Rosemary's Baby
January 19th 2009 23:50
Fresh from the box office success of Repulsion (1965) and the critical success of Cul-de-Sac, director Roman Polanski was lured to Hollywood by Paramount head Robert Evans with the promise of a doing a skiing movie. The snow flick turned out to be The Fearless Vampire Killers (1967), but Evans was more serious about a book he’d discovered, Rosemary’s Baby by Ira Levin.
Polanski read the book compulsively in his hotel room and the next morning signed on the dotted line. As it turned out his screenplay adaptation pulled whole sections directly from the novel, especially dialogue, colour schemes and costuming. The screenplay would earn him an Oscar nomination.
Rosemary’s Baby (1968) is a movie about Satanism, paranoia and betrayal. The movie begins like a “Doris Day” melodrama, but Polanski tightens the supernatural thriller noose with expert handling. By movie’s end everything has become diabolically clear, and Lucifer is a proud papa.
Rosemary (Mia Farrow) and her actor hubbie Guy (John Cassavetes) rent a huge Upper Westside Manhattan apartment in the Bramford block (actually the famous Dakota building). The landlord is a tad eccentric, but nothing compared to their neighbours, Minnie (Ruth Gordon) and Roman (Sidney Blackmer) Castevet.
Rosemary becomes pregnant, and Minnie and Roman are right there to make the next nine months as comfortable and pleasant as could be. Rosemary, however, quickly becomes tired of their incessant curiosity and on-hand application of medicinal remedies to ease her pregnancy. Guy, on the other hand, appears to become more and more distant.
Various incidents of a troubling nature begin to occur as Rosemary attempts to prize the Castevets out of her inner sanctum. Guy’s not doing much to help her, and her dreams are turning to nightmares. What is it that she’s being primed for, and what exactly is that dubious-smelling tannis root charm?!
Rosemary’s Baby has over the years become regarded as one of the most critically-acclaimed horror movies of its period, even of all time. It won a slue of awards in the years immediately following its release, including an Oscar for Ruth Gordon’s brilliant performance as prying, two-faced Minnie. It’s a powerful movie about trust and deception; the nightmarish reality that all that you thought that was good and true is darkly manipulative and evil.
I’m a huge fan of Roman Polanski. His gift for brilliant visual narrative; the clever manipulation of sound and image, his composition and editing sense are all superb. Rosemary’s Baby is a great example indeed. It’s not among my favourite of his movies (Cul-de-Sac has been one of my top ten favourite films for more than fifteen years), but I still regard it very highly.
I recently finished reading an excellent book of interviews with Polanski which date back to the mid-60s (most of which were originally published in French or Polish). In several of the interviews done during the 70s and 80s he refers to Rosemary’s Baby as one of the most accomplished movies he’s ever made. Although it’s a Hollywood production, executive producer Robert Evans gave Polanski a lot of creative control. Curiously the movie is produced by William Castle, a prolific and renowned B-movie filmmaker. Castle actually had the novel’s rights first, but Evans offered to green-light the production, as long as Castle didn’t direct.
Rosemary’s Baby delivers in spades (pun intended), from the beginnings where the audience is lulled into a false sense of security with moments of light humour, through to unusual sequences of adult sensuality and even dark eroticism (although I doubt very much it’s Mia Farrow’s breasts on display [my wife and I noticed the nipples changed from body double to body double!]). In fact I’d forgotten just how subversive the movie’s material actually is for a 1968 commercial horror movie. Yet the movie skillfully maneuvers around having to rely on shock effects. This is an atmospheric character study, the kind of stuff Polanski does so well.
There’ve been plenty of rumours and curious tidbits associated with Rosemary’s Baby over the years; supposedly The Church of Satan’s Anton LaVey provided technical advice and played the Devil himself during the movie’s rape sequence, but this was later proved false, Mia Farrow is actually eating raw liver in one scene, Tony Curtis provides the voice on the phone of the actor blinded by a witch’s curse (much to Mia Farrow’s genuine confusion), Polanski and Evans were desperate to cast Robert Redford as Guy, Polanski found Cassevetes' method-style of acting infuriating, apparently Polanski’s then wife, the late Sharon Tate, appears as one of Rosemary’s friends at a party, and Mia Farrow received her divorce papers from Frank Sinatra on-set.
Rather dubiously Hollywood supertrash producer/director Michael Bay’s company Platinum Dunes is looking at doing a remake and are currently scoping for screenwriters.
Here's the original trailer:
Polanski read the book compulsively in his hotel room and the next morning signed on the dotted line. As it turned out his screenplay adaptation pulled whole sections directly from the novel, especially dialogue, colour schemes and costuming. The screenplay would earn him an Oscar nomination.
Rosemary’s Baby (1968) is a movie about Satanism, paranoia and betrayal. The movie begins like a “Doris Day” melodrama, but Polanski tightens the supernatural thriller noose with expert handling. By movie’s end everything has become diabolically clear, and Lucifer is a proud papa.
Rosemary (Mia Farrow) and her actor hubbie Guy (John Cassavetes) rent a huge Upper Westside Manhattan apartment in the Bramford block (actually the famous Dakota building). The landlord is a tad eccentric, but nothing compared to their neighbours, Minnie (Ruth Gordon) and Roman (Sidney Blackmer) Castevet.
Rosemary becomes pregnant, and Minnie and Roman are right there to make the next nine months as comfortable and pleasant as could be. Rosemary, however, quickly becomes tired of their incessant curiosity and on-hand application of medicinal remedies to ease her pregnancy. Guy, on the other hand, appears to become more and more distant.
Various incidents of a troubling nature begin to occur as Rosemary attempts to prize the Castevets out of her inner sanctum. Guy’s not doing much to help her, and her dreams are turning to nightmares. What is it that she’s being primed for, and what exactly is that dubious-smelling tannis root charm?!
Rosemary’s Baby has over the years become regarded as one of the most critically-acclaimed horror movies of its period, even of all time. It won a slue of awards in the years immediately following its release, including an Oscar for Ruth Gordon’s brilliant performance as prying, two-faced Minnie. It’s a powerful movie about trust and deception; the nightmarish reality that all that you thought that was good and true is darkly manipulative and evil.
I’m a huge fan of Roman Polanski. His gift for brilliant visual narrative; the clever manipulation of sound and image, his composition and editing sense are all superb. Rosemary’s Baby is a great example indeed. It’s not among my favourite of his movies (Cul-de-Sac has been one of my top ten favourite films for more than fifteen years), but I still regard it very highly.
I recently finished reading an excellent book of interviews with Polanski which date back to the mid-60s (most of which were originally published in French or Polish). In several of the interviews done during the 70s and 80s he refers to Rosemary’s Baby as one of the most accomplished movies he’s ever made. Although it’s a Hollywood production, executive producer Robert Evans gave Polanski a lot of creative control. Curiously the movie is produced by William Castle, a prolific and renowned B-movie filmmaker. Castle actually had the novel’s rights first, but Evans offered to green-light the production, as long as Castle didn’t direct.
Rosemary’s Baby delivers in spades (pun intended), from the beginnings where the audience is lulled into a false sense of security with moments of light humour, through to unusual sequences of adult sensuality and even dark eroticism (although I doubt very much it’s Mia Farrow’s breasts on display [my wife and I noticed the nipples changed from body double to body double!]). In fact I’d forgotten just how subversive the movie’s material actually is for a 1968 commercial horror movie. Yet the movie skillfully maneuvers around having to rely on shock effects. This is an atmospheric character study, the kind of stuff Polanski does so well.
There’ve been plenty of rumours and curious tidbits associated with Rosemary’s Baby over the years; supposedly The Church of Satan’s Anton LaVey provided technical advice and played the Devil himself during the movie’s rape sequence, but this was later proved false, Mia Farrow is actually eating raw liver in one scene, Tony Curtis provides the voice on the phone of the actor blinded by a witch’s curse (much to Mia Farrow’s genuine confusion), Polanski and Evans were desperate to cast Robert Redford as Guy, Polanski found Cassevetes' method-style of acting infuriating, apparently Polanski’s then wife, the late Sharon Tate, appears as one of Rosemary’s friends at a party, and Mia Farrow received her divorce papers from Frank Sinatra on-set.
Rather dubiously Hollywood supertrash producer/director Michael Bay’s company Platinum Dunes is looking at doing a remake and are currently scoping for screenwriters.
Here's the original trailer:
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Comment by James Rickard
unlucky_ fishermen.com
Angling Fish
Check this out...
Comment by Damo
However it is a shame that Polanski was evicted from Hollywood. The place has gone down hill since.
Thanks for mentioning 'Fearless Vampire Killers.' It was a blast.
Excellent review.
Comment by Natalie 2
My Life My Muse
Beta Girl Blog
There really aren't films like this anymore, are there? The atmosphere of this film has no comparable modern counterpart, in my view.
For anyone to attempt a sequel would be a crime!
Comment by Natalie 2
My Life My Muse
Beta Girl Blog
Comment by Jason King
Sydney Table
Salty Popcorn
Total Randomness
Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Comment by Bryn
Horrorphile
Damo, the sequel was called Look What's Happened to Rosemary's Baby which was made for television in 1976. I haven't seen it. And don't plan to either.
Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Comment by Bryn
Horrorphile
Comment by Calum Wilson Austin
The Big Kahuna Burger
Bloody Jaw
It's a glorified synopsis.
It's a damn wikipedia article.
Comment by Bryn
Horrorphile