A young couple moves in to an 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 to control her life.
Two siblings and three of their friends en route to visit their grandfather's grave in Texas end up falling victim to a family of cannibalistic psychopaths And must survive the terrors of leatherface and his family.
Desirous of starting a family, the young Catholic housewife, Rosemary Woodhouse, and her struggling actor husband, Guy, move into the Bramford: New York's iconic building which brims with unpleasant stories of obscure dwellers and ghastly occurrences. Before long, the young couple is befriended by their somehow eccentric next-door neighbours, Roman and Minnie Castevet, and, shortly after, Rosemary gets pregnant. However, little by little--as the inexperienced mother becomes systematically cut off from her circle and friends--alarming hints of a sinister and well-planned conspiracy begin to emerge, enfolding Rosemary in a shroud of suspicion and mental agony. In the end, why is everyone so conveniently eager to help; furthermore, why is Guy allowing it?Written by
Roman Polanski said working with John Cassavetes was not his "best experience. John was not very comfortable with the role". According to Mia Farrow, Cassavetes resented Polanski's highly structured method of shooting scenes, saying he preferred to improvise and a more freewheeling approach. Eventually the tensions grew between the two because of their conflicting approaches to film. In an interview featured on the Criterion Collection Polanski said Cassavetes was a "pain in the a____". See more »
Position of other tiles surrounding Rosemary's anagrams between shots. See more »
The film originally proved problematic for the UK censors and the rape scene was toned down by the BBFC for the cinema release with edits made to remove dialogue and shots of Rosemary's legs being bound. All later UK video releases featured the uncut print. See more »
When people talk about perfect films I don't actually know what they mean. Perfect for whom? Perfect compared to what? I think that perfection is in the brain and heart of the beholder. "Rosemary's baby" is a perfect film to me. Scary in a way that makes you breathless. You're thinking and feeling throughout the film. One of the many sides of Polanski's genius is to suggest. And what he suggest is so monstrous that we don't want to believe it, but we do. The characters are so perfectly drawn that there is no cheating involved. John Cassavettes's superb study in selfishness and egomaniacal frustration is so real that comes to no surprise that he could do what he does to advance his career, but we are surprised, we're horrified. The spectacular Ruth Gordon and Sidney Blackmer are not Deborah Kerr and David Niven, are they? So that they turn out to be what they turn out to be is totally believable, but Polanski presents it in such a light of normality that you can't believe it. Mia Farrow's predicament is as classic as the boy who cried wolf tale and yet, as told by Roman Polanski in the wonderful face of Mia Farrow, is as if we're hearing it, seeing it and living it for the first time. Every silence, every voice in the distance, every door opening. Your heart is always in your throat. There is something there that accelerates a constant state of dread. Very few movies have been able to take me to that place, most of them by Roman Polanski, what about "The Tenant" or "Repulsion"? Other movies that come to mind: David Lynch's "Eraserhead" and Martin Donovan's "Apartment Zero" But "Rosemary's baby" stands alone as a terrifying masterpiece.
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