“Rosemary’s Baby” is one of the best horror films ever made, and an entirely brilliant film. It is not strictly horror, as there is only one sequence which is truly scary in the horror movie sense. It is probably closer to being a thriller, as Polanski makes it a terrifying experience through suspense, and by not going for cheap scares. You could even describe the movie as a conspiracy thriller, as we believe Rosemary’s theory that everyone around her is out to get her (it is necessary for conspiracy plots to work that we believe the protagonist, Polanski makes it look easy). However, even though it brilliant crosses genre I will describe it as a horror film, given the subject matter, and because it is one of the scariest films I have ever seen.

The first act is a masterpiece of foreshadowing. The last tenant died in a coma. Each mention of children implies that the time when Rosemary will become pregnant is getting closer and closer. Something is strange in the apartment, not even the landlord knows why. Rosemary comments that all apartments have problems. Terry and Rosemary get scared over nothing, but soon Terry dies, and the people she was living with are angels. Her husband doesn’t get an acting job.

And look at the way Polanski handles these plot points. We don’t expect Terry to die, and we can’t understand why. We liked her, from her one brief scene with Rosemary. And when the landlord and Guy pull on the chest of drawers in front of the closet, there isn’t the tense music culminating in the jarring chord that so many slasher-types use. He wasn’t trying to scare us right off, just confuse us and let us know that something might be wrong. Rather than hit us over the head, he makes sure we know the information, and moves on. The screenplay reminds me of “La Vita e Bella.” Little details come back and haunt us, such as that Rosemary and Guy play scrabble in one scene. It turns up later, as important and useful.

The opening lullaby is beautiful. It conveys the idea that nothing is wrong, that all is peaceful. A mother singing a lullaby to her baby is such a comforting thing that, when it happens, it is inconceivable that anything could be amiss. When it is sung again at the end, it has an entirely different meaning. Rosemary is now comforting her baby, whatever it is.

[When I heard it, I wondered whether the singing at the end of Metallica’s “The Memory Remains” was meant to remind us of it. They do sound similar.]

The score as a whole is good. It isn’t the classic horror score like Bernard Herrman’s “Psycho” music, and does occasionally have the rising music that ends with a jarring chord, but it is still affecting and makes the movie scarier.

I have to write about the ending. Most of the time, I love an unhappy ending, because it is generally braver and true to the story. I loved the ending Polanski gave “Chinatown”, even if screenwriter Robert Towne hated it. It fits with the rest of the movie. In this case, I wanted there to be a happy ending, even if it wasn’t appropriate. I have to congratulate Polanski for making me care about Rosemary enough for me to want that, but being confident enough to challenge me.

Mia Farrow is an actress I hadn’t seen much of before this. I had seen “Hannah and Her Sisters”, and always regarded her as Woody Allen’s muse. Here, she gives an extremely moving performance that has you believing in her and fearing for her. She has an innocent face and a trusting nature, and we always want her to have the healthy baby. We identify with her, because we never know more than she does, and are confused when Guy doesn’t want to be with her for more than a few minutes, or can’t look her in the eye. Ruth Gordon is also terrific as Minnie. As a nosy woman who doesn’t realise she imposes, she may well be playing an extension of herself, but it is nonetheless convincing and entertaining.

“The Exorcist” bears some similarities to this film, but falls short in quality. Its first act is filled with foreshadowing, but is slow, and shows where “Baby” implies. An example: We never see the baby’s eyes, they are only commented on, and we only saw the devil’s eyes for a second long before we are reminded of them. In “The Exorcist”, the film repeatedly shows us the possessed Regan in all her glory (admittedly some time into the film).

If there is a fault with the film, it is near the ending. Information has been steadily given throughout the film, but the last five minutes have us discovering the entire truth. It also looks a little silly for the old people to be shouting “Hail Satan!”, even though they are Satanists. It simply felt wrong that a movie that so skillfully hid details suddenly let go at the end, and presented everything for the audience to see. Also, the brilliant screenplay falters: we have a needless stereotypical Japanese man taking photographs, and a new character introduced by name. Why? I guess Polanski is trying to say that evil is everywhere, but the point is lost. He takes the ideas very seriously, but then they looked almost like a joke. I’ll forgive him, because the rest of the movie is mind-blowing.


Recommended:
Yes

Video Occasion: Fit for Friday Evening
Suitability For Children: Not suitable for Children of any age