Guess what day it is? It’s Adrian birthday. Let’s sing to him!
Happy Birthday to you! Happy Birthday to you! Happy Birthday Dear Adrian! Happy Birthday to you!
Adrian turns fifty-years-old today. Maybe you’re thinking,” Who the heck is Adrian?” Well I’ll tell you. He is the son of Satan! But he’s probably best known as Rosemary’s Baby, Adrian came into this world on June 12, 1968 through the vessel known as the movie theater. Whatever became of him? I don’t care, so I will not utter – Look What’s Happened to Rosemary’s Baby. Supposedly it is a very bad film. I haven’t seen it but I heed the critics’ warning to avoid this yarn. The original film, however, is a masterpiece. Two and a half decades since its inception and it is still one of the best horror films ever made.
(Mr. Buttinski: Psst! Technically, the events in the film take place a few years BEFORE 1968, so Adrian’s actual age would be…
Me: OH SHUT UP! )
I have chosen this 50th birthday of Rosemary’s Baby to launch the first review of my Haunted Apartment series. (Read the opening article here.) What a great film to begin this series, if I do say so myself! I go straight, smack dab into the center of Director Roman Polanski’s Apartment Trilogy. Let me explain. Polanski directed and helped write the screenplays for three horror films that take place within apartment complexes. Rosemary’s Baby is based on the book by the same name, written by Ira Levin. Imposemagazine.com calls Rosemary’s Baby the centerpiece of the trilogy. This makes sense, as it is the second of the three films by order of release. Also, it’s the most known, most popular, and in my humble opinion, the best. The other two, Repulsion and The Tenant, released, respectively, in 1965 and 1976, are very brilliant films as well, but it’s hard to top that “cute” little baby, even though we are only permitted to view his eyes. Before I delve into the intricacies of Rosemary’s Baby, a little more needs to be said about the trilogy itself. A paragraph ought to cover it!
The Apartment Trilogy consists of three separate films with different plots and characters. The second and third films are the not the sequels of the first. Instead, they are united by these commonalities:
- They detail the unfolding psychosis of a central character.
- They blur the protagonist’s perception of reality
- They feature an oppressive apartment setting that further augments the madness of the main character.
In regards to the apartment setting, Amanda Meyncke, in an article for MTV.com, writes, “Polanski masterfully plays upon our fears of small confined spaces, as well as our intrinsic fear of the unknown.” Truth be told, I’m not sure if Polanski set out to create an Apartment Trilogy. It seems if that term, along with all the analysis that followed, appeared long after the release of these films. Perhaps Polanski simply thrived in a setting that worked well for him and just let the creative juices flow, while the categorization came after the fact. Here at this blog, I will also explore the other two films as part of the Haunted Apartment series. But for right now, on to Rosemary’s Baby!
Here is a synopsis…and more. Urbanite couple Rosemary and Guy Woodhouse move into the Bramford apartment building, despite the misgivings of their friend Hutch, who warns them about the shady history of the building, which includes tenants that had engaged in witchcraft and cannibalism. Oh my! They barely settle in when the eccentric old couple in the apartment next door befriends them. The nosy but seemingly well-meaning couple, Minnie and Roman Castevet, learns a couple of things about the Woodhouses: 1) Guy is a struggling actor. 2) They would like to have a baby soon.
Suddenly, the plans and dreams of the Woodhouses fall into place. Guy gets a great acting gig (at the expense of another actor who goes blind and can’t perform the role) and Rosemary is pregnant. The Castevets practically micro-manage the pregnancy. In a pushy way, they recommend an obstetrician. Rosemary agrees to use him. They put her on a strange diet of herbs and milky concoctions
Rosemary is worried. Her pregnancy does not seem normal. She is in constant pain. Her skin turns sickly pale. She craves raw meat! But no one, not her neighbors, not her husband, not even the doctor will sympathize with her. They all seem to think things are “normal.” Hutch turns Rosemary on to the idea that the Castevets’ are modern day witches and that they plan to sacrifice the newborn baby. Suddenly, she believes that everyone is part of the plot; the doctor, her husband, and the neighbors – which by this time in the film there are many; more goofy, old ladies. Scared for the safety of her baby, she tries to flee everybody, including her husband. She calls everyone witches, but they catch her, sedate her. Before sedation, she goes into labor. She awakens later to sad news. The baby didn’t survive. Various neighbors look after Rosemary as she lies in bed. Meanwhile Guy blames Rosemary’s recent “erratic behavior” on pre partum hysteria. All the stuff about witches, all those conspiracies, these were all delusions brought on by hysteria. The end!
Are you ready for THE SPOILER! Oh come on, you already know what’s coming!
The baby isn’t dead. Through a secret passage in a closet that connects the Woodhouse apartment to the Castevet apartment, Rosemary enters her neighbor’s domain to find her baby in a carriage surrounded by black cloth and tapestry. Demonic paintings hang on the walls. All the neighbors are there. Quirky, goofy old ladies are shouting Hail Satan! You gotta love that! The Castevet’s explain to Rosemary that she has brought the son of Satan into the world. Guy tells his wife that he helped arrange all this in exchange for a successful acting career (these Satanists put a curse on the one actor who went blind). Their son is Adrian, the son of Satan. Viewers are only permitted to see its’ eyes, scary demonic looking eyes.
What is most memorable about this film? Is it the performances? Could be. Mia Farrow brilliantly portrays the tortured Rosemary with real emotions. It’s as if she herself is succumbing to psychological torment. Ruth Gordon as Minnie Castevet steals the scene many times. She won an Oscar for this role. She’s very entertaining, as is Sidney Blackmer as Roman Castevet. He too gives a commanding performance.
Performances aside, certain scenes have become etched in the collective conscious of audiences, scenes such as the dream sequence. One evening, Rosemary and Guy decide to get busy at making the baby. Before they do so, they eat some chocolate mousse, a treat given to them by the Castevets. Something in the dessert causes Rosemary to become ill. She lies in bed and succumbs to a dreamlike trance. She’s on a cruise ship, all the neighbors are there. She’s tied to a bed naked. Demonic arms feel her body. I’m not doing this scene justice with my description. It must be seen. It’s very surreal and uncanny. And it features a bunch of naked old people! But don’t worry, the anatomical details are hidden in shadows. Mostly.
Anyway, when she wakes up in the morning, Guy tells her that they had made love overnight. Oh but he’s lying! It was Satan that had his way with her the following evening.No one will ever forget the end – the big twist. See, many viewers had watched this film, probably thinking that the terror was all in Rosemary’s head and that she was delusional. All that was laid to waste at the end with the old people in the apartment giving praise to Satan while babysitting the Underlord’s newborn. Surprising, scary and funny all at the same time!
There are some subtle things about this film that I enjoy. For instance, there is a reoccurring sound of a clock ticking in the Woodhouse’s apartment. Sometimes its prominent, other times it fades into the background. It adds to the tension. It signifies that something will happen by the movie’s end. We just have to wait. Tick tick tick!
From a cinematography stand point; I appreciate the opening sequence that shows an aerial view of a skyline of apartment buildings. The camera pans across them, and finally it settles on the one; the apartment building where the action of Rosemary’s Baby takes place. Architecturally, it’s a beautiful building. In the film it is called the Bramford Building. According to Onthesetofnewyork.com, in real life it is called the Dakota. It stands at the northwest corner of 72nd street and Central Park West in New York City. Designed by the Architectural firm of Henry Janeway Hardenbergh and constructed in 1880, it has High gables, deep roofs, a profusion of dormers. It’s style is that of the North German Renaissance. It is the perfect building to set the scene. For one thing, it has a haunted history. There have been many ghost sightings in and around the premises over the years. Celebrities who stayed here have witnessed paranormal events. Maury Povich described the place as “Very haunted”. John Lennon claimed to have seen a UFO while looking out one of the windows. Tragically, Lennon would die here. He would be shot to death while standing in front of the Dakota Building. Later residents would claim to have seen his ghost within the building.
An article by Jessica Jewett provides the details:
Did Polanski know about the hauntings before using The Dakota as his establishing shot? I don’t know. But he certainly provided a fitting backdrop for the events that take place in the film.
Finally, there’s the William Castle scene. Oops, did I forget to mention that this master-of-gimmicks director produced this film? I guess I did. Known for directing films such as The House on Haunted Hill and 13 Ghosts, he teamed with Polanski to make Rosemary’s Baby the successful film that it was. And he has a cameo! He enters a phone booth after Rosemary exits. I just thought I should mention this. I don’t know why. Perhaps because I dig the late Great William Castle.
And so, this will wrap up this review. Adrian, Son of Satan, I don’t know where you are today. Are your sitting before a cake with fifty candles? I’m sure your daddy down in Hell could provide the flames for these candles. I’m sure he’s proud of you. Happy Fiftieth Birthday! And to you, Rosemary’s Baby the film – Happy Birthday. Ah but you’re a timeless film and therefore since conception, you have entered the realm of eternity. Your greatness will live forever!