Rosemary's Baby
La, la, la, la, la, la, la-la-la-la-la
Ladies and Gentlemen: humbly submitted for your approval is the perfect horror film. Born of the turbulent 60s and based on the novel of the same name, Rosemary's Baby tells the story of a lapsed Catholic who is undergoing one hell of a pregnancy. As she comes closer to term, she slowly becomes convinced that there exists a plot against her and her unborn child, a conspiracy involving almost everyone in her life.
I really don't know where to begin with this film, there is so much going on, and all of it wonderful. It contains some the must sublime, natural and understated film acting seen in any genre. So genuine are the performances that it seems more realistic than the footage captured on "reality TV". Ruth Gordan won an Oscar for her portrayal of the nosy neighbor, Mrs. Castevet, but all four of the principle actors (Mia Farrow, John Casavettes, and Sidney Blackmer) could have won. They created living breathing characters so naturally, that it is difficult to distinguish actor from character. Mia Farrow especially provides a classic performance as Rosemary Woodhouse, the pained and obsessed mother-to-be. Also, say what you will about his personal life, Roman Polanski directed one hell of a film here. He was a virtual unknown when executive producer Robert Evans hand picked him to direct the movie, but Polanski directed the film with the swagger and confidence of an old pro.
The movie exists on two levels. One very rooted in the real world, in which Rosemary is genuinely frightened of the fact that her pregnancy is not going at all like she expected and her husband is growing more distant every day. She is also worried that the home remedies her neighbors are providing her are doing more harm than good. On another level though, Rosemary is afraid that there is a plot (a Satanic plot no less) against her and her child. She experiences unusual dreams before the pregnancy and notices coincidences and suspicious activity after she is pregnant. Is this just a case of severe pre-partum delusion and hysteria? Or is Rosemary's baby truly the focus of a coven of devil worshipers and "evil witches"?
It is to Polanski's credit that up until the very end, either option is possible. The scenes of domestic life are shot with a strong sense of realism, level angles, very little in the way of incidental music and dissolves eshued in favor of hard cuts. The dream sequences and scenes touched by the supernatural are decidedly more surreal, with more skewed angles, use of a disturbing score, subtle framing differences and dissolves between scenes. When the two worlds finally collide, we are frightened on a subconscious level before anything even happens. In our minds, we know that these worlds should not meet. We should not have calmness and normality in the presence of the coven and their dark magic. Nor should figures stalk across frame in the background while Rosemary is simply talking on the phone. But the fact that two very different worlds have collided can send shivers up your spine.
All of it due to Polanski's deft directing and his ability to craft two completely separate worlds and to meld them successful, as well as his very talented cast's ability to melt into their roles.
Again, the perfect horror movie, though not my favorite. That one is tomorrow.
Bit of trivia: While filming the movie, Mia Farrow was married to and madly in love with Frank Sinatra. Sinatra was filming a movie called The Detective and wanted Mia to appear in it too. She tried to explain that her schedule for Rosemary's Baby was running over. Sinatra wouldn't hear it. He issued an ultimatum to Mia: leave Rosemary's Baby or get divorced. Tearfully, Mia told producer Robert Evans that she needed to quit to movie. Evans cut together some of the dailies and let her see her performance. He convinced her that she was amazing in it, and would be throwing away a potential Oscar nod if she walked away. She agreed and stuck on the movie. True to his word, Sinatra had her served with divorce papers on the set in front of the cast and crew. After production wrapped, Mia asked Evans to have their movie open on the same day as Sinatra's The Detective, Evans agreed. Rosemary's Baby demolished it at the box office. Mia had one more request: that Evans take out two full page ads in Variety magazine. One with the grosses of The Detective the other with the grosses of Rosemary's Baby. However, good taste and professionalism persuaded Evans not to grant this request.
Hell Hath No Fury
La, la, la, la, la, la, la-la-la-la-la
Ladies and Gentlemen: humbly submitted for your approval is the perfect horror film. Born of the turbulent 60s and based on the novel of the same name, Rosemary's Baby tells the story of a lapsed Catholic who is undergoing one hell of a pregnancy. As she comes closer to term, she slowly becomes convinced that there exists a plot against her and her unborn child, a conspiracy involving almost everyone in her life.
I really don't know where to begin with this film, there is so much going on, and all of it wonderful. It contains some the must sublime, natural and understated film acting seen in any genre. So genuine are the performances that it seems more realistic than the footage captured on "reality TV". Ruth Gordan won an Oscar for her portrayal of the nosy neighbor, Mrs. Castevet, but all four of the principle actors (Mia Farrow, John Casavettes, and Sidney Blackmer) could have won. They created living breathing characters so naturally, that it is difficult to distinguish actor from character. Mia Farrow especially provides a classic performance as Rosemary Woodhouse, the pained and obsessed mother-to-be. Also, say what you will about his personal life, Roman Polanski directed one hell of a film here. He was a virtual unknown when executive producer Robert Evans hand picked him to direct the movie, but Polanski directed the film with the swagger and confidence of an old pro.
The movie exists on two levels. One very rooted in the real world, in which Rosemary is genuinely frightened of the fact that her pregnancy is not going at all like she expected and her husband is growing more distant every day. She is also worried that the home remedies her neighbors are providing her are doing more harm than good. On another level though, Rosemary is afraid that there is a plot (a Satanic plot no less) against her and her child. She experiences unusual dreams before the pregnancy and notices coincidences and suspicious activity after she is pregnant. Is this just a case of severe pre-partum delusion and hysteria? Or is Rosemary's baby truly the focus of a coven of devil worshipers and "evil witches"?
It is to Polanski's credit that up until the very end, either option is possible. The scenes of domestic life are shot with a strong sense of realism, level angles, very little in the way of incidental music and dissolves eshued in favor of hard cuts. The dream sequences and scenes touched by the supernatural are decidedly more surreal, with more skewed angles, use of a disturbing score, subtle framing differences and dissolves between scenes. When the two worlds finally collide, we are frightened on a subconscious level before anything even happens. In our minds, we know that these worlds should not meet. We should not have calmness and normality in the presence of the coven and their dark magic. Nor should figures stalk across frame in the background while Rosemary is simply talking on the phone. But the fact that two very different worlds have collided can send shivers up your spine.
All of it due to Polanski's deft directing and his ability to craft two completely separate worlds and to meld them successful, as well as his very talented cast's ability to melt into their roles.
Again, the perfect horror movie, though not my favorite. That one is tomorrow.
Bit of trivia: While filming the movie, Mia Farrow was married to and madly in love with Frank Sinatra. Sinatra was filming a movie called The Detective and wanted Mia to appear in it too. She tried to explain that her schedule for Rosemary's Baby was running over. Sinatra wouldn't hear it. He issued an ultimatum to Mia: leave Rosemary's Baby or get divorced. Tearfully, Mia told producer Robert Evans that she needed to quit to movie. Evans cut together some of the dailies and let her see her performance. He convinced her that she was amazing in it, and would be throwing away a potential Oscar nod if she walked away. She agreed and stuck on the movie. True to his word, Sinatra had her served with divorce papers on the set in front of the cast and crew. After production wrapped, Mia asked Evans to have their movie open on the same day as Sinatra's The Detective, Evans agreed. Rosemary's Baby demolished it at the box office. Mia had one more request: that Evans take out two full page ads in Variety magazine. One with the grosses of The Detective the other with the grosses of Rosemary's Baby. However, good taste and professionalism persuaded Evans not to grant this request.
Hell Hath No Fury
I'm gonna be partying in West Hollywood tomorrow night. I have my costume all picked out and I can't wait! Halloween is the best holiday ever!