A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.
There is panic throughout the nation as the dead suddenly come back to life. The film follows a group of characters who barricade themselves in an old farmhouse in an attempt to remain safe from these bloodthirsty, flesh-eating monsters.
Desirous of starting a family, Rosemary Woodhouse, a young Catholic housewife, and her husband, Guy Woodhouse, a struggling actor, move into the Bramford, a New York building with an unpleasant history of obscure dwellers and ghastly occurrences. Before long, the young couple is befriended by their elderly and somehow eccentric next-door neighbours, Roman and Minnie Castevets, and shortly afterwards, Rosemary finally gets pregnant. However, little by little, as the inexperienced mother becomes systematically cut off from her circle and friends, alarming hints of a well-planned and sinister conspiracy will begin to emerge, enfolding Rosemary in a shroud of suspicion and mental agony. In the end, why is everyone so conveniently eager to help, furthermore, why is Guy allowing this? Written by
William Castle acquired the movie rights to the novel. Robert Evans of Paramount agreed to green-light the project if Castle did not direct. This was due to Castle's reputation as a director of low-budget horror films. He was, however, allowed to make a prominent cameo appearance. See more »
When Rosemary talks to the cab driver, before going to see doctor Hill, the audio clearly does not match the picture perfectly. See more »
Every bit of acclaim that Rosemary's Baby has earned is totally deserved.
The Dakota, located at 72nd and Central Park West, is the perfect setting
for the demonic events; all that rich Gothic detail in the heart of
Manhattan provides the perfect atmosphere, serving as a dark fairy-tale
world of its own within the modern setting. Roman Polanski knows this and
utilizes it brilliantly, opening the film with stunning aerial shots of the
skyline and focusing in on the ornate castle amongst the skyscrapers and
The acting is fantastic, particularly Mia Farrow, who is the only person I
can envision as Rosemary. Her fine-boned fragility makes her the ideal
target for terror. She goes from obliviousness to suspicion to fear to near
madness without showing a seam, and we as the audience are with her all the
way. And Mia is given a run for her money by the delightful Ruth Gordon, a
comical yet sinister presence popping in on a deliberate schedule with pale
green drinks and sandpapery advice. She's scary because we know her--a batty
old broad with a seemingly sweet nature beneath her caustic surface. That
such a person could possibly be a vessel of evil is a thoroughly unnerving
Unnerving is the proper adjective for the entire movie. Unnerving, eerie,
and penetratingly frightening in a very subtle manner. The subtlety is key,
since a more explicit treatment would've spoiled everything. As the tension
heightens, we feel what Rosemary feels: Curiosity, then vague suspicion,
then paralyzing terror at the final revelation. At all times, the movie
retains its dignity, from the opening and closing shots of the building to
the flourishing title script to the beautiful music. Even on TV, this
picture can chill you to the bone. The best big-budget horror movie of all
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