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Rosemary's Baby (1968)

R | | Drama, Horror | 12 June 1968 (USA)
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 begins to control her life.

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(novel), (screenplay)
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Won 1 Oscar. Another 9 wins & 12 nominations. See more awards »
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Cast

Cast overview, first billed only:
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Terry (as Angela Dorian)
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Mr. Nicklas (as Elisha Cook)
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Dr. Hill
Hanna Hertelendy ...
Grace Cardiff (as Hanna Landy)
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Dr. Shand (as Philip Leeds)
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Diego
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Storyline

Desirous of starting a family, Rosemary Woodhouse, a young Catholic housewife, and her husband, Guy Woodhouse, a struggling actor, move into the Bramford, a New York building with an unpleasant history of obscure dwellers and ghastly occurrences. Before long, the young couple is befriended by their elderly and somehow eccentric next-door neighbours, Roman and Minnie Castevets, and shortly afterwards, Rosemary finally gets pregnant. However, little by little, as the inexperienced mother becomes systematically cut off from her circle and friends, alarming hints of a well-planned and sinister conspiracy will begin to emerge, enfolding Rosemary in a shroud of suspicion and mental agony. In the end, why is everyone so conveniently eager to help, furthermore, why is Guy allowing this? Written by Nick Riganas

Plot Summary | Plot Synopsis

Taglines:

Pray for Rosemary's Baby.

Genres:

Drama | Horror

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

12 June 1968 (USA)  »

Also Known As:

El bebé de Rosemary  »

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Box Office

Budget:

$2,300,000 (estimated)

Gross USA:

$33,395,426, 31 December 1969
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

William Castle said that he got hate mail from people who were angry at him for "bringing the Devil back into the world". See more »

Goofs

The same aerial shot of Bramford is used in both the opening credits and just before fading to ending credits. See more »

Quotes

Rosemary Woodhouse: [crying] I *won't* have an abortion!
Joan Jellico, Rosemary's Girlfriend: But nobody's telling you to have an abortion!
Elise Dunstan: Rosie, a pain like that is a clear sign that something is not right. We just want you to get another opinion, see someone else, that's all.
Tiger, Rosemary's girlfriend: Yeah, some doctor besides that... that... *nut*!
See more »

Connections

Referenced in The Fury (1978) See more »

Soundtracks

Für Elise
by Ludwig van Beethoven
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Frequently Asked Questions

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User Reviews

 
Reassuring to fine it's every bit as good as its staunchest champions would have you believe
21 April 2001 | by See all my reviews

Why aren't the horror directors of today as careful with their scripts as Polanski was? Not that this is really horror. Horror as we know it came into being with the slasher flicks of the late 1970s and early 1980s; "Rosemary's Baby" is rather the kind of thing that the term "dark fantasy" was coined to describe, by people of taste who noticed that the word "horror" promised audiences something distinctly unpleasant and nasty.

The film's construction is marvellous. Things start slow - one beat, so to speak, to a bar - and gradually pick up speed so that by the end we are nervously tapping out semiquavers with our feet. Polanski also understands the gentle art of hint-dropping. Many events are filed away as tiny puzzles to be solved later, and they ARE solved later; others we don't attach any particular significance to at the time Polanski invites us to re-interpret in retrospect, AND chooses the right moment to let us do so. And then, at the end, AFTER we've worked everything out, he presents us with a surprise - a delightful, gratuitous twist which nothing had prepared us for, which we couldn't have guessed, yet which doesn't cancel out the story as we'd understood it. (Alas, many people know what this surprise is in advance. I, for one. Yet this foreknowledge did nothing to spoil my enjoyment: a sure sign of superb construction.)

All in all, a film that tempts you to rank it with the best ever made - which is more, but not much more, than it deserves - simply because it's perfect. Everything went right. Rosemary is a wonderfully sympathetic heroine, powerless without being passive, largely ignorant of what's going on around her without being at all stupid, and Mia Farrow makes you care deeply about her. The cinematography is pellucid; the art direction is subtly right; there's also a fine, odd yet tuneful, musical score. I can't believe I waited so long to see this.


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