Rosemary's Baby (1968)

Oh yes, horror thrillers do not come much classier than this. 1968 and yet impressively still feels fresh when watching it for the first time today. It's one of those classic films that I think every film buff or cinephile or average movie fan should watch and I'm sure it's a popular choice when studying the medium of film. The story revolves around a young woman called Rosemary who moves into a new apartment with her husband. She wishes to conceive a baby, but when her obsessive neighbours become involved things start to take a turn into the realm of surrealism. A prime example of this, would be her "dream". She dreamt that she was being raped by Satan and that her neighbours and husband were watching as if it was a ritual. But of course we all know what actually happened (I shan't spoil it). It's a plot of mystery and intrigue. Roman Polanski's intelligent direction and screenplay was quite unique. We all knew what happened to Rosemary and we all knew what the end result was going to be, but we as the audience were interested in how Rosemary unravels the plot herself. This could've been a mystery with several twists and turns, but it's more than that. This was all focussed on her. Mia Farrow was excellent and easily held her own against the rest of the supporting cast. She exhumed innocence, fragility and transformed herself. I was impressed. Ruth Gordon won the Best Supporting actress award, I thought she was good but nothing outstanding. Although, she got that New York accent down to a tee! loved how we never saw what Rosemary's baby looked like, the imagery that is conjured up relies on the audience's imagination and I found that to be powerful. There were a few plot conveniences and I found the pacing to be inconsistent. A scene that oozed intrigue was then followed by a slower scene that seemed to negate everything that was before it. However, this is a solid classic horror film that, I'm sure, will never be forgotten.

After having ordered and watched 3 of the best Roman Polanski's movies in a row -Chinatown, The tenant, Rosemary's baby- I'm inclined towards putting Rosemary's baby at the same level of Chinatown. Of course they don't have anything to do with each other but the whiff of great cinema is as strong in one as it is in the other. Chinatown went down in the history of cinema as a landmark movie that meant a utter turn-around of the genre both in terms of themes the plot or sub-plots are shaped around and storytelling; however Rosemary's baby doesn't fall short in its attempt of telling a horror story in a new and original way. To define myself as a expert on Horror films would be nothing short of cockiness, an unnecessary amount of showing this review isn't worthy of having. So, don't worry dear reader, I'll be honest and declare that I'm treading on water when it comes to this genre. There is something I know, though. And that it's when a movie hits you, makes you want to feel what the characters feel and be the characters themselves so to better comprehend what they are going through. The story appears to be quite simple: a young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child takes over her life.What makes this movies stands out is the way in which is told. Every little piece bit of mystery is carefully given away at the exact moment, which only adds to the viewer's sense of fear and tension. Here there's nothing of a hidden monster that somehow breaks free from his owners and develops a never ending human-driven appetite. That might be the scope of 70 or 80% of movies of the genre; not in this case. What would you rather see: horror/terror only hinted at or a close-up on a horror scene? My choice is clear and I hope yours is too. The tension is so well build up that at times seems as if Polanski was a musical composer conducting an orquestra of seasoned musicians. You, as a viewer, are never let down because the essential ups and downs in tension are masterly handled; never it feels too much to diggest, never it is too low to keep the scrypt from going forward. I guess the comparison is worth elaborating on: the cast is fantastic, namely Mia Farrow as Rosemary. Only she could convey such fragility and determination to keep going through until the very ending of the picture. One that reaps the benefits of having carefully planted across the films "seeds of horror" and of having been able to create a plot that's as luring and riveting as it is crammed with twists and turns. Let me sign off by formulating a question: Is a mother always a mother?

Hollywood would have None of that "Devil" Worship or "Heil Satan" Stuff in the Hays-Code Era. It was a Taboo. But by 1968 Attrition had set in and the Zeitgeist of the "New" Hollywood was Slowly Eroding the Previously "Forbidden" Restrictions of the "Watchdogs of Morality" Censorship Board and All "Hell" was Breaking Loose.Roman Polanski's First American Movie can be Credited for Starting the Wave of Occult Films that would become Full Blown with "The Exorcist" (1973) and "The Omen" (1976) and its Ilk.It was a Huge Hit with the Public and Critics. More of a Psychological Thriller with a Supernatural Theme than a Pure "Horror" Movie, the Tension and Creepy Atmosphere of the Characters and the Surroundings Unleashed a Relentlessly Suspenseful Picture Anchored by Mia Farrow's Endearing and Sympathetic Performance.The rest of the Cast, John Cassavetes, Ruth Gordon and others all made this a Believable Unbelievable Story of Modern Witchcraft in New York City. Its Captivating Milieu of a Woman Caught Between Liberation and Tradition both Socially and Spiritually.The Script, by Polanski, from a Best Seller by Ira Levin Teases with Taut Complications and Black Humor. There are Shades of Hitchcock and Val Lewton with Scenes of Hidden Meanings and Messages Lurking Everywhere.Overall, Moderns seem to have Trouble Considering this More than just a Bore, but its Slow Burn Sears the Senses and Captivates with its Considerable Suffering of Rosemary and the Forces of Evil around Her.In the End She is Stronger than She Seems and Motherly Love Notwithstanding stands Alone in Her Convictions and the Strength and Wherewithal it took to Survive the Ordeal was Considerable. Her Liberation has Crossed the Previous Boundaries of a World that may have the Answer to the Question..."Is God Dead".

Rosemary Woodhouse (superbly played with aching vulnerability by Mia Farrow) moves into a new apartment with her self-centered struggling actor husband Guy (an excellent performance by John Cassavetes). Rosemary gets pregnant and soon begins to suspect that her friendly, yet eccentric neighbors are plotting something sinister against her and her baby.Writer/director Roman Polanski firmly grounds the gripping premise in a thoroughly plausible workaday reality, makes fine use of New York City locations, and adroitly crafts a spooky, yet subtle, understated, and ambiguous atmosphere rife with dread and unease. Moreover, Polanski leaves it up to the viewer to decide if the grim events in the story are indeed actually happening or all some kind of nightmarish hallucination caused by Rosemary's mounting paranoia and troubled state of mind. In fact, what makes this film so chilling and unsettling are that the bulk of things which occur in the narrative are within the realm of possibility as well as the devastating revelation that Guy was willing to betray Rosemary by making an unholy pact with the devil in exchange for achieving the success that he desperately yearns for.Ruth Gordon won a well-deserved Oscar for her delightfully quirky and vibrant portrayal of the flaky and pesky Minnie Castevet. The rest of the cast are just as splendid: Sidney Blackmer as the dapper Roman, Maurice Evans as the amiable Hutch, Ralph Bellamy as the avuncular Dr. Sapirstein, Victoria Vetri as the ill-fated Terry, Patsy Kelly as the kooky Laura-Louise, Elisha Cook Jr. as glum realtor Mr. Nicklas, and Charles Grodin as the unhelpful Dr. Hill. Kudos are also in order for William A. Fraker's slick cinematography and Krzysztof Komeda's supremely eerie lullaby score. Essential viewing.