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.
Two siblings and three of their friends en route to visit their grandfather's grave in Texas end up falling victim to a family of cannibalistic psychopaths And must survive the terrors of leatherface and his family.
Desirous of starting a family, the young Catholic housewife, Rosemary Woodhouse, and her struggling actor husband, Guy, move into the Bramford: New York's iconic building which brims with unpleasant stories of obscure dwellers and ghastly occurrences. Before long, the young couple is befriended by their somehow eccentric next-door neighbours, Roman and Minnie Castevet, and, shortly after, Rosemary gets pregnant. However, little by little--as the inexperienced mother becomes systematically cut off from her circle and friends--alarming hints of a sinister and well-planned conspiracy 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 it?Written by
Roman Polanski said working with John Cassavetes was not his "best experience. John was not very comfortable with the role". According to Mia Farrow, Cassavetes resented Polanski's highly structured method of shooting scenes, saying he preferred to improvise and a more freewheeling approach. Eventually the tensions grew between the two because of their conflicting approaches to film. In an interview featured on the Criterion Collection Polanski said Cassavetes was a "pain in the a____". See more »
At the funeral, one of the limousines is a 1968 though the movie is set in 1966. See more »
The film originally proved problematic for the UK censors and the rape scene was toned down by the BBFC for the cinema release with edits made to remove dialogue and shots of Rosemary's legs being bound. All later UK video releases featured the uncut print. See more »
Rosemary's Baby was originally proposed as a project to Alfred Hitchcock. He turned it down, and instead it fell to the up-and-coming Polish director Roman Polanski. It's hard to imagine what the master of suspense would have made out of this tale of devil worship and Catholic guilt, even though there is some Hitchockian psychology and mystery at work. As it was however, it proved to be right up the young Polanski's street, taking his career to new heights, and spawning a run of occult horrors in the late 60s and early 70s, of which this is still one of the few greats.
Polanski had already established himself as a director most comfortable with the confinement of interiors in films like Repulsion (1965). Here he draws us right into the claustrophobic feel of the upstairs apartment, often placing the camera in a room adjacent to the action, with the characters viewed through a doorway. The camera movement is mostly restricted to pans. It rarely tracks or dollys, as if it were trapped in a corner. Even in the exterior scenes the sky is often sandwiched or blotted out altogether between the buildings rising on either side. The actors often appear uncomfortably close to the camera, but not in individual close-up shots. Instead, they come in that close as they move around the set and the camera pans back and forth. Not only does this add to the cramped, awkward atmosphere, but this constantly changing distancing of actors within a single shots makes the audience feel as if they are actually standing there.
Rosemary's Baby may come across as very slow to some viewers. 140 minutes certainly is a long time in the horror genre. There do also appear to be a lot of unnecessary details in the dialogue we get to find out far more about Rosemary's background than is normal for a character in cinema. But for one thing, Polanski was not interested in making a shock-and-gore horror Rosemary's Baby is all about the eerie atmosphere, the tension and the mystery. He holds our attention by regularly dropping in clues that something sinister is afoot. Furthermore, all the detail and depth has its significance in the finished product like the references to Rosemary's Catholic upbringing or the background of the Castavets.
Polanski has never overused flashy techniques no fast editing, zooms or unusual angles that make for a very obvious directorial style. But there is always great complexity and meaning in the look of things the set design, lighting, costume and so on. One of my favourite touches is Mia Farrow's extremely short Vidal Sassoon hairdo that she has done halfway through the film. With her bony features and pale skin she more and more begins to resemble a skeleton, especially under the carefully placed lighting in the scene after the party when she realises the pain has gone. It's simple yet significant ideas like that which make Polanski one of the best directors of his era.
There's some great casting in this picture. Careful choice of character actors makes for some quirky supporting roles. Mia Farrow and John Cassavetes are perfect in the lead roles. The musical score that haunting opening melody, or the atonal violin squeaks all add to the atmosphere.
Rosemary's Baby is a real landmark in horror. It helped keep the genre alive by pushing the occult - something fairly taboo, and not fully explored in cinema since the days of silents - to the fore. Also the restrained atmospheric horror was doubtless influential, particularly on Kubrick when he came to make The Shining. It inspired a lot, but was rarely bettered.
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