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Rosemary’s Baby (1968): The Birth of a Modern Horror Classic

02 Sunday Feb 2025

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Roman Polanski’s Rosemary’s Baby is not just a horror film; it’s a cultural milestone. Based on Ira Levin’s 1967 novel, this psychological horror masterpiece marked a significant turning point in Polanski’s career and redefined the genre with its chilling subtlety, riveting performances, and hauntingly resonant themes.

By the time Polanski directed Rosemary’s Baby, he was already an established filmmaker with successes like Knife in the Water and Repulsion. However, it was this adaptation of Ira Levin’s novel that solidified his reputation as a master storyteller capable of blending psychological depth with unnerving horror. Polanski’s ability to craft a narrative that feels at once intimate and epic is on full display, with every frame of Rosemary’s Baby pulsing with dread.

The film’s slow-burn tension, its deliberate pacing, and its ability to turn the mundane into the menacing were groundbreaking in 1968. Polanski took Levin’s chilling story and elevated it, crafting a tale of paranoia and betrayal that unfolds within the claustrophobic confines of a New York City apartment building.

At the heart of the film is Mia Farrow’s unforgettable performance as Rosemary Woodhouse. Farrow’s transformation from a hopeful, naïve young wife to a terrified, isolated woman is nothing short of mesmerising. Her fragile vulnerability and determination make Rosemary one of the most iconic characters in horror history.

John Cassavetes delivers a complex performance as Guy Woodhouse, Rosemary’s ambitious husband whose moral compromises set the story’s sinister events into motion. The chemistry between Farrow and Cassavetes heightens the emotional stakes, making the betrayal at the heart of the story all the more devastating.

Ruth Gordon’s turn as the eccentric yet menacing Minnie Castevet earned her a well-deserved Academy Award for Best Supporting Actress. Gordon’s portrayal is equal parts comedic and chilling, capturing the bizarre allure of the seemingly harmless neighbour whose sinister intentions are gradually revealed.

Rosemary’s Baby explores themes that were both timely and timeless. The 1960s were a time of cultural upheaval, and the film’s undercurrents of paranoia and societal control mirrored the anxieties of the era.

  • Women’s Liberation: The film can be seen as a commentary on women’s autonomy—or lack thereof. Rosemary’s body becomes a battleground, controlled and manipulated by those around her. The struggle for agency is as relevant today as it was in 1968.
  • Paranoia and Isolation: The film’s creeping sense of distrust reflects the fear of conspiracies, both personal and societal.
  • Catholicism and the Occult: Religious imagery and themes of good versus evil are woven throughout, presenting a chilling exploration of faith and its darker implications.

The film’s primary location, the ominous Bramford (in reality, the Dakota building on Manhattan’s Upper West Side), is as much a character as Rosemary and Guy. The building’s Gothic architecture, shadowy interiors, and foreboding atmosphere provide the perfect backdrop for the unfolding terror. New York’s bustling streets contrast with the eerie insularity of the Woodhouses’ world, amplifying the sense of Rosemary’s entrapment.

From its release, Rosemary’s Baby has remained a touchstone in popular culture. Krzysztof Komeda’s haunting score, particularly “Sleep Safe and Warm,” is a chilling lullaby that lingers in the mind long after the credits roll. The film’s imagery, from Rosemary’s pixie haircut to the chilling final scene, has been referenced and parodied countless times, cementing its status as a cultural icon.

Polanski’s masterful direction, the stellar cast, and Levin’s gripping source material combined to create a horror film that transcends its genre. Its exploration of power, betrayal, and fear remains as relevant today.

Rosemary’s Baby is a masterpiece of psychological horror, a film that paved the way for a new kind of storytelling in the genre. With its pitch-perfect performances, evocative themes, and Polanski’s impeccable direction, it stands as one of the most influential and enduring films of all time. Its dark allure continues to captivate audiences, ensuring that we’ll be praying for Rosemary—and her baby—for generations to come.

  • Saul Muerte

The Fearless Vampire Killers (1967): A Parody with Bite, but Lacking Sharp Fangs

27 Friday Dec 2024

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Roman Polanski’s The Fearless Vampire Killers is a peculiar beast, blending gothic horror and slapstick comedy into a vampire spoof that is as visually enchanting as it is narratively uneven. It’s a film that delights in poking fun at the vampire mythos, with Polanski both behind the camera and in front of it as the bumbling Alfred, assistant to Jack MacGowran’s delightfully eccentric Professor Abronsius.

The story follows the duo as they stumble into a Transylvanian village under the shadow of Count von Krolock’s castle, only to face more trouble than they bargained for. The film’s humour is often subtle, relying on awkward encounters and physical comedy, though some jokes fall flat or drag longer than necessary.

What The Fearless Vampire Killers lacks in consistent laughs, it makes up for in its lush visuals. Cinematographer Douglas Slocombe creates a wintry gothic wonderland, with the production design perfectly capturing the decaying opulence of von Krolock’s castle. The masquerade ball scene, in particular, is a strikingly macabre highlight.

While Polanski’s direction and Sharon Tate’s charming turn as Sarah elevate the material, the film struggles to balance its comedic and horror elements, leaving it feeling slightly disjointed. Despite this, it remains an enjoyable curiosity, worth a watch for its unique take on vampire lore and its visual flair.

  • Saul Muerte

Repulsion (1965): Polanski’s Unsettling Descent into Madness and the Monsters of the Mind

05 Thursday Sep 2024

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Roman Polanski’s Repulsion (1965) is a masterclass in psychological horror, a film that, even decades later, remains a deeply disturbing exploration of fear, repression, and the dark corners of the human psyche. As Polanski’s sophomore directorial feature, Repulsion has earned its place as one of the most unsettling films in cinema history, despite the director’s own ambivalence toward it. What emerges is a terrifying, claustrophobic journey into madness, supported by exquisite cinematography and innovative sound design that work in tandem to create an atmosphere of unrelenting dread.

The film centers on Carol Ledoux, played with haunting precision by Catherine Deneuve, a young and repressed woman living in London with her sister. Left alone in their apartment, Carol’s already fragile mental state begins to unravel, leading her down a path of violent hallucinations and murderous impulses. Polanski’s portrayal of Carol’s descent into madness is both sympathetic and horrifying, a delicate balance that makes Repulsion as emotionally impactful as it is terrifying.

Polanski’s direction is nothing short of brilliant, transforming the mundane setting of a London flat into a nightmarish landscape where walls crack and hands emerge, where every creak and groan is imbued with menace. The apartment itself becomes a character in the film, its oppressive, decaying interior mirroring Carol’s deteriorating mind. The confined space amplifies her isolation and paranoia, trapping both her and the audience in a relentless downward spiral.

At the heart of Repulsion is an unflinching critique of toxic masculinity and the pervasive fear it instills. Carol’s interactions with men—from her lecherous suitor to her sister’s overbearing boyfriend—are marked by a palpable sense of discomfort and dread. These encounters, though often understated, serve as the catalyst for Carol’s breakdown, revealing the corrosive impact of living in a world where male dominance is both omnipresent and suffocating.

Deneuve’s performance is a tour de force, capturing Carol’s fragile beauty and internal torment with a subtlety that makes her unraveling all the more terrifying. Her portrayal of Carol’s fear and repression is so visceral that it transcends language, relying on physicality and expression rather than dialogue to convey her inner turmoil. It’s a performance that lingers long after the film has ended, leaving an indelible mark on the viewer.

The film’s technical aspects further elevate its nightmarish quality. Gilbert Taylor’s cinematography is stark and unyielding, using deep shadows and disorienting angles to convey Carol’s fractured reality. The camera often lingers on empty spaces or zooms in on seemingly innocuous details, heightening the sense of unease. The sound design, too, plays a crucial role, with everyday noises distorted into something monstrous—whether it’s the ticking of a clock or the sound of a faucet dripping. The recurring use of sound, or the lack thereof, becomes a psychological tool, plunging the audience deeper into Carol’s disturbed mind.

Repulsion is also a study in sexual repression, with Polanski meticulously dissecting the ways in which societal expectations and personal traumas collide to devastating effect. Carol’s increasing detachment from reality is intertwined with her fear of sexual intimacy, a fear that manifests in grotesque hallucinations and violent outbursts. Polanski doesn’t shy away from the horror of this repression, instead forcing the viewer to confront its devastating consequences head-on.

The Prognosis:

Repulsion stands as one of Polanski’s most disturbing works, a film that crawls under the skin and stays there. It may not be Polanski’s favorite among his own films, but it is undoubtedly one of his most powerful. Repulsion is a harrowing examination of the human psyche, where fear, repression, and isolation culminate in a chilling portrait of madness. It’s a film that demands to be seen, not just for its groundbreaking technical achievements, but for its unflinching portrayal of the darkness that can consume us all.

  • Saul Muerte

The lure of Dracula

06 Wednesday Sep 2017

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Ever since Max Schreck transformed into Count Orlock in the now infamous silent film, Nosferatu, directed by F.W.Murnau in 1922, the subject of Bram Stoker’s Dracula has graced the screens across the ages.

Like the titular character from one of Gothic literature’s finest creations, Dracula seems to be eternal, forever gracing the celluloid art form, whist adapting and transitioning across the years.

With the latest news coming from geek tyrant that It director, Andy Muschietti and Bram Stoker’s Great Grand Nephew teaming up for a project involving the prince of darkness as a prequel, entitled Dracul, I thought I’d take a quick snapshot of this enigmatic character and what draws us to him year-on-year.

Notably, it would be Universal who would elevate Stoker’s creation into the limelight with Tod Browning’s Dracula on 1931.

Starring Bela Lugosi, who’s interpretation would be the catapult for the look and feel that his character would bring to the screen and would initiate a further four sequels before Abbott and Costello turned his image into a comical adaptation.

It would take a further 10 years before a production company would bring Count Dracula back into the darkness with Hammer Films 1958 version starring Christopher Lee and Peter Cushing.

Hammer would use their new-found success and blood red recipe to push the Dracula series into a total of 9 films, with the afore-mentioned Lee appearing in 7 of these movies. Interestingly Dracula wouldn’t appear in their first sequel, Brides of Dracula directed by Terence Fisher.

During this time, numerous other production companies would try their hand at the subject matter, including Blood of Dracula, an attempt from producer Herman Cohen to repeat the success of I Was A Teenage Werewolf, the latter would appear in the It Mini Series made in 1990 as it was the height of pop culture Stateside during the 50’s and would see the Loser’s Club watch it at the cinema.

As the Hammer recipe grew stale, Roman Polanski would inject some much-needed zest with The Fearless Vampire Killers in 1967 and a blatant parody of the British film company’s vision.

Following this Jesus Franco would add some Spanish flavour with Count Dracula in 1970, starring Christopher Lee again in the titular role, before Blaxploitation movement would see an African prince lured into the land of the dead in Blacula and Scream Blacula Scream before Andy Warhol would dabble as well introducing his own visual style with Blood for Dracula in 1974.

Five years later, Universal would try to re-invent the fable and bring some much-needed sex appeal and casting Frank Langella as Dracula.
This also coincided with another version of Nosferatu coming to the screen, directed by the enigmatic Klaus Kinski entitled, Nosferatu: Phantom der Nacht, and has its own cult following as a result.

A brief interlude in the comedy realm would see Duncan Regehr take on Dracula in The Monster Squad, which comes across as a haunted version of The Goonies.

And then, he would pretty much stay dormant until, he would be moulded once more for Francis Ford Coppola in Bram Stoker’s Dracula, starring Gary Oldman, Winona Ryder, Keanu Reeves, and Anthony Hopkins, in the early 90’s.

Mel Brooks would craft his comedic touch with Dracula, Dead and Loving It by 1995 and starring Leslie Nielsen, before the shouldn’t be comical, but tragically is, Dracula 2000, presented by Wes Craven and starring Gerard Butler.

It’s only saving grace during this timeframe is the simply brilliant, Shadow of the Vampire, a quirky portrayal of the making of Nosferatu that would depict actor Max Shreck as a real-life vampire, awesomely played by Willem Defoe.

By the mid-2000’s Count Dracula would find himself morphed into the Stephen Sommers universe with Van Helsing starring Hugh Jackman, a movie, which in my mind is probably best forgotten.

Another film director auteur would try his hand at the subject in 2013, when Dario Argento would provide us with Dracula 3D, but would be pale in comparison to his earlier work.

The last time, we saw Dracula grace our screens would be in the under-whelming Dracula: Untold starring Luke Evans, which left us wondering if there was life still in this age-old tale?

This may all disappear in the coming years, if Muschietti and Dacre Stoker’s project sees the light of day.

Dacre Stoker has delved into the world of his lineage before with his novel, Dracula, the Un-dead, so he is no stranger to the subject, and one can already see comparisons with Stephen King’s creation Pennywise. A character that feeds on the fear of the innocence.

Stephen King would also seek inspiration from the Count in his own tale, Salem’s Lot, so it certainly bodes well with the announcement of this latest pairing.

I for one can’t wait to see how they re-vamp Dracula for a modern audience that will horrify and delight the masses.

Bring it on.

 

  • Paul Farrell

 

Flashback Friday: Rosemary’s Baby (1968)

10 Friday Jun 2016

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Rosemarys-baby
ROSEMARY’S BABY IS ONE of those movies that most movie fans, particularly horror lovers would have heard of, such was the critical acclaim attested to it.
Some even citing it as one of the greatest American horror movies ever made.
But does it still stand strong today?

I’ve often had discussions with people about this movie and the one criticism that I hear about it comes down to pace and lack there of.
Is this down to the modern audiences expectations?
So much emphasis is focused on pushing people to the next moment and raising the bar with each scare with a hefty dose of tension thrown into the mix.
So in some cases I find that I agree that this isn’t your high-tension fast-moving drama, BUT, it is a slow-burner.
And probably the best example of how to deliver a psychological thriller with ease, something that director, Roman Polanski is deft at.

And with the superb talent of Mia Farrow as the lead, Rosemary, who discovers that her husband has made a pact with a religious cult and that the father of her baby to be is none other than the dark lord Satan.

There are many issues at play here as Rosemary not only has to deal with the process of what has just occurred in her life but also the very fact that the security that she thought she had in those around her have been false.
With no one to turn to it is inevitable that she would succumb to the dark forces that surround her.
And what’s more, a mother’s intuition would kick in despite her essentially giving birth to the antichrist.

In my view it’s a classic for a reason and deserves viewing even with today’s audience. Rosemary’s Baby is an example of Polanski at his best and serves as a good companion piece to his earlier movie, Repulsion, which I also highly recommend.

– Paul Farrell