Rosemary's Baby (1968)

A young couple move into a new 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 controlling her life.

Director:

Roman Polanski

Writers:

Ira Levin (novel), Roman Polanski (screenplay)

Stars:

Mia Farrow, John Cassavetes, Ruth Gordon

Top 250 #238 | Won 1 Oscar. Another 11 wins & 9 nominations.

Cast

Cast overview, first billed only:
Mia Farrow	...	Rosemary Woodhouse
John Cassavetes	...	Guy Woodhouse
Ruth Gordon	...	Minnie Castevet
Sidney Blackmer	...	Roman Castevet
Maurice Evans	...	Hutch
Ralph Bellamy	...	Dr. Sapirstein
Victoria Vetri	...	Terry (as Angela Dorian)
Patsy Kelly	...	Laura-Louise
Elisha Cook Jr.	...	Mr. Nicklas (as Elisha Cook)
Emmaline Henry	...	Elise Dunstan
Charles Grodin	...	Dr. Hill
Hanna Landy	...	Grace Cardiff
Phil Leeds	...	Dr. Shand (as Philip Leeds)
D'Urville Martin	...	Diego
Hope Summers	...	Mrs. Gilmore

Storyline

Rosemary and Guy Woodhouse move into an apartment in a building with a bad reputation. They discover that their neighbours are a very friendly elderly couple named Roman and Minnie Castevet, and Guy begins to spend a lot of time with them. Strange things start to happen: a woman Rosemary meets in the laundry dies a mysterious death, Rosemary has strange dreams and hears strange noises and Guy becomes remote and distant. Then Rosemary falls pregnant and begins to suspect that her neighbours have special plans for her child.

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Plot Keywords:

apartment | neighbor | dream | suicide | pregnancy | 

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Taglines:

Pray for Rosemary's Baby

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Genres:

Drama | Horror | Mystery

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Certificate:

Approved

Details

Country:

USA

Language:

English

Release Date:

12 June 1968 (USA)

Also Known As:

El bebé de Rosemary

Filming Locations:

Dakota Hotel - 1 West 72nd St. at Central Park West, Manhattan, New York City, New York, USA

Box Office

Budget:

$2,300,000 (estimated)

Company Credits

Production Co:

William Castle Productions

Technical Specs

Runtime:

136 min

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

William Castle:  man near phone booth.

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Goofs

At Rosemary's party, Guy steps from behind the bartender to accept a drink in a closeup shot. In the following mid-range shot, from a different angle, he is shown in the background stepping up again to take a glass from the bartender.

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Quotes

Rosemary Woodhouse: Witches... All of them witches!

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Connections

Referenced in 21 Grams (2003)

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Soundtracks

"Für Elise"
by Ludwig van Beethoven

User Reviews

A Landmark Horror film

"Rosemary's Baby" is one of the best horror films ever made. This isn't because it's going to scare the pants off you with a series of sensational jolts. This isn't the shallow, gimmicky kind of horror movie we mostly get these days, and it isn't the traditional old-fashioned horror film of an earlier era. This is a movie that came out during a period of transition in Hollywood. The old production codes were breaking down and films could suddenly be more true to life in the way they showed how people really lived, acted and talked. 1968s "Rosemary's Baby" is a more sophisticated, less elegant thriller of the kind that Alfred Hitchcock patented, but it displays much more class and intelligence than the horror movies that would come out in its wake. Popular '70s films such as "The Exorcist" and "The Omen" are the prodigy of "Rosemary's Baby," but offer far less nuance and much greater vulgarity. What we get here is a more naturalistic depiction of modern life, but without the crassness that would soon explode into American cinema.

Most of the credit for what makes "Rosemary's Baby" such a successful film goes to Roman Polanski. Polanski is a master at conveying to an audience not just a sense of the uncanny but a vivid depiction of it. His earlier films like "Knife in the Water," "Repulsion" and "Dance of the Vampires," display the talents that would come to such a controlled mastery in "Rosemary's Baby."

Polanski very faithfully adapts Ira Levin's novel to the screen so that the viewer is, just as the reader was, free to interpret the eerie events of the story as either reality or a depiction of an isolated woman's decent into madness. At the same time the picture can be taken as a black joke on the human male's fears of the changes a woman goes through during pregnancy, both physically and emotionally. But Polanski seems most interested in presenting a normal world, in this case Manhattan in the mid 1960s, and then through subtle cinematic techniques get an audience to actually believe that the hysterical, fantastic ravings of the heroine could be true. It is this tour de force exercise in suspension of disbelief that makes the film a classic. The horror films that have come since have had to ratchet up the shock effects in order to thrill more desensitized audiences, but this deliberately paced film reminds us of how much better it is to leave things to the imagination of the viewer. That is where films really come alive and remain so.

The Paramount DVD presents an excellent print of the movie that looks as if it were shot yesterday, along with extras that include new interviews with Polanski, executive producer Bob Evans and production designer Richard Sylbert, and a featurette from the time of the film's original release that really works as a good time capsule.