Rosemary’s Baby (1968)
★★★★ / ★★★★
Rosemary (Mia Farrow) and Guy (John Cassavetes) decided to move into a New York City apartment with a strange past involving women who ate children. Rosemary was enamored with the decor and Guy thought the area was a premiere place for his career as a budding actor. They lived next to Minnie (Ruth Gordon) and Roman (Sidney Blackmer), an elderly couple with whom Rosemary and Guy quickly grew fond of because they were so friendly and accommodating. But the couple’s happy existence was shattered when Rosemary had a dream of being raped by Satan and learned some time later that she was pregnant. Based on a novel by Ira Levin and directed by Roman Polanski, “Rosemary’s Baby” was a masterful understated horror film with a possibility of witchcraft at its center. It worked in two ways: Either Rosemary’s suspicion that the apartment complex was full of devil worshippers was indeed correct or it was simply that Rosemary didn’t know how to handle her pregnancy (after all, it was her first child) so her mind succumbed to paranoia over a period of nine months. Its brilliance was in the fact that we didn’t know which possibility was true until the final few scenes. When we finally found out, it almost didn’t matter because Rosemary’s journey felt complete. The picture capitalized on expertly rendered scenes of increasing creepiness. It ranged from Rosemary hearing weird chanting from behind the walls of their bedroom, her husband’s increasingly suspicious behavior, to our protagonist actually eating raw meat without her conscious mind’s control. I loved the scenes when the very pregnant Rosemary ran around New York City in broad daylight yet so much tension and horror surrounded her. With most horror pictures being set at night, especially their climax, Polanski proved that being surrounded by people in the middle of the day could be as terrifying as long as the elements were perfectly aligned. When the main character was in a phone booth waiting for an important call, we felt right there with her, wishing the phone would ring as soon as possible. We cared for the main character because Farrow instilled a certain fragility in Rosemary, not just because she was carrying a child, but because it felt like everyone wanted to control her. This was clearly shown when Minnie would imposingly wait for Rosemary to drink a special brew she made using plants from her herbal garden. We felt, like Rosemary, that there was something seriously wrong especially when the obstetrician, Dr. Sapirstein (Ralph Bellamy), wouldn’t prescribe her any pills after months of feeling pain in her stomach. “Rosemary’s Baby” is a thinking person’s horror film and the rewards are found in the way we interpret the images we see and sounds we hear. Imagine looking at the portrait of Leonardo da Vinci’s Mona Lisa. You stare long enough and you get the unsettling feeling she might be staring back.