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Rosemary's Baby (1968)

R | | Drama, Horror | 12 June 1968 (USA)
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A young couple move into 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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Writers:

(novel), (screenplay)
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1,572 ( 758)
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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Hutch
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Terry (as Angela Dorian)
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Laura-Louise
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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)
D'Urville Martin ...
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Storyline

Rosemary and Guy Woodhouse move into an apartment in an opulent but gothic building in Manhattan. Their landlord Edward "Hutch" Hutchins attempts to dissuade them from doing so: the building has an unsavory history. They discover that their neighbors are a very friendly elderly couple named Roman and Minnie Castevet, and Guy begins to spend a great deal of time with them. Strange things begin to happen: a young woman Rosemary meets in the laundry commits suicide, Rosemary has strange dreams and hears strange noises and Guy becomes remote and distant. Then Rosemary falls pregnant and begins to suspect that her neighbors have special plans for her child. Written by Goth <brooks@odie.ee.wits.ac.za>

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  »

Box Office

Budget:

$2,300,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Final film of special effects creator Farciot Edouart. See more »

Goofs

At the funeral, one of the limousines is a 1968 though the movie is set in 1966. See more »

Quotes

Rosemary Woodhouse: Isn't Hutch coming with us?
Skipper: Catholics only, Miss. I'm afraid that we're bound by these prejudices.
Rosemary Woodhouse: I understand.
See more »

Connections

Edited into Scream Greats, Vol. 2: Satanism and Witchcraft (1986) See more »

Soundtracks

Lullaby
(uncredited)
Composed by Krzysztof Komeda
Sung by Mia Farrow
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Reassuring to fine it's every bit as good as its staunchest champions would have you believe
21 April 2001 | by (Canberra, Australia) – 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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