Wednesday, October 28, 2009

31 Days of Halloween: Rosemary's Baby

A landmark film of the horror genre, Rosemary's Baby (1968) also marked Roman Polanski's U.S directorial debut. The film, a runaway hit on release, was the prototype that inspired the onslaught of big-budget "A" horror films that followed: The Exorcist, The Omen, etc.

In the tradition of Hitchcock, Polanski achieves his effects with little overt violence and gore but much finesse. Like Hitchcock, Polanski masterfully commandeers the emotions of his audience. Drawn into Rosemary's point of view and her growing alarm, the viewer becomes increasingly aware that something is very wrong but, like Rosemary, doesn't grasp exactly what has happened until the final scenes.

This suspense is propelled by a deliberate ambiguity that implies Rosemary's fright may have a rational explanation (women do have difficult pregnancies), that her fears may be paranoia-based (though related to an infamous Satanist, her neighbors could just be a pair of elderly oddballs). On the other hand, the storyline and action are such that the viewer has difficulty simply writing off Rosemary's anguish to imagination and coincidence. Equally ambiguous throughout much of the film are the majority of the characters. While Rosemary remains constant as the naive young wife, those around her are more enigmatic - from her ambitious actor husband and her intrusive neighbors to her wise and kindly old doctor. Cleverly, several of the most villainous characters are also the most comically eccentric.

The subtle intermingling of suspense with irony and humor is one of the film's distinctive qualities. A few unforgettable scenes: Rosemary (Mia Farrow) and her husband Guy (John Cassavetes) are having dinner with her friend Hutch (Maurice Evans) who describes the Bramford building's ghoulish history (including a pair of sisters who devoured children) as he carves lamb at the dinner table...a graphic and shocking suicide scene in front of the Bramford simultaneously introduces the Castevets: Minnie (Ruth Gordon), dressed and made up in the manner of an over-the-top Christmas tree, and Roman (Sidney Blackmer), clad as though vaudeville was still alive and well...and finally, when Rosemary sees her baby for the first time she, uncomprehending, shrieks, "What have you done to its eyes?" Roman Castevet adroitly responds, "He has his father's eyes"...

Another of the film's delights is its painstaking recreation of the time in which it was set, late 1965 to mid-1966. Costume designer Anthea Sylbert precisely captured that timeframe's contemporary look with Rosemary's short shift dresses (some with peter pan collars), a long and luxurious plaid skirt, red chiffon lounging pajamas. Rosemary has her blunt-cut pageboy snipped short by Vidal Sassoon, she relaxes at home reading Sammy Davis, Jr.'s book Yes, I Can, the Pope's visit to New York is glimpsed on TV, and Time Magazine's famous "Is God Dead?" cover is shown on a waiting room table.

The hand-picked supporting cast includes especially solid performances by Patsy Kelly and Ralph Bellamy. Uncredited but in an acknowledged key role is The Dakota, a famed gothic confection at 72nd and Central Park West. The Dakota starred as the Bramford, and exteriors were shot there. Because filming was not allowed inside, its interiors were recreated at Paramount. Significantly, the film begins and ends with aerial views of the building.

Roman Polanski deftly combined the trademark elements of his style (atmospheric location, psychological distress, irony, dark humor, an endangered and isolated protagonist), his penchant for meticulous craftsmanship and the high gloss afforded by Hollywood to create a masterpiece that has developed a legend all its own over the years...

11 comments:

  1. Superb film, and an absolutely outstanding analysis, Eve!

    There's a great story from the cinematographer, in which Polanski was setting up the camera to film Ruth Gordon in a bedroom while she was on the phone (filmed through a doorway). The DP kept trying to move the camera so you could actually see Gordon, but Polanski insisted that it be kept as it was, with Gordon partially covered by the door frame. The DP didn't understand until the film's premiere, when he sat in the back and saw a theatre full of people leaning to the right during that shot, as if that could get a better view of the actress. Just one example of Polanski's skill, and you provided many more in your write-up.

    In light of recent events, I'm so happy there's another Polanski fan out there. Your post proves that some of those fans, unlike me, have intelligence and the ability to analyze a complex movie. Thanks, Eve!

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  2. Eve , great post on Romans's first American film. Sark, Love the story about the "doorway shot. Polanski's films always work on more than one level at the same time .

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  3. I appreciate your comments, gentlemen...& Sark, thx for a wonderful on-the-set story. Ira Levin's book almost reads like a screenplay, but Polanski's direction adds dimension and depth that the book doesn't have. I've often thought the original film version of "The Stepford Wives" (also by Levin) would've been much better had Polanski directed - though I doubt he would've gone near that kind of project by then. His reputation as a filmmaker has been permanently established with "Rosemary's Baby" and "Chinatown"...I think "The Pianist" will end up on that shortlist. I've admired many of his films, including "The Tenant." He's an incredible talent. Thanks again for your comments...and Sark, don't underestimate your own intelligence, you have a wonderful understanding of film. It was your xlnt post on "Fearless Vampire Killers" that prompted me to record it.

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  4. Sorry folks...I just didn't find this film spooky at all. To me it was a great big snore. I've had VISA bills that were more frightening. This film didn't do anything for me...except to avoid it at all costs

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  5. Eve, your analysis of ROSEMARY'S BABY is awesome! I'v only seen the film once and it didn't register strongly with me (unlike other Polanski works like FEARLESS VAMPIRE KILLERS and the unjustly-maligned FRANTIC). But your review has me thinking I need to re-evaluate it, to appreciate The Dakota and key in on the ironic humor. Hmmm...I think I've given you the ultimate compliment, Eve: You make me want to see the movie again! (Nice insight about the doorway shot, Sark.)

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  6. Thanks, Rick, that IS the ultimate compliment. I hope you will give the film another chance. FYI, it was only on later viewings that I started really picking up on the humor and once I noticed, there seemed to be touches everywhere - one of Minnie Castavet's final prattle sprees(just after Rosemary realizes who the baby's father is) is a hoot. This is definitely not your typical "scary movie"...

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  7. I saw Rosemary's Baby as a young teenager when it first came out. Perhaps it did help to be living in the time it was actually made. The fears of a changing world (God Is Dead), Rosemary's guilt over not practicing her Catholic faith (shown humorously in a dream sequence in which the Pope appears), the frightening rise in the divorce rate which is dramatized subtley by the husband's withdrawing from his wife -- all of these were very timely and lent authenticity to Rosemary's fear. LadyEve, this was a really wonderful review. I also am paying you the ultimate compliment and pulling this one out for another view. Austin, I laughed til my throat was sore at your comment about having Visa bills that were more frightening. I don't agree, but that was funny!

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  8. Lady Eve, Wonderful review.Rosemary's Baby is one of the most impressive horror film's I've ever seen.The strange dream sequences, cinematography and the subject matter take you on one scary ride. Mia Farrow is amazing in this film. No blood, no violence in this movie but focuses on the acting to scare you.

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  9. Becky, you make excellent points about the era and thank you so much for the ultimate compliment. Dawn, thanks, I'm glad you liked it and thanks also for great observations. Thank you to everyone who appreciated my post, I slaved over this one and in the end felt I'd barely scratched the surface...so it's especially rewarding to know that those I respect as much as I do each of you found it worthwhile. Thanks again, Eve

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  10. Eve, this is truly a frightening movie to me. It is scary not knowing who one can trust. When Rosemary's hair is butchered she looks emaciated, not like a healthy young woman in the midst of a happy pregnancy. It has been decades since I have seen "Rosemary's Baby" but I still remember the increasing chill I felt watching it. Your write-up was superb and captured the story and setting expertly.

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  11. Toto - very good point about the fear involved in not knowing who you can trust. In Rosemary's case, everyone she could trust either dies or is systematically eliminated from her life by her husband...& it took her 9 mos. to realize she couldn't trust him...this "not knowing" is one of the key themes - she unwittingly becomes isolated and completely vulnerable...thanks, too, by the way...

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