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IMDbPro

Rosemary's Baby - Nastro rosso a New York

Titolo originale: Rosemary's Baby
  • 1968
  • VM14
  • 2h 17min
VALUTAZIONE IMDb
8,0/10
250.894
LA TUA VALUTAZIONE
POPOLARITÀ
1602
60
Mia Farrow in Rosemary's Baby - Nastro rosso a New York (1968)
Three Reasons Criterion Trailer for Rosemary's Baby
Riproduci trailer1:38
4 video
99+ foto
Dramma psicologicoHorror psicologicoHorror soprannaturaleDrammaOrrore

Una giovane coppia si trasferisce in un appartamento e si ritrova circondata da strani vicini e avvenimenti. Quando la moglie rimane misteriosamente incinta, viene assalita dalla paranoia su... Leggi tuttoUna giovane coppia si trasferisce in un appartamento e si ritrova circondata da strani vicini e avvenimenti. Quando la moglie rimane misteriosamente incinta, viene assalita dalla paranoia sulla sicurezza del bambino che dovrà dare alla luce.Una giovane coppia si trasferisce in un appartamento e si ritrova circondata da strani vicini e avvenimenti. Quando la moglie rimane misteriosamente incinta, viene assalita dalla paranoia sulla sicurezza del bambino che dovrà dare alla luce.

  • Regia
    • Roman Polanski
  • Sceneggiatura
    • Ira Levin
    • Roman Polanski
  • Star
    • Mia Farrow
    • John Cassavetes
    • Ruth Gordon
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    8,0/10
    250.894
    LA TUA VALUTAZIONE
    POPOLARITÀ
    1602
    60
    • Regia
      • Roman Polanski
    • Sceneggiatura
      • Ira Levin
      • Roman Polanski
    • Star
      • Mia Farrow
      • John Cassavetes
      • Ruth Gordon
    • 722Recensioni degli utenti
    • 301Recensioni della critica
    • 96Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Vincitore di 1 Oscar
      • 13 vittorie e 13 candidature totali

    Video4

    Rosemary's Baby
    Trailer 1:38
    Rosemary's Baby
    Rosemary's Baby: Party Planning
    Clip 2:19
    Rosemary's Baby: Party Planning
    Rosemary's Baby: Party Planning
    Clip 2:19
    Rosemary's Baby: Party Planning
    Rosemary's Baby: Scrabble
    Clip 2:31
    Rosemary's Baby: Scrabble
    "Servant" Blends Cooking Shows & a Rubber Baby to Perfectly Ruin Thanksgiving
    Interview 3:37
    "Servant" Blends Cooking Shows & a Rubber Baby to Perfectly Ruin Thanksgiving

    Foto283

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
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    + 277
    Visualizza poster

    Interpreti principali92

    Modifica
    Mia Farrow
    Mia Farrow
    • Rosemary Woodhouse
    John Cassavetes
    John Cassavetes
    • Guy Woodhouse
    Ruth Gordon
    Ruth Gordon
    • Minnie Castevet
    Sidney Blackmer
    Sidney Blackmer
    • Roman Castevet
    Maurice Evans
    Maurice Evans
    • Hutch
    Ralph Bellamy
    Ralph Bellamy
    • Dr. Sapirstein
    Victoria Vetri
    Victoria Vetri
    • Terry
    • (as Angela Dorian)
    Patsy Kelly
    Patsy Kelly
    • Laura-Louise
    Elisha Cook Jr.
    Elisha Cook Jr.
    • Mr. Nicklas
    • (as Elisha Cook)
    Emmaline Henry
    Emmaline Henry
    • Elise Dunstan
    Charles Grodin
    Charles Grodin
    • Dr. Hill
    Hanna Landy
    Hanna Landy
    • Grace Cardiff
    Phil Leeds
    Phil Leeds
    • Dr. Shand
    • (as Philip Leeds)
    D'Urville Martin
    D'Urville Martin
    • Diego
    Hope Summers
    Hope Summers
    • Mrs. Gilmore
    Marianne Gordon
    Marianne Gordon
    • Rosemary's Girl Friend
    Wende Wagner
    Wende Wagner
    • Rosemary's Girl Friend
    • (as Wendy Wagner)
    Toby Adler
    Toby Adler
    • Lady on Yacht
    • (non citato nei titoli originali)
    • Regia
      • Roman Polanski
    • Sceneggiatura
      • Ira Levin
      • Roman Polanski
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti722

    8,0250.8K
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    Recensioni in evidenza

    10haristas

    A Landmark Horror film

    "Rosemary's Baby" is one of the best horror films ever made. This isn't because it's going to scare the pants off you with a series of sensational jolts. This isn't the shallow, gimmicky kind of horror movie we mostly get these days, and it isn't the traditional old-fashioned horror film of an earlier era. This is a movie that came out during a period of transition in Hollywood. The old production codes were breaking down and films could suddenly be more true to life in the way they showed how people really lived, acted and talked. 1968s "Rosemary's Baby" is a more sophisticated, less elegant thriller of the kind that Alfred Hitchcock patented, but it displays much more class and intelligence than the horror movies that would come out in its wake. Popular '70s films such as "The Exorcist" and "The Omen" are the prodigy of "Rosemary's Baby," but offer far less nuance and much greater vulgarity. What we get here is a more naturalistic depiction of modern life, but without the crassness that would soon explode into American cinema.

    Most of the credit for what makes "Rosemary's Baby" such a successful film goes to Roman Polanski. Polanski is a master at conveying to an audience not just a sense of the uncanny but a vivid depiction of it. His earlier films like "Knife in the Water," "Repulsion" and "Dance of the Vampires," display the talents that would come to such a controlled mastery in "Rosemary's Baby."

    Polanski very faithfully adapts Ira Levin's novel to the screen so that the viewer is, just as the reader was, free to interpret the eerie events of the story as either reality or a depiction of an isolated woman's decent into madness. At the same time the picture can be taken as a black joke on the human male's fears of the changes a woman goes through during pregnancy, both physically and emotionally. But Polanski seems most interested in presenting a normal world, in this case Manhattan in the mid 1960s, and then through subtle cinematic techniques get an audience to actually believe that the hysterical, fantastic ravings of the heroine could be true. It is this tour de force exercise in suspension of disbelief that makes the film a classic. The horror films that have come since have had to ratchet up the shock effects in order to thrill more desensitized audiences, but this deliberately paced film reminds us of how much better it is to leave things to the imagination of the viewer. That is where films really come alive and remain so.

    The Paramount DVD presents an excellent print of the movie that looks as if it were shot yesterday, along with extras that include new interviews with Polanski, executive producer Bob Evans and production designer Richard Sylbert, and a featurette from the time of the film's original release that really works as a good time capsule.
    9Steffi_P

    "Awful things happen in every apartment house"

    Rosemary's Baby was originally proposed as a project to Alfred Hitchcock. He turned it down, and instead it fell to the up-and-coming Polish director Roman Polanski. It's hard to imagine what the master of suspense would have made out of this tale of devil worship and Catholic guilt, even though there is some Hitchockian psychology and mystery at work. As it was however, it proved to be right up the young Polanski's street, taking his career to new heights, and spawning a run of occult horrors in the late 60s and early 70s, of which this is still one of the few greats.

    Polanski had already established himself as a director most comfortable with the confinement of interiors in films like Repulsion (1965). Here he draws us right into the claustrophobic feel of the upstairs apartment, often placing the camera in a room adjacent to the action, with the characters viewed through a doorway. The camera movement is mostly restricted to pans. It rarely tracks or dollys, as if it were trapped in a corner. Even in the exterior scenes the sky is often sandwiched or blotted out altogether between the buildings rising on either side. The actors often appear uncomfortably close to the camera, but not in individual close-up shots. Instead, they come in that close as they move around the set and the camera pans back and forth. Not only does this add to the cramped, awkward atmosphere, but this constantly changing distancing of actors within a single shots makes the audience feel as if they are actually standing there.

    Rosemary's Baby may come across as very slow to some viewers. 140 minutes certainly is a long time in the horror genre. There do also appear to be a lot of unnecessary details in the dialogue – we get to find out far more about Rosemary's background than is normal for a character in cinema. But for one thing, Polanski was not interested in making a shock-and-gore horror – Rosemary's Baby is all about the eerie atmosphere, the tension and the mystery. He holds our attention by regularly dropping in clues that something sinister is afoot. Furthermore, all the detail and depth has its significance in the finished product – like the references to Rosemary's Catholic upbringing or the background of the Castavets.

    Polanski has never overused flashy techniques – no fast editing, zooms or unusual angles that make for a very obvious directorial style. But there is always great complexity and meaning in the look of things – the set design, lighting, costume and so on. One of my favourite touches is Mia Farrow's extremely short Vidal Sassoon hairdo that she has done halfway through the film. With her bony features and pale skin she more and more begins to resemble a skeleton, especially under the carefully placed lighting in the scene after the party when she realises the pain has gone. It's simple yet significant ideas like that which make Polanski one of the best directors of his era.

    There's some great casting in this picture. Careful choice of character actors makes for some quirky supporting roles. Mia Farrow and John Cassavetes are perfect in the lead roles. The musical score – that haunting opening melody, or the atonal violin squeaks – all add to the atmosphere.

    Rosemary's Baby is a real landmark in horror. It helped keep the genre alive by pushing the occult - something fairly taboo, and not fully explored in cinema since the days of silents - to the fore. Also the restrained atmospheric horror was doubtless influential, particularly on Kubrick when he came to make The Shining. It inspired a lot, but was rarely bettered.
    9Lechuguilla

    A Veneer Of Normalcy

    It starts off like one of those 1950's Doris Day movies. Young, idealistic Rosemary (Mia Farrow) and new hubby Guy (John Cassavetes) move into a Manhattan apartment building called the "Bramford". Throughout most of the film we, as viewers, see and hear what innocent Rosemary sees and hears. There's a veneer of normalcy at the Bramford that belies what's really going on, behind our backs. It's the script's POV, therefore, that makes this film so chilling.

    At the Bramford, which has quite a colorful history, you can hear through the walls. And, as Rosemary and we viewers soon find out, strange people lurk in other parts of the building. The strangest of all are Roman and Minnie Castevet (Sidney Blackmer and Ruth Gordon), superficially cordial, but a bit too inquisitive. Roman is retired. His wife, Minnie, wears tons of makeup and pawnshop jewelry, and gushes with praise for herbal cures, especially something called tannis-root. And Minnie's friend Laura-Louise (Patsy Kelly) wears thick glasses that make her eyes seem to bulge, and she talks with a strangely deep voice.

    "Rosemary's Baby" is one of the great thrillers of all time. Given the underlying subject matter, can you imagine how this film must have come across to viewers in 1968? The strength of the film is the script, which through its plot and dialogue implies and suggests. Not until near the end do we, like Rosemary, find out the presumed truth. Suspense increases toward the end as Rosemary ventures into the inner sanctum of the Bramford.

    The film's acting is great, and reinforces the strong script. I particularly liked Ruth Gordon, with her delightfully eccentric behavior and mannerisms. Production design and especially costumes are lavish and colorful. Clothes and hairstyles, as you would expect, are very 1960ish. Visual effects are minimal, and are used to enhance the story, not be the story.

    Given the film's POV, the story is rather subjective. Its interpretation is based on Rosemary's perceptions, images, and fears. One could explain that Rosemary suffers from delusions. Or, alternately, one could explain that what happens is real. It's all in the interpretation. Either way, it's a great movie. It holds up well, forty years later, a tribute to its writer and director, Roman Polanski.
    10Iwona2403

    Hauntingly beautiful

    This one stays as part of you for a long time after you watch it. Every detail of this movie is so beautifully portrayed. It is not scary , it's creepy as hell.. But so enjoyable .. And every time you catch it on tv again you'll enjoy it again and again... and you will find some new details you missed the previous time. It is very intelligent, very deep, very dark, but also kinda feels hypnotizing. I just love it! Absolutely love it no matter how sick it is. If you like psychological movies, not fast paced, this one is for you.
    10marcosaguado

    Polanski's Baby

    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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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      According to Mia Farrow, the scenes where Rosemary walks in front of traffic were spontaneous and genuine. Roman Polanski is reported to have told her that "nobody will hit a pregnant woman." The scene was successfully shot with Farrow walking into real traffic and Polanski following, operating the hand-held camera since he was the only one willing to do it.
    • Blooper
      Rosemary didn't close the closet door all the way before fetching the knife because towels and linens were blocking it, but the door is completely closed when she returns.
    • Citazioni

      Rosemary Woodhouse: Witches... All of them witches!

    • Versioni alternative
      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.
    • Connessioni
      Edited into The Kid Stays in the Picture (2002)
    • Colonne sonore
      Lullaby
      (uncredited)

      Composed by Krzysztof Komeda

      Sung by Mia Farrow

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    Domande frequenti30

    • How long is Rosemary's Baby?Powered by Alexa
    • What is the purpose of the vitamin drink?
    • Is "Rosemary's Baby" based on a book?
    • Is The Bramford a real apartment building in New York?

    Dettagli

    Modifica
    • Data di uscita
      • 24 dicembre 1968 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • El bebé de Rosemary
    • Luoghi delle riprese
      • Dakota Hotel - 1 West 72nd St. at Central Park West, Manhattan, New York, New York, Stati Uniti(Guy and Rosemary's apartment building)
    • Azienda produttrice
      • William Castle Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 3.200.000 USD (previsto)
    • Lordo in tutto il mondo
      • 5820 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      • 2h 17min(137 min)
    • Colore
      • Color
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.85 : 1

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