Rosemary's Baby (1968)

Director:

Roman Polanski

Writers:

Ira Levin (novel)
Roman Polanski (screenplay)

Release Date:

12 June 1968 (USA)

Genre:

Horror | Mystery | Thriller

Tagline:

Pray for Rosemary's Baby

Plot:

A young couple move into a new 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 controlling her life.

Plot Keywords:

Apartment | Neighbor | Dream | Paranoia | Baby

Awards:

Won Oscar. Another 11 wins & 9 nominations

US TV Schedule:

Fri. Nov. 13

7:15 AM

MAX

Cast

Mia Farrow	...	Rosemary Woodhouse
John Cassavetes	...	Guy Woodhouse
Ruth Gordon	...	Minnie Castevet
Sidney Blackmer	...	Roman Castevet
Maurice Evans	...	Edward 'Hutch' Hutchins
Ralph Bellamy	...	Dr. Abraham Sapirstein
Victoria Vetri	...	Terry Gionoffrio (as Angela Dorian)
Patsy Kelly	...	Laura-Louise McBirney
Elisha Cook Jr.	...	Mr. Nicklas (as Elisha Cook)
Emmaline Henry	...	Elise Dunstan
Charles Grodin	...	Dr. C.C. Hill
Hanna Landy	...	Grace Cardiff
Phil Leeds	...	Dr. Shand (as Philip Leeds)
D'Urville Martin	...	Diego
Hope Summers	...	Mrs. Gilmore

Runtime:

136 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Spain:18 (DVD rating) | Portugal:M/16 | Canada:18+ (Quebec) | South Korea:18 | Brazil:14 | India:A | Argentina:18 | Australia:M | Canada:18A | Finland:K-16 | Ireland:18 | Netherlands:16 | Norway:15 (re-rating) | Norway:16 (original rating) | Singapore:M18 | Sweden:15 | UK:18 (video rating) | UK:X (original rating) (cut) | USA:Approved | USA:R (re-rating) | West Germany:16

Filming Locations:

Dakota Hotel - 1 West 72nd St. at Central Park West, Manhattan, New York City, New York, USA

Company:

William Castle Productions

Trivia:

The book that Rosemary reads in the cab is the Book of Ceremonial Magic, by A.E. Waite, Chapter IV: The Rituals Of Black Magic: Section 4: The Grimoire of Honorius. The italic section has been entered into the natural flow of the text; the previous paragraph has been shortened to make space for it.

Goofs:

Continuity: At Rosemary's party, Guy steps from behind the bartender to accept a drink in a closeup shot. In the following mid-range shot, from a different angle, he is shown in the background stepping up again to take a glass from the bartender.

Quotes:

[First lines]
Mr. Nicklas: Are you a doctor?
Rosemary Woodhouse: He is an actor.
Mr. Nicklas: Oh! An actor! We're very popular with actors! Have I seen you in anything?
Guy Woodhouse: Well, I did "Hamlet" a while back, didn't I, Liz? Then we did "The Sandpiper"...
Rosemary Woodhouse: He's joking. He was in "Luther" and "Nobody Loves an Albatross" and a lot of TV plays and commercials.
Mr. Nicklas: That's where the money is, right? The commercials.
Guy Woodhouse: And the artistic thrill too!

Movie Connections:

References "Open End: (1974-06-22)" (1974)

Soundtrack:

Lullaby

Reassuring to fine it's every bit as good as its staunchest champions would have you believe

Why aren't the horror directors of today as careful with their scripts as Polanski was? Not that this is really horror. Horror as we know it came into being with the slasher flicks of the late 1970s and early 1980s; "Rosemary's Baby" is rather the kind of thing that the term "dark fantasy" was coined to describe, by people of taste who noticed that the word "horror" promised audiences something distinctly unpleasant and nasty.

The film's construction is marvellous. Things start slow - one beat, so to speak, to a bar - and gradually pick up speed so that by the end we are nervously tapping out semiquavers with our feet. Polanski also understands the gentle art of hint-dropping. Many events are filed away as tiny puzzles to be solved later, and they ARE solved later; others we don't attach any particular significance to at the time Polanski invites us to re-interpret in retrospect, AND chooses the right moment to let us do so. And then, at the end, AFTER we've worked everything out, he presents us with a surprise - a delightful, gratuitous twist which nothing had prepared us for, which we couldn't have guessed, yet which doesn't cancel out the story as we'd understood it. (Alas, many people know what this surprise is in advance. I, for one. Yet this foreknowledge did nothing to spoil my enjoyment: a sure sign of superb construction.)

All in all, a film that tempts you to rank it with the best ever made - which is more, but not much more, than it deserves - simply because it's perfect. Everything went right. Rosemary is a wonderfully sympathetic heroine, powerless without being passive, largely ignorant of what's going on around her without being at all stupid, and Mia Farrow makes you care deeply about her. The cinematography is pellucid; the art direction is subtly right; there's also a fine, odd yet tuneful, musical score. I can't believe I waited so long to see this.