Polanski's genius

Rating: 8/10 (17 February 2008)

His criminal record aside, it is obvious that Roman Polanski is a genius director. His ability to set up shots with a specific tone that grows evenly as the film proceeds is extraordinary. That is what makes this film work.
"Rosemary's Baby" is a slow burn thriller, one that starts innocently enough, but not exaggerated to the point where it's obvious that the character's lives are about to take a turn for the worse, but ever so gradually the gears start turning and the unsettling feeling starts to build. Polanski is no fool; he doesn't try to create two hours of terror (much like Hollywood does, but can't seem to understand that it has no idea what it's doing), he knows that Levin's story isn't like that. This decision saves the film from obvious doom. Actually, he constructs this film so well, that for a good portion of the film it's hard to believe that this is going to develop into a horror film.
Rosemary (Mia Farrow) and Guy (John Cassevetes) Woodhouse are a young married couple who are going to move into a new apartment. The one they pick is located next to the Castevets, a seemingly pleasant elderly couple. Guy takes an instant liking to the Castavets, but Rosemary finds them to be rather nosy, Minnie (Ruth Gordon) in particular. However, shortly after Rosemary gets pregnant, strange things start to happen.
The key to the success of any movie is its credibility (I use the word "credible" with the knowledge that some movies, such as Lord of the Rings, have no use for believability. The audience only has to buy them within its own context). Polanski understands this, and the way he chooses to develop this is not only effective, but completely original. Bad things start to happen when Rosemary takes the advice of the Castevets, if only out of politeness. For example, when Minnie asks her what doctor she is seeing, Minnie insists that she see a different one, one that she trusts. Rosemary is already comfortable with her own doctor, but being polite she takes Minnie's advice (I suppose it helps that the doctor Minnie suggests has a good reputation too, which, in the hands of Polanski and his excellent actors, enhances the credibility instead of making it overkill).
The performances are excellent. Mia Farrow and John Cassevetes make a great couple with tremendous chemistry. It's easy to believe that they are a loving husband and wife. The other two principal characters, Minnie and Roman (Sidney Blackmer) are perfect equals to the Woodhouses. They don't develop the Castavets as characters, instead they act like a real elderly retired couple. Ruth Gordon is especially good at this, but perhaps that's because she has a good deal more screen time than her on screen husband. Everyone can see a lot of an elderly retired woman with a lot of time on her hands. Someone who loves to socialize, and is helpful to the point where it is a turnoff to others (though she doesn't realize it). This level of credibility can only come from a talented director and a terrific cast of actors who really care about the project they are working on.
I guess for some people, adding the element of "is she crazy or is this for real" gives a film another level of complexity, and heightens the level of fear. Maybe its because I've seen a number of films like this recently (the beginning of "The Descent" being one of them), or maybe it's just a personal preference, but I find that being able to put a face on my fear more refreshing (provided it's done well). Nevertheless, this uncertainty is conveyed perfectly, as I can say with absolute truthfulness that until the time that Polanski intended for the truth to come out, I had no idea if Rosemary was crazy or not.
Kudos to Polanski for being able to hold everything together for the whole film, at least until the final shot (warning: MAJOR SPOILER ahead). When Rosemary was pressured by Roman Castavet to be a mother to her child (being the newly spawn of Satan), I didn't buy her giving in. Her erratic fear that made up the majority of the film was too potent for that kind of an about face.
Still, this is a good little chiller. Not too frightening or disturbing, and except for the aftermath of a "suicide", there's no real violence or gore to speak of. It's the mark of a superb chiller, one that doesn't use violence and gore to make up for it's lack of ideas and skill.