Hubbry Logo
Holocaust 2000Holocaust 2000Main
Open search
Holocaust 2000
Community hub
Holocaust 2000
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Holocaust 2000
Holocaust 2000
Holocaust 2000
View on Wikipedia
from Wikipedia

Holocaust 2000
Italian theatrical poster
Directed byAlberto De Martino
Screenplay by
Story by
  • Sergio Donati
  • Alberto De Martino[1]
Produced byEdmondo Amati[1]
Starring
CinematographyErico Menczer[1]
Edited byVincenzo Tomassi[1]
Music byEnnio Morricone[1]
Color processTechnicolor
Production
companies
  • Embassy Productions
  • Aston Film[1]
Distributed by
Release date
  • 1977 (1977)
Running time
102 minutes
Countries
  • Italy
  • United Kingdom[1]
LanguageEnglish

Holocaust 2000 (also released as The Chosen and Rain of Fire) is a 1977 horror film directed by Alberto De Martino, written by De Martino, Michael Robson, and Sergio Donati, and starring Kirk Douglas, Simon Ward, Agostina Belli, Anthony Quayle, Virginia McKenna, and Alexander Knox. The original musical score was composed by Ennio Morricone.

The British-Italian co-production was produced by Edmondo Amati for The Rank Organisation and Titanus, and is widely-considered a cash-in on the success of the similarly-themed The Omen, which was released a year earlier. It received mixed reviews, but has become a cult classic.[2][3]

Plot

[edit]

Despite doomsday warnings from throngs of locals, wealthy industrialist Robert Caine makes the controversial decision to build a nuclear power plant near a sacred cave in the Middle East. However, before Caine can reap the benefits of his latest bid for global domination, he discovers that his son, Angel, is the Antichrist, who is planning to use his father's project to trigger the end of the world. As Caine digs deeper, a string of suspicious accidents occur that kill off prominent figures who criticized the project. He also notes similarities between the design of the plant and features of a biblically-prophesied Beast that will herald the apocalypse. During a dream, Caine envisions the plant rising from the sea, then sees its circle of towers take on the form of a multiheaded monster.

Different endings

[edit]

The film was released with two endings. The European general release version of the film features an open ending, with Kirk Douglas in exile with his newborn child, and his adult son now successfully developing the plant intended to cause Armageddon.

In the shortened version released in U.S. theaters, home video, and network television, a new ending was added where Douglas returns to the company and enters a board meeting, having explosives hidden on him. In the final scene, Angel's face is overlaid with an image of an explosion, showing that Robert has successfully thwarted the apocalypse. The U.S. DVD from Lionsgate retains the original darker ending and the Blu-ray from Scream Factory contains both the European and American versions of the film.

Cast

[edit]

Reception

[edit]

In a contemporary review, the Monthly Film Bulletin referred to Holocaust 2000 as "the wildest farrago yet to have come out of the demonology genre", finding that "the religious allegory adds little weight to the confusion of the plot".[1]

Donald Guarisco, writing a retrospective review for AllMovie, described the film as a rip-off of The Omen which nevertheless "offers some creepy fun for fans of Euro-horror." Guarisco praised some unique plot elements, such as political and corporate intrigue, as well as references to fears of nuclear energy and civil unrest in the Middle East. He also noted that De Martino "gives the film a glossy touch during the non-horror moments but brings plenty of verve to the shocks: his best moment is a nightmare sequence in which Douglas hallucinates the nuclear plant he is working on rising from the sea and transforming into a multi-headed hydra."[4]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Holocaust 2000

View on Grokipedia
from Grokipedia
is a 1977 Italian-British horror film directed by Alberto De Martino, starring Kirk Douglas as Robert Caine, a nuclear power plant executive who discovers his son embodies the Antichrist and seeks to unleash a global nuclear catastrophe. The plot centers on Caine's efforts to thwart his son Angel's (Simon Ward) machinations amid construction of a massive atomic facility in the Middle East, blending apocalyptic prophecy with sabotage attempts that culminate in visions of biblical end-times devastation. Featuring a score by Ennio Morricone, the film was released under alternative titles such as The Chosen in the United States to mitigate backlash over its provocative name, which evoked the historical Holocaust while depicting a fictional atomic holocaust. Critically, it garnered low ratings, with an aggregate critic score of 27% on Rotten Tomatoes and audience assessments averaging around 5.5 out of 10 on IMDb, often criticized for its derivative storyline echoing The Omen (1976) and sensationalist exploitation of disaster tropes without substantial originality or depth. Notable for Douglas's committed performance amid the film's budgetary constraints and narrative inconsistencies, Holocaust 2000 remains a cult curiosity in horror cinema, emblematic of 1970s Euro-horror tendencies toward inflammatory titles and Antichrist archetypes repurposed for contemporary fears of nuclear proliferation.

Synopsis

Plot Summary

Robert Caine, a prominent industrialist played by , oversees the construction of a vast in the , undeterred by local prophecies foretelling catastrophe at the site. His adult son, portrayed by , advocates strongly for the project, viewing it as a means to harness for global benefit. As development advances, Caine is plagued by vivid nightmares depicting apocalyptic destruction via the plant's seven reactors, mirroring biblical imagery of the end times. Suspicion mounts when opponents of the plant suffer gruesome fates, including a priest struck by a and an archaeologist decapitated by helicopter blades, events that Caine attributes to unnatural forces. Investigating further, he uncovers evidence that Michael was born under ominous circumstances—specifically on June 6, 1966—and bears a birthmark resembling the number 666, hallmarks of the as described in the . Michael's growing influence, including manipulations within the company and encounters with demonic entities, convinces Caine that his son seeks to weaponize the nuclear facility to unleash a global holocaust. Desperate to avert prophecy, Caine allies with biblical experts and attempts to sabotage the plant while confronting supernatural barriers and Michael's escalating power. His wife, Sara (Agostina Belli), becomes entangled in the conflict, facing her own perils as family loyalties fracture. The narrative culminates in a confrontation revealing Michael's true intentions, blending corporate intrigue with eschatological horror centered on nuclear annihilation.

Alternate Endings

Holocaust 2000 was released in multiple versions featuring distinct endings, primarily differing between the international cut titled Holocaust 2000 and the U.S. release known as The Chosen. In the international version, after protagonist Robert Caine (played by ) thwarts his adopted son Angel's nuclear plot and flees into exile with his wife Sara and their newborn biological son, the film fades out ambiguously on their desert hideaway, implying the child may serve as a counterforce to the without confirming any supernatural alignment. The U.S. version, distributed by in 1978, extends this conclusion with a post-escape scene revealing the newborn's scalp bears the mark of the beast (666), suggesting it shares Angel's demonic nature and dooming Caine's hopes for redemption or opposition. This addition, reportedly tacked on for North American markets to heighten horror and provide closure, transforms the open-ended European finale into a bleaker affirmation of inevitable evil. These variants reflect post-production adjustments, with the original Italian cut favoring subtlety tied to biblical motifs of potential salvation, while the altered U.S. ending aligns more closely with apocalyptic finality in -style narratives. Some home video releases, such as the Lionsgate DVD, retain the darker U.S. conclusion, though alternate footage circulates online demonstrating the unmodified escape.

Production

Development and Pre-Production

Alberto De Martino, an Italian director known for adapting popular horror trends, conceived Holocaust 2000 in response to the commercial success of The Omen (1976), reimagining the Antichrist storyline with a focus on nuclear energy risks amid 1970s debates over atomic power proliferation. He collaborated with screenwriter Sergio Donati, a veteran of spaghetti Westerns including Sergio Leone's films, to outline the core narrative of a business magnate whose adopted son embodies apocalyptic threats tied to a Middle Eastern nuclear plant. This premise shifted the supernatural horror toward environmental and technological catastrophe, reflecting contemporary anxieties over energy crises and proliferation following the 1973 oil embargo. The screenplay was credited to De Martino, Donati, and English writer Michael Robson, with a draft completed by April 14, 1977, as evidenced in actor Kirk Douglas's personal archives. Pre-production proceeded as an Italy-United Kingdom co-production, involving companies such as Aston Film and Embassy Productions, with handling presentation. Financing leveraged Douglas's star power to attract international distribution, positioning the film for exploitation markets eager for -style occult thrillers updated with geopolitical urgency. Preparations emphasized practical effects for disaster sequences and location scouting in the to authenticate the nuclear facility setting.

Casting and Crew

Kirk Douglas starred as Robert Caine, a nuclear engineer who uncovers his son's malevolent nature. played Angel Caine, the son revealed as the Antichrist figure. portrayed Sara Golan, a key supporting character involved in the protagonist's investigations. appeared as Professor Griffith, providing scientific counsel, while depicted Eva Caine, the mother. Additional cast included as Dr. Kerouac and in a supporting role. The film was directed by Alberto De Martino, who also co-wrote the screenplay alongside Michael Robson and . composed the score, contributing to the film's atmospheric tension. was handled by Erico Menczer, with production overseen by an Italian crew reflecting the film's origins as a co-production between and the .
Key CastRole
Robert Caine
Angel Caine
Sara Golan
Professor Griffith
Eva Caine

Filming and Technical Aspects

Principal photography for Holocaust 2000 took place across and as part of an Italian-British co-production between Aston Film and Embassy Productions. Exteriors were filmed at in , , capturing coastal landscapes for apocalyptic sequences, and Wykehurst Park House in for interior and estate scenes. Studio work occurred at Twickenham Film Studios in , , and Palatino Studios in , , , facilitating the construction of sets and controlled environments for action sequences. The film employed the Technovision anamorphic process to achieve a 2.35:1 , providing wide-screen framing that emphasized expansive industrial and visionary elements. Erico Menczer utilized processing for saturated colors, enhancing the contrast between mundane corporate settings and hallucinatory biblical motifs, in line with stylistic conventions of 1970s Italian genre productions. Audio was recorded in optical mono, standard for the period, supporting Ennio Morricone's ominous score without advanced stereo immersion. Special effects were crafted primarily through practical techniques under Gino de Rossi and Giannetto De Rossi, including for disfiguring injuries and miniature models for disasters like the helicopter crash, which achieved period-appropriate realism despite budgetary constraints typical of Euro-horror films. These elements, combined with on-location hazards in British rural sites, contributed to the film's tense atmosphere, though some miniature work in climactic destruction scenes has been critiqued for visible seams in later restorations.

Themes and Motifs

Antichrist Narrative and Biblical Influences

Holocaust 2000 constructs its central antagonist through the lens of the , drawing primarily from eschatological imagery in the to depict a child figure—initially Robert Caine's adult son , later an unborn child—as the harbinger of apocalypse. The narrative unfolds via omens and , including a priest's interpretation of computer symbols from the nuclear plant as encoding the Antichrist's name, evoking warnings of a deceptive figure opposing Christ. A key , unearthed from an ancient cave, foretells that the " who harnesses the power of the sun" will unleash global destruction, symbolically linking to the Antichrist's rise and inverting messianic motifs by portraying technological ambition as satanic. The film's Biblical influences manifest in direct visual and structural allusions to , where the Beast emerges from the sea with seven heads and ten horns. The nuclear facility's design—featuring seven reactor modules or turbines and ten conduits or control systems—mirrors this imagery, culminating in a where the plant rises as a multi-headed hydra-like entity, symbolizing the Beast as a modern instrument of end-times cataclysm rather than a purely supernatural entity. This adaptation relocates the prophecy's origin to a site evoking the Apostle John's visionary isle of , blending ancient scripture with 1970s anxieties over . Further scriptural ties include numerical symbolism approximating the "" (666), such as a health insurance code derived from the of 231 equating to variants of 666, and ecclesiastical references to the 's prophesied 42-month reign and assembly of 21 disciples, parodying Christ's ministry. Monsignor Charrier's counsel reinforces these elements, positioning the as a perversion of divine order that exploits human innovation for demonic ends. Ultimately, the narrative resolves ambiguously, shifting Antichrist suspicion from the child to the reactor itself, suggesting that Biblical warnings caution against hubristic as much as personal .

Nuclear Power and Apocalyptic Warnings

In Holocaust 2000, serves as a central motif symbolizing humanity's in harnessing destructive forces, intertwined with biblical prophecies of . The , industrialist Robert Caine, portrayed by , spearheads the construction of a massive thermonuclear in the , designed with seven cooling towers to address a global amid the oil shortages. Caine dismisses opposition from local religious leaders and scientists who warn that the site, adjacent to a sacred , will unleash cataclysmic consequences, framing as a false savior that invites . The film's apocalyptic warnings escalate through visions and omens linking the plant directly to end-times imagery from the . Caine experiences nightmares depicting the seven towers as the "seven heads" of the beast emerging from the sea, a deliberate visual parallel to , where the structure's activation portends a "rain of fire" and capable of global devastation. This motif underscores the figure—embodied by the adopted child Angel—who covertly engineers accidents and political approvals to ensure the project's completion, positioning as the mechanism for rather than traditional plagues or wars. Director Alberto De Martino amplifies these themes by contrasting Caine's rationalist optimism with supernatural sabotage, such as turbine failures and assassinations, that highlight nuclear power's inherent volatility as a tool of satanic design. Released in 1977 amid rising public anxiety over —exemplified by the 1973 oil embargo and debates on atomic energy's risks—the film extrapolates contemporary fears into eschatological horror, portraying unchecked technological ambition as fulfilling prophecy. Critics have noted this as an update to 's formula, replacing ambiguous evil with explicit antinuclear allegory, though some interpret it as hyperbolic rather than prescient given later events like the 1979 Three Mile Island incident.

Influences from The Omen

Holocaust 2000 exhibits strong narrative and thematic parallels to The Omen (1976), a film that achieved commercial success upon its June 25, 1976 release, grossing over $60 million worldwide against a $2.8 million budget. Italian director Alberto De Martino, known for producing quick imitations of popular Hollywood genres, crafted Holocaust 2000 as an overt homage-turned-exploitation vehicle, releasing it in Italy on August 25, 1977, to capitalize on the Antichrist-child trope popularized by The Omen. The film's structure mirrors The Omen in depicting a high-profile father—nuclear industrialist Robert Caine (Kirk Douglas) versus diplomat Robert Thorn (Gregory Peck)—who gradually uncovers that his adopted son embodies satanic forces intent on global catastrophe. Central to these influences is the revelation of the child's malevolent identity through omens and warnings, including a priestly figure who deciphers biblical prophecies linking the boy to the Book of Revelation's beast—echoing Father Brennan's role in . deaths befall obstacles to the child's schemes, such as and , reminiscent of 's graphic accidents involving priests and investigators, though Holocaust 2000 adapts them to industrial sabotage around a . The father's desperate quest culminates in a sacrificial confrontation, where Caine rigs explosives to destroy the child and avert , paralleling Thorn's failed dagger attempt but escalating to amid a reactor meltdown threat. These elements underscore De Martino's reliance on 's blueprint for building suspense via paternal denial turning to horror, amplified by Ennio Morricone's score evoking Jerry Goldsmith's iconic motifs. While Holocaust 2000 diverges by grounding the Antichrist's agenda in 1970s nuclear anxiety—contrasting The Omen's broader eschatology—the core influence lies in exploiting the cultural cachet of satanic progeny narratives for B-movie appeal, a tactic common in Italian horror's post-Exorcist and post-Omen wave. Critics have noted the film's unapologetic borrowing, with De Martino prioritizing pace and spectacle over originality, resulting in sequences like hallucinatory visions of the child as a horned demon that directly nod to The Omen's photonegative hell imagery. This imitation extended to marketing, where U.S. distributor American International Pictures retitled it The Chosen in 1978 to evoke The Omen's familial Antichrist premise, though it underperformed compared to its inspiration.

Release

Distribution and Alternate Titles

Holocaust 2000 was released theatrically in in 1977 by distributor . In the , it was handled by Film Distributors. For North American markets, (AIP) acquired distribution rights and released the film under the title The Chosen. The film appeared under several alternate titles to suit different regional markets and marketing strategies. In some prints, particularly early or variant releases, it was known as Rain of Fire. Internationally, localized versions included Holocausto 2000 in Spanish-speaking countries, Holocauste 2000 in French markets, and Exterminação 2000 in Portuguese territories. These variations often emphasized the apocalyptic and nuclear themes central to the plot.

Marketing and Initial Box Office

The film premiered in on November 25, 1977, under the title Holocaust 2000, with marketing emphasizing its apocalyptic nuclear themes and Ennio Morricone's score to capitalize on the success of (1976). In international markets, posters featured stark imagery of destruction and Kirk Douglas's intense portrayal of industrialist Robert Caine, positioning the story as a biblical horror narrative updated for anxieties. For its U.S. release in early 1978, (AIP) retitled it The Chosen to mitigate potential backlash from the provocative original name, distributing it to select theaters including drive-ins typical of AIP's low-budget horror slate. Promotion included radio spots produced by AIP, which highlighted Douglas's star power and elements like the child amid global catastrophe. Publicity materials, such as 8x10 color photos of Douglas and co-star , were circulated to theaters to draw audiences seeking Omen-style thrills. Initial box office performance was limited, with the film appearing in regional showcases like Cinema I in New York by April 1978 but failing to generate substantial grosses tracked by major outlets. Domestic earnings data remains unavailable in comprehensive databases, indicative of its niche appeal as an Italian co-production rather than a wide-release blockbuster, contrasting with 's $60 million worldwide haul. By mid-1978, it had transitioned to smaller venues, underscoring modest commercial reception amid competition from higher-profile horror releases.

Reception and Legacy

Contemporary Critical Reviews

Upon its 1977 Italian release and subsequent 1978 international rollout under titles including The Chosen and Rain of Fire, Holocaust 2000 attracted scant attention from major critics, typical of mid-budget Euro-horror imports handled by distributors like American International Pictures for limited U.S. theatrical runs. The film's derivative structure—blending The Omen's supernatural child motif with nuclear doomsday tropes—likely contributed to its marginal status amid a crowded 1970s horror market dominated by higher-profile Antichrist and disaster entries. One documented period assessment appeared in the British Film Institute's Monthly Film Bulletin (vol. 45, no. 530, March 1978), which characterized the production as "definitely an interesting film, while not totally successful," highlighting a foreseeable major plot twist amid otherwise stylish execution and competent acting from leads Kirk Douglas and Simon Ward. This lukewarm appraisal underscored the film's ambition to fuse biblical prophecy with contemporary fears of atomic catastrophe, yet faulted its execution for lacking originality in a post-Omen landscape. No equivalent reviews surfaced in U.S. trade publications like Variety or dailies such as The New York Times, reflecting the era's selective coverage of foreign genre fare. Overall, the muted response aligned with the film's modest box-office trajectory, positioning it as a curiosity rather than a contender; aggregate modern retrospectives echo this by averaging low scores (e.g., 27% on from 15 critics), often decrying its muddled script and exploitative shocks over substantive commentary on or .

Modern Reassessments and Cult Status

In recent decades, Holocaust 2000 has been reassessed by aficionados as an entertaining, if flawed, entry in the late-1970s subgenre, with commentators noting its prescient nuclear anxieties amid the era's energy crises and its campy deviations from more polished predecessors like . A 2022 review in The Movie Sleuth's Cinema series praises its "ridiculous premise" and Kirk Douglas's committed performance, positioning it as a "so-bad-it's-good" artifact that rewards repeat viewings for its absurd escalations, such as locust swarms and prophetic visions tied to industrial ambition. Similarly, a 2025 analysis on Film Authority describes the film as a "travesty" and "bad movie for the ages," appreciating director Alberto De Martino's earnest mishandling of biblical motifs and disaster tropes, which yield unintentional humor in scenes of Middle Eastern reactor . The film's cult status emerged prominently in the 2000s and 2010s through online horror communities and retrospective screenings, where its alternate titles (The Chosen in the U.S., Rain of Fire elsewhere) and international co-production quirks—blending Italian influences with British financing—fostered niche appreciation among Eurohorror collectors. A 2019 overview on Movies and Mania highlights its "supernatural horror" appeal, crediting the film's two variant endings (one emphasizing paternal sacrifice, the other ambiguous doom) for sparking fan debates and bootleg demand. By 2022, bloggers like Weegie Midget declared it a "" for elevating horror's "great" absurdities, with Helmut Berger's oily antagonist and Douglas's everyman tycoon embodying the genre's operatic excess. User-driven platforms reflect this, with aggregating over 1,300 logs averaging 3.0/5 stars, often citing its "fun blend" of satanic conspiracy and ecological dread as catnip for enthusiasts. This reevaluation contrasts initial 1977 dismissals of narrative incoherence, reframing Holocaust 2000 as a of post-Three Mile Island fears (though predating the 1979 incident) and anti-globalist paranoia, with De Martino's direction—marked by Ennio Morricone's brooding score and practical effects like fiery plant meltdowns—garnering retroactive nods for atmospheric grit over logical consistency. A 2025 EOFFTV review underscores its "unshakable commitment to silly ideas," propelled by a "ridiculously starry cast" that elevates pulpy lore into quotable schlock, solidifying its endurance in circuits despite limited mainstream revival.

Home Media and Availability

The film received its first significant home video release in the United States on DVD from Lionsgate, featuring the original international cut with its darker ending. In 2019, Shout! Factory issued a Blu-ray edition under the title The Chosen, which includes both the uncut European version (Holocaust 2000) in high definition and the shortened American theatrical cut with an alternate, less ominous conclusion, along with and trailers. This release, distributed on May 14, 2019, marked the film's debut in high-definition format for North American audiences and remains the primary physical media option available through retailers like Amazon. Internationally, a French Blu-ray edition in digipak packaging was released on November 30, 2021, preserving the original Holocaust 2000 title and cut. As of 2025, digital and streaming availability is limited but includes options on Amazon Prime Video, which offers the film for rental or purchase in both versions; fuboTV for subscription streaming; and the Shout! Factory channel on Amazon. Free ad-supported platforms such as Tubi and Pluto TV provide access to the U.S. cut (The Chosen), while Fandango at Home allows video-on-demand rental starting at $2.99. Due to its cult status and regional licensing variations, availability can fluctuate, with no widespread presence on major services like Netflix or Disney+.

Controversies

Title Usage and Historical Sensitivity

The film's original Italian title, Holocaust 2000, employs the term "" in its etymological sense of widespread destruction, specifically alluding to a fictional nuclear catastrophe central to the plot, rather than referencing the systematic perpetrated by against approximately six million and millions of others between 1941 and 1945. This usage draws from pre-20th-century connotations of "" as a burnt offering or mass fiery devastation, predating its capitalization as a for the Shoah following widespread adoption in the and . However, by 1977—the year of the film's release—the word had become indelibly linked in public consciousness to , particularly amid growing memorialization efforts, such as the 1976 West German miniseries Holocaust that reached millions and intensified global awareness. Critics and viewers have lambasted the title for risking trivialization of the historical event, arguing it exploits a term laden with profound trauma for sensationalist in a supernatural horror context. One reviewer deemed the nomenclature "pretty fucking crazy and offensive," highlighting its perceived disrespect toward survivors and the gravity of remembrance. Such sentiments reflect broader concerns over cultural of tragedy, though no organized protests or formal bans materialized at release, unlike contemporaneous sensitivities around depictions in media. The title's "2000" appendage evokes millennial doomsday fears tied to debates of the era, including the 1970s Three Mile Island prelude, but amplifies the dissonance with historical specificity. To circumvent backlash, distributors retitled the film for English-language markets: The Chosen in the United States, emphasizing the Antichrist-child narrative akin to The Omen (1976), and Rain of Fire in the United Kingdom, nodding to apocalyptic imagery without invoking genocide connotations. These variants underscore pragmatic adaptations to audience sensibilities, as Italian exploitation cinema often prioritized provocative domestic titles while softening abroad for commercial viability. Retrospective discourse, including home video editions retaining Holocaust 2000 on prints despite U.S. packaging as The Chosen, perpetuates debate on whether such rebranding sanitizes or appropriately contextualizes the original intent. No evidence indicates producer Alberto De Martino or co-writer Tomaso Sherman intended direct Holocaust allusion, with the script focusing on anti-nuclear allegory amid 1970s energy crises.

Depiction of Violence and Graphic Scenes

The film contains multiple scenes of , rated as severe by parental guidelines, featuring blood, dismemberment, and unnatural deaths typically attributed to intervention. These sequences emphasize elaborate, fatal accidents similar to those in (1976), blending practical effects with a moderate level of gore that includes visible wounds and bodily harm. A key example is the decapitation of by a blade during a public event, depicted with blood splatter and the severed head rolling on the ground, evoking the priest's in . Another involves Professor Griffith being bisected by a massive falling glass door, resulting in a bifurcated corpse shown in detail. In a setting, a nurse poisons an entire nursery of newborns using labeled for external use only, leading to their rapid, convulsing deaths amid cries and visible distress. Further graphic content appears in a mental sequence where the , restrained in a , is brutally kicked to death by inmates in a rubber-padded room, described as shockingly gory and unnerving with prolonged physical trauma. An abortion scene heightens hospital horrors, portraying involuntary procedures and medical terror involving actress Agostina Belli's character, underscoring themes of bodily violation. elements amplify these, such as a rapid-rising trapping a character in a surreal, life-threatening submersion, and dream visions of apocalyptic nuclear devastation morphing into biblical beasts. Overall, the violence serves narrative purposes of demonic influence but relies on Italian horror conventions of visceral, fate-driven kills rather than excessive splatter.

References

  1. https://www.imdb.com/title/tt0077332/
  2. https://www.moriareviews.com/horror/holocaust-2000-the-chosen-1977.htm
  3. https://mikestakeonthemovies.com/2020/10/25/holocaust-2000-1977/
  4. https://www.rottentomatoes.com/m/the_chosen_1977
  5. http://www.1000misspenthours.com/reviews/reviewsh-m/holocaust2000.htm
  6. https://www.containsmoderateperil.com/blog/2023/8/21/holocaust-2000-1977
  7. https://weegiemidget.wordpress.com/2022/09/15/film-the-chosen/
  8. https://moviesandmania.com/2019/02/05/holocaust-2000-the-chosen-reviews-movie-film-horror-antichrist-1977-overview-cast-plot/
  9. https://classichorrors.club/2022/09/05/the-chosen-1977-aka-holocaust-2000/
  10. https://horrorcritic.com/holocaust-2000/
  11. https://eofftv.com/holocaust-2000-1977/
  12. https://goodefficientbutchery.blogspot.com/2019/05/retro-review-chosen-1978.html
  13. https://tvtropes.org/pmwiki/pmwiki.php/Film/Holocaust2000
  14. https://kindertrauma.com/rain-of-fire-aka-the-chosen-aka-holocaust-2000-1977/
  15. https://www.youtube.com/watch?v=CE1k3qQk42I
  16. https://thenewbev.com/blog/2017/10/the-omen-holocaust-2000/
  17. http://atthemansionofmadness.blogspot.com/2013/09/holocaust-2000-1977.html
  18. https://digicoll.library.wisc.edu/cgi/f/findaid/findaid-idx?c=wiarchives&cc=wiarchives&view=reslist&subview=standard&didno=uw-whs-us0102an
  19. https://www.filmaffinity.com/en/film736641.html
  20. https://www.rottentomatoes.com/m/the_chosen_1977/cast-and-crew
  21. https://www.themoviedb.org/movie/46158-holocaust-2000/cast?language=en-US
  22. https://www.themoviedb.org/movie/46158-holocaust-2000?language=en-US
  23. https://www.svenskfilmdatabas.se/en/item/?type=film&itemid=8418
  24. http://every70smovie.blogspot.com/2016/11/holocaust-2000-1977.html
  25. https://wearesouthdevon.com/holocaust-2000-south-devon/
  26. https://mubi.com/en/us/films/holocaust-2000
  27. https://www.quora.com/What-was-this-movie-related-to-revelations-I-remember-it-had-a-reference-to-the-beast-from-the-sea-at-the-end-where-it-was-actually-some-sort-of-nuclear-power-plant-that-had-the-seven-heads-and-ten-horns-It-was
  28. https://www.imdb.com/title/tt0077332/reviews/
  29. https://monsterhuntermoviereviews.com/2013/05/14/holocaust-2000-1977/
  30. https://eofftvreview.wordpress.com/2025/04/23/holocaust-2000-1977/
  31. https://unobtainium13.com/2010/07/25/a-quickie-with-lisa-marie-holocaust-2000-dir-by-alberto-de-martino/
  32. http://blackholereviews.blogspot.com/2007/09/holocaust-2000-1978-and-omen-2-1978.html
  33. https://dailydead.com/drive-in-dust-offs-the-chosen-1977/
  34. https://www.looper.com/841038/every-kirk-douglas-movie-ranked-worst-to-best/
  35. https://www.grindhousedatabase.com/index.php/Holocaust_2000
  36. https://letterboxd.com/film/holocaust-2000/
  37. https://www.kindertrauma.com/rain-of-fire-aka-the-chosen-aka-holocaust-2000-1977/
  38. https://www.ebay.com/itm/167566825349
  39. https://www.yumpu.com/en/document/view/31910418/boxoffice-april241978
  40. https://www.the-numbers.com/movie/Holocaust-2000-%28UK%29-%281978%29
  41. https://www.yumpu.com/en/document/view/31911802/boxoffice-may221978
  42. https://www.spoilerfreemoviesleuth.com/2022/08/CultCinemaHolocaust20001977Reviewed.html
  43. https://film-authority.com/2025/06/21/holocaust-2000/
  44. https://www.blu-ray.com/movies/The-Chosen-Blu-ray/232441/
  45. https://www.amazon.com/Chosen-Blu-ray-Kirk-Douglas/dp/B07NN68HFM
  46. https://www.blu-ray.com/movies/Holocaust-2000-Blu-ray/309838/
  47. https://www.justwatch.com/us/movie/rain-of-fire
  48. https://tubitv.com/movies/100019636/the-chosen-1978
  49. https://www.roku.com/whats-on/movies/holocaust-2000
  50. https://www.moviefone.com/movie/holocaust-2000/20002401/where-to-watch/
  51. https://www.facebook.com/groups/horrorthon/posts/10162079064640125/
  52. https://www.imdb.com/title/tt0077332/parentalguide/
Add your contribution
Related Hubs
User Avatar
No comments yet.