Rosemary’s Baby (1968)

Prospective renters Rosemary Woodhouse (Mia Farrow) and her husband, Guy (John Cassavetes,) are shown an old, elaborately-styled apartment that looks to be much too large for the two of them. They learn that the building’s past occupants have had quite a colorful history. Despite some reservations from close friends, the couple decide to move in.

Rosemary meets Terry (Angela Dorian,) a recovering drug addict, in the building’s laundry room and learns that she was taken in by the Castevets, a couple who live just across the hall from the Woodhouse apartment. Terry claims that she would have died on the streets homeless if it were not for them. Terry also shows Rosemary a good luck charm that the Castevets gave her.

Some time later as they are returning home from a night out, the Woodhouses discover that Terry has committed suicide by jumping from a window.  They meet their neighbors — the eclectic Castevets, Minnie (Ruth Gordon) and Roman (Sidney Blackmer) — who are a bit odd and nosy but seem harmless.

Guy, a stage actor, currently serves as an understudy for a Broadway production. He receives news that the lead actor has been stricken blind and the part is now his. To celebrate, he proclaims to Rosemary that he wants the couple to have a baby. Overjoyed, Rosemary plans a celebratory dinner and a special night on which to conceive the child. Minnie Castavet, brings the couple some chocolate mousse for dessert. That night, after complaining of a “chalky under-taste” in her dessert and falling ill, Rosemary has a disturbing dream. She awakens the next morning with scratches on her side. Soon after, she discovers that she is pregnant. I can say no more.

Directed and written for the screen by Roman Polanski and based on the novel by Ira Levin, Rosemary’s Baby has long been called one of the greatest horror films of all time. When a film — especially an older film — garners that kind of acclaim, it’s tough to review. Especially so when you’ve heard it mentioned in the same breath as innovative classics like The Exorcist and The Omen. Because so much hinges on the final reel, it’s difficult not to spoil the movie while discussing it. So, keep that in mind as you read on.

Rosemary’s Baby moves at a relatively slow pace. To some modern viewers, it might feel predictable because it has inspired so many clones since its release over 50 years ago. Yet, even as dated as some of it feels, the atmosphere it conjures remains palpable. The combination of Mia Farrow’s haunted performance, the excellence of the supporting cast, the immaculate direction, and even the rich locations and subtly unnerving set design make this a psychological horror masterpiece.

Movies filled with gore and jump scares can garner instant reactions, but their ability to shock fades over time.  Truly scary movies get under your skin and make you think about them long afterward. They’re the movies that pop into your head when you lie awake at night staring into the dark. Rosemary’s Baby resonates on so many different levels that I’ve been thinking about it non-stop for days after seeing it. It’s not just about scary neighbors or the fear of something being wrong with your child. It presents questions about women’s rights, religion, gaslighting, and trust. To me, Rosemary’s Baby proves itself quite worthy of the acclaim its received over the years. It’s more than just a horror movie.