Rosemary’s Baby is a 1968 movie directed by Roman Polanski.
WHAT HAPPENS?
A young couple move into a new apartment and befriend their older neighbors, the Castevet’s. Rosemary becomes pregnant and grows suspicious of those around her – eventually realizing she and her unborn baby are the targets of an occult group.
ONE LINE REVIEW
Rosemary’s Baby is a well-crafted, exceptional piece of horror.
THE ACTORS
Mia Farrow plays the demure title character and gives the movie its moral core. Her most memorable moments come as she physically and emotionally loses touch with her body. It’s a delicate, but profound performance – highlighted by the ritual dream sequences in which she becomes an unwitting participant in the Castevet’s occult practices. Farrow immerses herself in the physical traits of the role – her vibrant Rosemary grows ashen and sickly as the movie progresses towards its shocking end.
Ruth Gordon and Sidney Blackmer are phenomenal as Minnie and Roman Castevet. Gordon is a scene stealer as the whirlwind, aloof Minnie. Her character dominates the screen – fluidly manipulating Rosemary throughout her pregnancy. Blackmer plays Roman with a genteel varnish and feigned confusion. It’s a unique performance that presents his character as both mysterious and innocuous.
THE DIRECTOR
Polanski pulls off the difficult task of patiently presenting a layered narrative while keeping his audience’s attention intact. A variety of clues are scattered throughout the narrative – all of which lead to a satisfying payoff. Polanski expertly builds tension as the movie progresses – the audience can tap into Rosemary’s trepidation, although its source isn’t tangible. Visually, Polanski creates surreal, dreamy landscapes in the various ritual sequences – scenes that brilliantly clash with Rosemary’s reality.
THE BEST – The Phone Booth Scene
This is Farrow’s most impressive scene and the moment in which Polanski effectively captures the movie’s tone. Farrow perfectly conveys Rosemary’s desperation after she realizes that Dr. Sapirstein is part of the occult. She reaches her breaking point, declaring to her unborn baby: “I’ll kill them before I let them touch you!”
Yet, the moment is somehow escalated when a stranger lurks outside the phone booth. In Rosemary’s frenzied state, this could be a harmless stranger wanting to make a call or another part of the conspiracy enveloping her.
THE BEST Part 2 – The Ticking Clock
There are a few motifs Polanski uses to create his atmosphere. Throughout the movie, there is a near constant ticking – a symbol of quiet anxiety.
THE BEST Part 3 – All the Little Details
I’m always so impressed when little details contribute towards a story’s climax. Without giving away more of the plot, Polanski layers his movie with a unique necklace, body scratches, pierced ears, a gizzard, discussion about the Pope, a famous Time Magazine cover and more.
THE BEST Part 4 – Everything We Didn’t See
There’s something to be said for directors who use restraint – and give their audience the respect to use their own imaginations.
THE BEST Part 5 – Elisha Cook Jr.
I love seeing quirky character actors pop up in unexpected places. Cook turned in a standout performance in Stanley Kubrick’s The Killing. Cook’s role here isn’t a huge one but it’s still a thrill to see him.
THE WORST – Cassavetes’ Meta Acting
Cassavetes feels like an odd choice to play Guy, Rosemary’s husband. Even more peculiar is that Guy is a struggling actor, who receives a huge break thanks to Roman. I’m not sure of the process but it feels like Cassavetes plays Guy much in the way an actor would portray a worse actor. Cassavetes’ Guy lumbers around like an ape and practices his lines like a failing theater student.
It’s either a wonderfully meta performance by a terrific actor/director or Cassavetes was strangely miscast.
FOX FORCE FIVE RATING – 4.5/5
Rosemary’s Baby could be the greatest horror movie ever made.
