Review of Rosemary's Baby (1968) by James S — 19 Apr 2012

Just because you're paranoid, doesn't mean they aren't scheming to impregnate you with the seed of the devil.

Roman Polanski's Rosemary's Baby is a very well made, slow burning film that gradually fills it's central character, Mia Farrow's Rosemary, and it's audience with an uneasy sense of dread. Farrow and her New York actor husband, John Cassavetes as Guy, move into a spectacular apartment in NYC. Suspicion should already be aroused by the wardrobe blocking a cupboard door and the tales of nasty goings on in the building which their friend relates to them. Naturally, the happy couple brush all this off as only people moving into a potential hell hole can do.

Following the death of a young woman staying with their elderly neighbours, the Castavets, Guy and Rosemary become good acquaintances with the eccentric old couple. Rosemary finds herself pregnant, much to the delight of everyone around her. What follows is a story of acute paranoia as Rosemary fears that her unborn baby may be in danger from those around her in a world where she can increasingly trust no one.

The film winds its coil very tight and without traditional horror leanings. Through the use of situation music and an incredible performance by Mia Farrow, Polanski builds an uneasy feeling of isolation that Rosemary feels from those she is living with. The sense of doubting yourself while everyone around you tells you that you're fine is expertly conveyed.

While the film could be accused of being somewhat predictable within it's story (it is fairly obvious who is up to no good), the film still manages to make its twists seem fresh and surprising. It is as though the audience can feel Rosemary's surprise as she stumbles across just exactly what is happening to her. It's another testament to Farrow and Polanski for assembling such a strong lead performance.

There are one or two slight niggles with the film. The young woman who is found dead towards the beginning of the movie never has her demise properly addressed. You can fill in the blanks but it'd have been nice to be sure. The final scene is overly melodramatic and ends the film on a rather farcical note which is a shame as it undoes some of the terror the film has spent two hours building towards.

Nevertheless, this is a compelling film which draws it's viewer into an empathic relationship with it's main character. It is unnerving and incredibly sinister, and as paranoid thrillers go, hard to beat.