Brilliant Polanski film

Rating: 10/10 (19 January 2010)

No matter how one feels about Roman Polanski's personal life, one has to admit he has moments - sometimes days and months - of sheer genius. 1968's "Rosemary's Baby" is one example. A psychological horror film, Polanski depends on the power of suggestion and elements of mystery to build the story, which is very faithful to Ira Levin's novel.
It's very hard to write a review from the perspective of someone who has just seen Rosemary's Baby for the first time and has never read the book. I've seen it countless times, so I can't remember now what I thought originally. But a first-time viewer, I guess, wouldn't actually know whether Rosemary was paranoid and hysterical or, in fact, if there are really strange goings-on. This makes the story all the more potent.
In the book, Rosemary isn't the frail-looking woman that Mia Farrow is, but Farrow is perfect as the fragile, passive Rosemary. Cassavetes as her actor-husband does all the actor-y things of imitating different people, etc., and is great. Of course, Ruth Gordon is a standout as nosy Minnie Castevet, every mannerism, from looking at a soup can label to dropping by with chocolate mousse, is fantastic, and she deservedly won an Oscar and a Golden Globe for her performance. Polanski called on a cast of experienced stars for the supporting roles: besides Gordon, there is Maurice Evans, Sidney Blackmer, Ralph Bellamy, Patsy Kelly, and Elisha Cook, Jr. Tony Curtis is the voice of the unfortunate actor whom Guy replaces on Broadway.
Polanski sets up a compelling tale of religious conflict, ambition, terror, and isolation with the backdrop of New York City and the exterior of the famous Dakota (where John Lennon was killed) as the infamous building where Rosemary, Guy, and the Castevets live.
For those who are interested, Ira Levin wrote a sequel to this, "Rosemary's Boy," I believe, that takes place in 1999. But for my money, nothing could ever beat "Rosemary's Baby."