| Photos (See all 72 | slideshow) | Videos (see all 3) |
| 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 | |
| Marianne Gordon | ... | Rosemary's Girl Friend | |
| Wende Wagner | ... | Rosemary's Girl Friend (as Wendy Wagner) | |
| rest of cast listed alphabetically: | |||
| Bill Baldwin | ... | Salesman (uncredited) | |
| Walter Baldwin | ... | Mr. Wees (uncredited) | |
| Roy Barcroft | ... | Sun-Browned Man (uncredited) | |
| Charlotte Boerner | ... | Mrs. Fountain (uncredited) | |
| Gail Bonney | ... | Babysitter (voice) (uncredited) | |
| Carol Brewster | ... | Claudia Comfort (uncredited) | |
| Lynn Brinker | ... | Sister Veronica (uncredited) | |
| Sebastian Brook | ... | Argyron Stavropoulos (uncredited) | |
| William Castle | ... | Man by Pay Phone (uncredited) | |
| Gordon Connell | ... | Allen Stone - Guy's Agent (uncredited) | |
| Patricia Ann Conway | ... | Mrs. John F. Kennedy (uncredited) | |
| Tony Curtis | ... | Donald Baumgart (voice) (uncredited) | |
| Joyce Davis | ... | Dee Bertillon (uncredited) | |
| Paul Denton | ... | Skipper (uncredited) | |
| Duke Fishman | ... | Man (uncredited) | |
| Janet Garland | ... | Nurse (uncredited) | |
| Michel Gomez | ... | Pedro (uncredited) | |
| John Halloran | ... | Mechanic (uncredited) | |
| Ernest Harada | ... | Young Japanese Man (uncredited) | |
| Marilyn Harvey | ... | Dr. Sapirstein's Receptionist (uncredited) | |
| Jean Inness | ... | Sister Agnes (uncredited) | |
| Jack Knight | ... | Investigating patrolman (uncredited) | |
| Mona Knox | ... | Mrs. Byron (uncredited) | |
| Louise Lawson | ... | Portia Haynes (uncredited) | |
| Natalie Masters | ... | Young Woman (uncredited) | |
| Elmer Modling | ... | Young Man (uncredited) | |
| Floyd Mutrux | ... | Man at Party (uncredited) | |
| Patricia O'Neal | ... | Mrs. Wees (uncredited) | |
| Robert Osterloh | ... | Mr. Fountain (uncredited) | |
| Josh Peine | ... | Man at Party (uncredited) | |
| Gale Peters | ... | Rain Morgan (uncredited) | |
| Jack Ramage | ... | Patron (uncredited) | |
| Joan T. Reilly | ... | Pregnant Woman (uncredited) | |
| George R. Robertson | ... | Lou Comfort (uncredited) | |
| George Savalas | ... | Workman (uncredited) | |
| Almira Sessions | ... | Mrs. Sabatini (uncredited) | |
| Michael Shillo | ... | Pope (uncredited) | |
| Bruno Sidar | ... | Mr. Gilmore (uncredited) | |
| Tom Signorelli | ... | Man at the Party (uncredited) | |
| Al Szathmary | ... | Taxi Driver (uncredited) | |
| Clay Tanner | ... | Devil (uncredited) | |
| Viki Vigen | ... | Lisa (uncredited) | |
| Frank White | ... | Hugh Dunstan (uncredited) | |
Directed by | |||
| Roman Polanski | |||
Writing credits | ||
| Ira Levin | (novel) | |
| Roman Polanski | (screenplay) | |
Produced by | |||
| William Castle | .... | producer | |
| Dona Holloway | .... | associate producer | |
Original Music by | |||
| Krzysztof Komeda | (as Christopher Komeda) | ||
Cinematography by | |||
| William A. Fraker | (director of photography) (as William Fraker) | ||
Film Editing by | |||
| Sam O'Steen | |||
| Bob Wyman | |||
Production Design by | |||
| Richard Sylbert | |||
Art Direction by | |||
| Joel Schiller | |||
Set Decoration by | |||
| Robert Nelson | |||
Costume Design by | |||
| Anthea Sylbert | |||
Makeup Department | |||
| Sydney Guilaroff | .... | hair styles creator: Miss Farrow | |
| Vidal Sassoon | .... | hair styles creator: Miss Farrow | |
| Allan Snyder | .... | makeup artist | |
| Sherry Wilson | .... | hair stylist | |
Production Management | |||
| William Davidson | .... | unit production manager (as William C. Davidson) | |
Second Unit Director or Assistant Director | |||
| Daniel McCauley | .... | assistant director (as Daniel J. McCauley) | |
| Gene Marum | .... | second assistant director (uncredited) | |
Art Department | |||
| Paolo Rocco Innamorato | .... | first assistant art director (uncredited) | |
Sound Department | |||
| Harold Lewis | .... | sound recordist | |
Visual Effects by | |||
| Farciot Edouart | .... | process photography | |
Stunts | |||
| Roger Creed | .... | stunts (uncredited) | |
| Frank Orsatti | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Steve Birtles | .... | lighting technician (uncredited) | |
| Robert Willoughby | .... | special still photographer (uncredited) | |
Costume and Wardrobe Department | |||
| Joan Joseff | .... | costume jeweller (uncredited) | |
Music Department | |||
| Bob Bain | .... | musician: guitar (uncredited) | |
Other crew | |||
| Hawk Koch | .... | dialogue coach (as Howard W. Koch Jr.) | |
| Luanna S. Poole | .... | script continuity | |
| Robert Evans | .... | developer (uncredited) | |
| Wayne Fitzgerald | .... | title designer (uncredited) | |
| Stephen Frankfurt | .... | title designer (uncredited) | |
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| The Omen | The Omen | La corta notte delle bambole di vetro | The Exorcist | Love in the Time of Cholera |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb top 250 movies | IMDb Drama section |
| IMDb USA section |
"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.