miles north east of London. Not only is it famous for the fact that I went to school there, but it also boasts one of the most magnificent cathedrals in England, dating back to the 11th century. My school always had strong links with the Cathedral, and as such I was required to attend services three times a week. I’m sorry to say it didn’t make me a better person. Under His Eye.

Mamiya 645 Pro TL / Ilford FP4 / Developed in HC-110 Dilution B