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Bulat Krasilnikov
Bulat Krasilnikov

Rosemary's Baby !!TOP!!

Rosemary's Baby is a 1968 American psychological horror film written and directed by Roman Polanski, based on Ira Levin's 1967 novel of the same name. The film stars Mia Farrow as a young (soon pregnant) wife living in Manhattan who comes to suspect that her elderly neighbors are members of a Satanic cult and are grooming her in order to use her baby for their rituals. The film's supporting cast includes John Cassavetes, Ruth Gordon, Sidney Blackmer, Maurice Evans, Ralph Bellamy, Patsy Kelly, Angela Dorian, and, in his feature film debut, Charles Grodin.

Rosemary's Baby

Guy is cast in a prominent play after the lead actor inexplicably goes blind. With his acting career flourishing, Guy wants to have a baby with Rosemary. On the night that they plan to conceive, Minnie brings over individual cups of chocolate mousse for their dessert. When Rosemary complains that it has a chalky "under-taste" and does not finish it, Guy criticizes her as being ungrateful. Rosemary consumes a bit more to mollify him, then discreetly discards the rest. Soon after, she grows dizzy and passes out. In a dreamlike state, Rosemary hallucinates being raped by a demonic presence (Satan) as Guy, the Castevets, and other Bramford tenants, all nude, watch. The next morning, Guy explains the scratches covering Rosemary's body by claiming that he did not want to miss "baby night" and had sex with her while she was unconscious. He says he has since cut his nails.

Rosemary becomes pregnant, with the baby due the last week of June. The elated Castevets insist that Rosemary goes to their close friend, Dr. Abraham Sapirstein, a prominent obstetrician, rather than her own physician, Dr. Hill. During her first trimester, Rosemary suffers severe abdominal pains and loses weight. By Christmastime, her gaunt appearance alarms her friends and also Hutch, who has been researching the Bramford's history. Before sharing his findings with Rosemary, he falls into a mysterious coma. Rosemary, unable to withstand the pain, insists on seeing Dr. Hill, while Guy argues against it, saying Dr. Sapirstein will be offended. As they argue, the pains suddenly stop and Rosemary feels the baby move.

Three months later, Hutch's friend, Grace Cardiff, informs Rosemary that Hutch is dead. Before dying, he briefly regained consciousness and said to give Rosemary a book on witchcraft, All of Them Witches, along with the cryptic message: "The name is an anagram". Rosemary eventually deduces that Roman Castevet is an anagram for Steven Marcato, the son of a former Bramford resident and a reputed Satanist. She suspects that the Castevets and Dr. Sapirstein belong to a Satanic coven and have sinister intentions for her baby. Guy discounts this and later throws the book away, upsetting Rosemary and making her suspicious of him.

Terrified, she goes to Dr. Hill for help. Assuming that she is delusional, he calls Dr. Sapirstein, who arrives with Guy to take her home, threatening if she resists, to have her sent to a mental hospital. Rosemary locks herself into the apartment, but coven members somehow infiltrate and restrain her. Dr. Sapirstein sedates a hysterical Rosemary, who goes into labor and gives birth. When she awakens, she is told the baby was stillborn. As Rosemary recovers, she notices her pumped breast milk appears to be saved instead of disposed of. She stops taking her prescribed pills, becoming less groggy. When Rosemary hears an infant crying, Guy claims new tenants with a baby have moved into an apartment one floor up.

Believing her baby is alive, Rosemary discovers a hidden door in the bedroom closet leading directly into Minnie and Roman's apartment. Guy, the Castevets, Dr. Sapirstein, and other coven members are there, gathered around a bassinet draped in black with an upside down cross hanging over it. Peering inside, Rosemary is horrified and demands to know what is wrong with her baby's eyes. Roman proclaims that the child, Adrian, Satan's son, "has his father's eyes". He urges Rosemary to mother her child, promising her she will not have to join the coven. When Guy attempts to calm her, saying they will be rewarded and will conceive their own children, she spits in his face. After hearing the infant's cries, however, Rosemary gives in to her maternal instincts and gently rocks the cradle.

For this reason, the effectiveness of "Rosemary's Baby" is not at all diminished if you've read the book. How the story turns out, and who (or what) Rosemary's baby really is, hardly matters. The film doesn't depend on a shock ending for its impact.

But Rosemary's Baby addresses these questions in, what, if possible, is an even more terrifying way. It gradually becomes clear, to Rosemary, and to us, the audience, that we can no longer trust Guy, or the neighbors, or the doctor, or just about anyone else in Rosemary's life. Skepticism about the thoughts and feelings of those around Rosemary is now a hypothesis that must be taken seriously. Her life, and that of her baby, depends on it. She is the victim, it seems, of an elaborate plot. And (almost everyone), even those most close to her, is in on it.

Many scenes are shot in one continuous unbroken take or with minimal cuts in an unnoticeable way, such as the opening scene where Rosemary and Guy first tour their apartment (two cuts), the laundry room scene (only one cut), the "let's have a baby" scene, the New Year's Eve party, Rosemary's and Guy's argument after their party, Rosemary's getting the unfortunate phone call about Hutch, the final scene at Dr. Sapirstein's office where she tells him of Adrian Marcato, Rosemary's phone call with Baumgard, and the famous phone booth scene.

There is a passage in the novel that is left out in the movie. Rosemary receives a phone call the same day she and Guy are planning to make a baby. Practically having no contact with her family, except for her brother Brian, Rosemary is surprised to hear from her older sister, Margaret. Margaret has had a bad feeling all day that something horrible has happened to Rosemary and calls just to check in on her. The conversation ends with Margaret pleading to Rosemary to stay indoors that night, as she still has a strong feeling of something being very wrong. Rosemary says she will and proceeds cooking the dinner for her and Guy.

Producer William Castle wanted to display a grotesque demon baby at the end of the film when Mia Farrow looks at her child but Roman Polanski (and the other producers) vetoed the idea in lieu of a more ambiguous scene. What Rosemary sees is both the baby, and also a flashback to the rape scene when she looks into the eyes of the Devil. "He's got his father's eyes!" Roman intones at the ending: and indeed it is both Andy and the Devil all at once.

At the end of the book Rosemary seriously considers killing Andy and then committing suicide for a few minutes, much like Terry did at the beginning of the novel under similar circumstances. She then takes pity on Andy, after seeing the terrified look on his face. After considering all the options she decides to raise Andy as her own. Even though he's a demon, she decides to love him and mother him and let her good natured human personality influence him, hopefully to do good ( "he's half Devil but half me after all!"). She also decides to report everything to the Pope and the Vatican, and to let them handle the issue as they see fit (whether that be executing Andy, forgiving him or trying to reform him). None of this is said in the movie; we just see Rosemary begin to rock the cradle and look at the baby inquisitively as the camera pulls back, the lullaby cues up on the soundtrack and the movie fades out and ends.

Towards the ending of Ira Levin's novel Roman and Rosemary argue about what the baby's name will be. He insists it should be Adrian Steven Castavet, she insists it should be Andrew Woodhouse. They argue and eventually Minnie sides with Rosemary. She and the rest of the coven then stand around Rosemary shouting "Hail Rosemary! Mother of Andrew! Hail Rosemary! Mother of Satan!" while Rosemary makes baby talk and plays with Andrew/Adrian in his crib. All of this was cut out of the movie.

Ira Levin wrote a sequel to this novel called "Son of Rosemary." At the end, Guy and Rosemary wake up and realize the entire events of the first movie and book were all a big dream! All the result of butterflies-in-her stomach Rosemary was having and general paranoia of what could go wrong with the baby. At least, that's how it appears; some believe Rosemary's been condemned to repeat the experience, or else given a second chance to alter events by going back in time.

The creepy, eerie gothic film was about a young newlywed couple who moved into a large, rambling old apartment building in Central Park West, and began a loving, post-honeymoon period. They became friendly with the eccentric next-door neighbors, the Castevets - an overly-solicitous and intrusive elderly couple, and soon the struggling husband's acting career improved and turned promising. But after a nightmarish dream of making love to a horned Beast, the paranoid, haunted, and hysterical Rosemary believed herself impregnated so that her baby could be used in the New Yorkers' evil cult rituals. After a long period of a debilitating pregnancy, she consulted with a long-time friend who died mysteriously, but had sent her a book about witchcraft - with suggestions that their Castevet neighbor Roman was the son of a famous martyred witch (warlock). After the birth of a baby boy, she didn't believe news that the infant had died - and to reinforce her suspicions, she ventured into the Castevet's next-door apartment and observed a coven celebrating the birth of the Anti-Christ.

The creepy film ended with the devil's flesh-and-blood baby being cared for by the mother! The incredible irony of the film was that the plot would be similarly played out a year later - Polanski's pregnant actress/wife Sharon Tate would be terrorized and murdered by the strange cult of Charles Manson followers in her Benedict Canyon home. 041b061a72


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