Released 1968 Directed by Roman Polanski Starring Mia Farrow Horror/Drama Genre Synopsis found here.
Myskool
Myskool's time at university can be divided into three disparate and distinct timeframes:
Timeframe 1: Wherein he smoked cigars immediately after watching free movies.
Timeframe 2: Wherein he realised he didn't have to actually attend classes to pass.
Timeframe 3: Wherein he proclaimed "all of them witches" loudly and with vitriol at any who vexed him.
But now, apparently firmly rooted in Timeframe 4 (wherein he speaks of himself in the third person), Myskool watches Rosemary's Baby for what feels to be the twentieth time. Eyes affixed to the screen as if it was his first.
That's right, I proclaim (abandoning my third person shenanigans), I am a fan of this film already. Rarely have I viewed a film so compelling and hypnotic that simultaneously makes me want to continue watching as much as it makes me want to suspiciously peek into my neighbour's lounge-rooms for traces of both Satanism and chalky 'mouse'.
The Unexpected
I can't take my mind off of the notion of being some 60's pensioner looking for an exciting trip into the romantic lives of a lovely, young New York City couple. Hearing Rosemary's Baby and seeing the lovely Mia Farrow plastered everywhere is whetting this adorable senior's appetite for a delightful experience. She finds a seat somewhere near the middle, but not the exact middle and is further excited by the opening credit sequence.
Everything, from the exciting landscape, to the typeface and the pink, would do little to quell her expectations. Alright, there is some ominous music, but not overtly so. Maybe this is just an assumption but I can't help but think that people wouldn't have known what they were in for at the time. This happens even today, I remember going to see Sweeny Todd when it came out and watched about 16 teenaged boys walk out when they realised it was a musical. Wow, what a tangent.
Myskool's time at university can be divided into three disparate and distinct timeframes:
Timeframe 1: Wherein he smoked cigars immediately after watching free movies.
Timeframe 2: Wherein he realised he didn't have to actually attend classes to pass.
Timeframe 3: Wherein he proclaimed "all of them witches" loudly and with vitriol at any who vexed him.
But now, apparently firmly rooted in Timeframe 4 (wherein he speaks of himself in the third person), Myskool watches Rosemary's Baby for what feels to be the twentieth time. Eyes affixed to the screen as if it was his first.
That's right, I proclaim (abandoning my third person shenanigans), I am a fan of this film already. Rarely have I viewed a film so compelling and hypnotic that simultaneously makes me want to continue watching as much as it makes me want to suspiciously peek into my neighbour's lounge-rooms for traces of both Satanism and chalky 'mouse'.
The Unexpected
I can't take my mind off of the notion of being some 60's pensioner looking for an exciting trip into the romantic lives of a lovely, young New York City couple. Hearing Rosemary's Baby and seeing the lovely Mia Farrow plastered everywhere is whetting this adorable senior's appetite for a delightful experience. She finds a seat somewhere near the middle, but not the exact middle and is further excited by the opening credit sequence.
Everything, from the exciting landscape, to the typeface and the pink, would do little to quell her expectations. Alright, there is some ominous music, but not overtly so. Maybe this is just an assumption but I can't help but think that people wouldn't have known what they were in for at the time. This happens even today, I remember going to see Sweeny Todd when it came out and watched about 16 teenaged boys walk out when they realised it was a musical. Wow, what a tangent.
The Music, Repetitious, Slightly Annoying and Utterly Effective
Just when something new and surprising occurs (and you're expected a change in theme to mark the moment) suddenly as if it never went away Für Elise plays. It's as if the budget allowed for the one track and between this and the opening song it all feels a bit otherworldly. This arrangement of Für Elise is different though, creepy and spindly, it reverberates long after each note ends but concurrently feels sharp and staccato... I know, I know, I'm the oxymoron king. But it is, ultimately, extremely effective in its indeterminate emotions. Für Elise could quite easily be anyone's theme, Rosemary's, Minnie's, Guy's or Hutch's. It could and does score, lots of the most important moments.
Because you are exposed so frequently to Für Elise whenever you get anything different it really stands out. The most dramatic sting occurs with the reveal of the Anagram from the 'All of them Witches' book and when this occurs it feels simply spine-tingling because the score earned that moment through restraint and pacing.
The Absurd
As a warning to those haven't seen this, let it be known, there are next to no sympathetic characters. I count three; Rosemary, Hutch and Terry (the lady who is living with the Castavets when Rosemary moves in). That's it, though I am open to corrections.
That being said I think this film deals with its lack of heavenly creatures with great aplomb, granting us with some magnificent humour. Though the laughs come more rarely than often and more Samuel Beckett than Jerry Lewis. Some people might be hard-pressed to find it but its there and look no further than the final scene for out and out wildness that actually works and is hilarious and terrifying at the same time.
I find this movie damn entertaining. Damned entertaining? Maybe, but I have never heard of much of a Christian backlash. Though I would definitely not be shocked.
It is a measured and methodical study of a truly terrifying thriller that can be taken in two ways; if you don't like the supernatural elements, you can choose to view the movie as if everything Rosemary encounters is meticulously controlled by a group of wrinkly chanters, you can write off other moments and coincidences. It is never overwhelmingly one-sided in how you interpret it. You only have to look at Donner's The Omen (some would argue, the little brother of this film) made some 10 years later to see how perfectly Polanski managed this tale. Don't get me wrong though I love The Omen but, for me, it isn't all for you, Damien. Actually, there is only one thing to say...
MeshellThat being said I think this film deals with its lack of heavenly creatures with great aplomb, granting us with some magnificent humour. Though the laughs come more rarely than often and more Samuel Beckett than Jerry Lewis. Some people might be hard-pressed to find it but its there and look no further than the final scene for out and out wildness that actually works and is hilarious and terrifying at the same time.
I find this movie damn entertaining. Damned entertaining? Maybe, but I have never heard of much of a Christian backlash. Though I would definitely not be shocked.
It is a measured and methodical study of a truly terrifying thriller that can be taken in two ways; if you don't like the supernatural elements, you can choose to view the movie as if everything Rosemary encounters is meticulously controlled by a group of wrinkly chanters, you can write off other moments and coincidences. It is never overwhelmingly one-sided in how you interpret it. You only have to look at Donner's The Omen (some would argue, the little brother of this film) made some 10 years later to see how perfectly Polanski managed this tale. Don't get me wrong though I love The Omen but, for me, it isn't all for you, Damien. Actually, there is only one thing to say...
"Hail Satan"
Feminism
Rosemary's Baby awoke within me the feminism I'd quashed down to my pinkie toe post-uni. Here's why:a.) Rosemary is drugged and raped by her husband, BUT IT'S OKAY.
b.) Rosemary - a grown woman - is repeatedly treated and chided like a child, BUT IT'S OKAY.
c.) Rosemary's body is used as the vehicle to bring Satan's sprog into this dimension, completely against her will - heck, even without her knowledge - all in the name of her husband's career, BUT IT'S OKAY.
I found Rosemary's Baby to be quite risqué for its era, and honestly can't blame Old Blue Eyes for demanding his bride, Mia Farrow, quit the set. After all, if nothing else, this film did demonstrate the extent of just how powerless objects young women were.
The European, the coincidences and the creep-factor
As one of the first mainstream films directed by a European, audiences used to the formula of big production companies would have been intoxicated by the strangeness of subject and technique, and abhorred by the altogether disturbing themes of the film. There are scenes so quintessentially 'European' film, I'm certain would have knocked Grandma's horn-rimmed glasses right off their perch in the late 60's. I mean, all that Catholocism and Paganism symbolism, rape, naked wrinklies.
Watching Rosemary's Baby for the first time as a modern audience, the events following the release of the film certainly increase the chill-factor; Polanski's near-premonition of a cult irreparably damaging a pregnant woman. Unlike Rosemary who had to live with the knowledge that she had produced Satan's child at the hand of a cult, Mrs. Polanski (Sharon Tate) and her healthy child in utero were murdered at the hand of a cult. Gulp.
Furthering the creepiness is the producer William Castle's proclamations of the film being 'cursed'. Shortly after release, Castle became gravely ill. And although it's a stretch - the apartment building used in exterior shots of Rosemary's Baby, The Dakota being the building John Lennon was murdered in front of certainly gives me the willies, particularly considering Lennon's connection with Farrow's sister, Prudence:
Is this a good place to mention Manson - the man behind the cult responsible for murdering Polanski's wife and unborn child - believed the song Helter Skelter from the Beatles' White Album to be his call to arms? (I promise I'm not a Beatles conspiracy theorist, I firmly believe McCartney wasn't replaced by a Welsh look-alike.)
What else would one expect of a film centred around Satan's baby being born in the sixth month of the 66th year? (6/66)
The set & costume design
I will admit to being a bit of a set and costume design geek. It is here in both its well chosen subtleties for forwardness character traits or events are truly clinched nicely. For example, Rosemary is seen in yellows and mustards when she is healthy and upbeat, red when major plot events take place, blue and maroon when she is unwell physically and (seemingly to others) mentally.
Then there's the hair. Oh, that Vidal Sassoon hair. Pre-pregnancy innocence chopped to a beautiful pixie. Perfect.
And finally, to end on a high-note: DAT SET. Have mercy.
