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.
Carrie White is shy and outcast 17-year old girl who is sheltered by her domineering, religious mother, and unleashes her telekinetic powers after being humiliated by her classmates for the last time at her senior prom.
A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
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. Written by
When Rosemary is in the laundry room with Terry, we hear the washer buzz and Rosemary throws a capful of softener into it. We hear the distinct sound of the liquid hitting an empty washer, when it is supposed to be full of clothes. See more »
When people talk about perfect films I don't actually know what they mean. Perfect for whom? Perfect compared to what? I think that perfection is in the brain and heart of the beholder. "Rosemary's baby" is a perfect film to me. Scary in a way that makes you breathless. You're thinking and feeling throughout the film. One of the many sides of Polanski's genius is to suggest. And what he suggest is so monstrous that we don't want to believe it, but we do. The characters are so perfectly drawn that there is no cheating involved. John Cassavettes's superb study in selfishness and egomaniacal frustration is so real that comes to no surprise that he could do what he does to advance his career, but we are surprised, we're horrified. The spectacular Ruth Gordon and Sidney Blackmer are not Deborah Kerr and David Niven, are they? So that they turn out to be what they turn out to be is totally believable, but Polanski presents it in such a light of normality that you can't believe it. Mia Farrow's predicament is as classic as the boy who cried wolf tale and yet, as told by Roman Polanski in the wonderful face of Mia Farrow, is as if we're hearing it, seeing it and living it for the first time. Every silence, every voice in the distance, every door opening. Your heart is always in your throat. There is something there that accelerates a constant state of dread. Very few movies have been able to take me to that place, most of them by Roman Polanski, what about "The Tenant" or "Repulsion"? Other movies that come to mind: David Lynch's "Eraserhead" and Martin Donovan's "Apartment Zero" But "Rosemary's baby" stands alone as a terrifying masterpiece.
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