input: From contemporary reviews, Renata Adler wrote in The New York Times that "The movie--although it is pleasant--doesn't seem to work on any of its dark or powerful terms. I think this is because it is almost too extremely plausible. The quality of the young people's lives seems the quality of lives that one knows, even to the point of finding old people next door to avoid and lean on. One gets very annoyed that they don't catch on sooner." Variety stated, "Several exhilarating milestones are achieved in Rosemary's Baby, an excellent film version of Ira Levin's diabolical chiller novel. Writer-director Roman Polanski has triumphed in his first US-made pic. The film holds attention without explicit violence or gore... Farrow's performance is outstanding." The Monthly Film Bulletin stated that "After the miscalculations of Cul de Sac and Dance of the Vampires" Polanski had "returned to the rich vein of Repulsion". The review noted that "Polanski shows an increasing ability to evoke menace and sheer terror in familiar routines (cooking and telephoning, particularly)" and Polanski has shown "his transformation of a cleverly calculated thriller into a serious work of art." Ruth Gordon won the Academy Award for Best Supporting Actress for her performance in this film. Today, the film is widely regarded as a classic; the review aggregator website Rotten Tomatoes gave the movie a 99% rating (68 out of 69 reviews), with the site's consensus describing it as "A frightening tale of satanism and pregnancy that is even more disturbing than it sounds thanks to convincing and committed performances by Mia Farrow and Ruth Gordon". In 2014, Rosemary's Baby was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the National Film Registry. Rosemary's Baby was one of Stanley Kubrick's favorite films, according to his brother-in-law and assistant Jan Harlan.

Answer this question "What else is notable about this film?"
output: The film holds attention without explicit violence or gore... Farrow's performance is outstanding."

input: Harrison's enduring fantasy sequence concerning the fictitious city of Viriconium consists of three novels and various short stories and novels written between 1971 and 1984. Viriconium is known as the Pastel City. Both universal and particular, the city has a shifting topography and history, and is sometimes known by names such as 'Uroconium'. The first book, The Pastel City (1971), presents a civilization in decline where medieval social patterns clash with the advanced technology and superscience energy weapons that the citizens of the city know how to use but have forgotten how to engineer. The more complex second novel is A Storm of Wings (1982). It is set eighty years later than The Pastel City. and stylistically it is far denser and more elaborate. A race of intelligent insects is invading Earth as human interest in survival wanes. Harrison brilliantly depicts the workings of civilization on the verge of collapse and the heroic efforts of individuals to help it sustain itself a little longer. The third novel, In Viriconium (1982) (US title: The Floating Gods), was nominated for the Guardian Fiction Prize during 1982. It is a moody portrait of artistic subcultures in a city beset by a mysterious plague. Where the previous books in the series held some sword and sorcery elements, In Viriconium goes beyond black humour into a coma of despair. The short story "A Young Man's Journey to Viriconium" (1985; later retitled "A Young Man's Journey to London") is set in our world. It explains that Viriconium can be visited via a mirror in a bathroom in a cafe in England.

Answer this question "when was pastel city written?"
output: (1971),

input: When AIDS appeared in France's news around 1982, Nureyev took little notice. The dancer tested positive for HIV in 1984, but for several years he simply denied that anything was wrong with his health. However, by the late 1980s his diminished capabilities disappointed his admirers who had fond memories of his outstanding prowess and skill. Nureyev began a marked decline only in the summer of 1991 and entered the final phase of the disease in the spring of 1992. In March 1992, living with advanced AIDS, he visited Kazan and appeared as a conductor in front of the audience at Musa Calil Tatar Academic Opera and Ballet Theater, which now presents the Rudolf Nureyev Festival in Tatarstan. Returning to Paris, with a high fever, he was admitted to the hospital Notre Dame du Perpetuel Secours in Levallois-Perret, a suburb northwest of Paris, and was operated on for pericarditis, an inflammation of the membranous sac around the heart. At that time, what inspired him to fight his illness was the hope that he could fulfill an invitation to conduct Prokofiev's Romeo and Juliet at an American Ballet Theatre benefit on 6 May 1992 at the Metropolitan Opera House in New York. He did so and was elated at the reception. In July 1992, Nureyev showed renewed signs of pericarditis but determined to forswear further treatment. His last public appearance was on 8 October 1992, at the premiere at Palais Garnier of a new production of La Bayadere that he choreographed after Marius Petipa for the Paris Opera Ballet. Nureyev had managed to obtain a photocopy of the original score by Minkus when in Russia in 1989. The ballet was a personal triumph although the gravity of his condition was evident. The French Culture Minister, Jack Lang, presented him that evening on stage with France's highest cultural award, the Commandeur de l'Ordre des Arts et des Lettres.

Answer this question "What is notable about that appearance?"
output:
The ballet was a personal triumph although the gravity of his condition was evident.