Rosemary's Baby

This is how horror films need to be made. Aside from The House of the Devil (a beautiful throwback to this period of the genre) there aren't any films that can so perfectly create this kind of a chilling atmosphere that keeps your skin tingling from start to finish. From the haunting echo of Mia Farrow's voice eerily leading us in, Rosemary's Baby immediately absorbs you into it's world and never lets you out. That's the perfect word for this; absorbing. Roman Polanski is one of cinema's finest directors and what makes him stand as such is how perfectly he can create an atmosphere. Even in his few failures he crafts a unique and full atmosphere that is expertly made for the film he's creating. He's one of the few directors who always know what he's doing and always creates a complete vision that never wavers. That's on display in spades in Rosemary's Baby, a film that drives mystery, supernatural paranoia and the fears of any pregnant woman into the heart of the viewer. With the help of a revelatory performance in terror from Farrow, Polanski creates a truly perfect 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.

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.

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.

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.