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Director: Roman Polanski
A horror "classic" that still has some power, though it is considerably faded by age and endless mimicry by countless imitators.
The story follows the titular Rosemary Woodhouse (Mia Farrow), who moves into an imposing and creepy old apartment building - the Bramford - in Manhattan with her aspiring actor husband, Guy (John Cassavetes). Despite the building's dark history of housing supposed witches, and being the setting for some gruesome deaths in the past, the Woodhouses take an apartment. They are soon set upon by a pair of strange upstairs neighbors, the Castevets, an elderly couple who show undue interest in the Woodhouses. Rosemary and and Guy try to play along with the Castevets and several other strange denizens of the Bramford. However, when the young couple express an interest in having a child, things become ever-more bizarre, as the Castevets' interest in Rosemary increases to unnerving levels. On a particularly disorienting night, Rosemary suffers through what seems to be a fever dream wherein she is impregnated by some demonic creature that initially posed as her husband, Guy. After this strange nightmare, Rosemary discovers that she is, indeed, pregnant. the neighbors continue to close ranks around her, slowly attempting to cut off Rosemary's contacts with outsiders. Rosemary begins to suspect that she is at the center of some sort of dark Satanic ritual, and that her baby might just be the child of Satan himself.
This movie made all sorts of waves when it came out, and it's not difficult to see why. At the time of its release in 1968, tales involving Satanism were hardly part of the popular culture landscape. What this movie did was to take such dark subject matter and include it in a relatively mainstream offering. It was such a hit that the idea of a "Satan's spawn" or demon possession has been used over and over, to varying degrees of success, ever since, with 1973's The Exorcist and 1976's The Omen being the obvious standouts. Because of the high volume of imitators, the suspense and ultimate reveal of the story loses its impact.
Another area where age hasn't helped is in the overall writing. The dialogue, which was probably adequate and perhaps even engaging fifty years
I was glad to finally take in this horror classic which I had somehow never seen before, but I'll feel zero need to see it again. It's strengths in general setting and theme are easily garnered in a single viewing, while its many dated elements quash any desire I would have to sit through the film's 130-minute run time again.
That's 621 movies down; only 578 movies to go before I can die.
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