Elaborate metaphor for coming to terms with new in-laws?

Rating: 10/10 (26 July 2008)

I've just returned home from a midnight theatrical screening of RB at the Nuart Theater in Los Angeles. It is early a.m. on 26 July 2008. The print shown at the Nuart was an "archival print" from Paramount (or so we were told prior to the screening). The print screened was flawless and well worth the $10.50 ticket price. I've seen RB before, but never in a theater. What a rare experience.
I should say that I consider RB to be the greatest horror film of all time. I think this because its suspense and horror are psychological and implied rather than physical and explicit (which is what seems to be the norm in the horror genre today). You're drawn into the story because the characters are normal and everyday rather than exceptional, freakish, and/or overwrought.
In terms of my perceptions/thoughts about the deeper themes of RB, on this viewing I've gone beyond the usual and more obvious viewer's concerns (the Devil; Rosemary's hysteria that builds throughout the film) and hit on what I think may be a novel take on the story.
If one assumes the Castevets (Minnie and Roman played by Ruth Gordon and Sidney Blackmer respectively) and the witch coven to be a stand-in for husband Guy's family, is the entire story an elaborate metaphor for a young wife adjusting to new in-laws? (This idea is not without humor, of course.)
The (mostly) young women at the screening, in particular, seemed enthralled by the story, told, as it is, with Rosemary at its center. Was their enrapture a form of apprehension looking, as they are, ahead in their lives rather than backward? I've never read any critical analysis of RB, so it's possible that my ideas are not original.
What do you think?