Rosemary's Baby (film)
"Rosemary's Baby" is a 1968 horror film directed by Roman Polanski, based on the novel by Ira Levin. The story follows a young couple, Rosemary and Guy Woodhouse, who move into a New York apartment building and befriend an elderly couple, Minnie and Roman Castevet. After experiencing a disturbing nightmare involving a satanic ritual, Rosemary becomes pregnant and notices strange behavior from those around her, including her husband, who suddenly achieves unexpected success. As Rosemary becomes increasingly paranoid, she suspects that her child may be the offspring of Satan and finds herself ensnared in a sinister conspiracy involving her husband, the Castevets, and her doctor. The film culminates in a shocking revelation about the true nature of her child, leading to a complex emotional climax where Rosemary's maternal instinct overrides her horror. Notable for its exploration of taboo themes, "Rosemary's Baby" redefined the horror genre by focusing on psychological terror rather than traditional monsters, leaving an indelible mark on cinema. Its release coincided with a shift in film ratings, allowing for more adult content, which contributed to its controversial reception and lasting impact on horror filmmaking.
Rosemary's Baby (film)
Released: 1968
Director Roman Polanski
The controversial film about the conception and birth of Satan’s son. Some people believed it exemplified the nation’s moral decline; others felt it redefined the horror genre; and still others saw it as a product of the social, religious, and political turmoil of the 1960’s and a harbinger of further chaos.
Key Figures
Roman Polanski (1933- ), director
The Work
In Rosemary’s Baby, a young New York couple, Rosemary and Guy Woodhouse, become friends with an older couple, Minnie and Roman Castevet, living in their apartment building. Rosemary has a vivid nightmare of a satanic ritual culminating in her rape by a demonic figure. She dismisses it as just a dream until she becomes pregnant, her struggling actor husband suddenly becomes successful, and the Castevets take an unusual interest in the welfare of the unborn child. Soon Rosemary is convinced she is carrying the devil’s child and is trapped in a web of conspiracy involving Guy, the Castevets, and even her obstetrician. Although she was informed that her baby was born dead, Rosemary discovers it in the Castevets’ apartment in a black-swathed cradle with a crucifix hanging upside down above it. The Castevets and other Satanists hail the coming of Satan in the flesh as Rosemary wails in despair. Yet Rosemary’s motherly instinct prevails, and she agrees to care for the child. The film ends with her gently rocking the cradle and singing softly to the baby.
Impact
Rosemary’s Baby, based on Ira Levin’s novel of the same name published in 1967, was released in 1968, the year the new Motion Picture Association of America rating system went into effect, clearing the nation’s screens for more adult-oriented material. The film’s discreet nudity, the bloody aftermath of a suicide, and its fairly explicit rape scene shocked viewers unaccustomed to such sights in films. Just the screen treatment of Satanism (especially with the Satanists triumphant at the end) outraged enough people that the film’s producer, William Castle, received death threats and had to be hospitalized. The film redefined the horror genre by dealing with formerly taboo topics and eschewing the on-screen monsters typical of earlier 1960’s films for a never-seen yet more terrifying menace. Many audience members gave grisly descriptions of the baby, fully believing they had seen it, although it is never actually shown in the film. Rosemary’s torment, the conspiracy she suspects but can’t quite prove, and the promise of more chaos and horror to come (“Here’s to the year one!” Roman Castevet declares) can easily be seen as reflecting the anguish the United States was experiencing on so many levels during the 1960’s. The then-popular motto of youth, Trust No One Over Thirty, is perfectly mirrored in the vast age difference between Rosemary and the elderly Satanists.
Related Works
The Exorcist, released in 1974, is the most closely related work in terms of content and theme. Note that the film that Chris MacNeil is making before her daughter becomes possessed by a demon is a typical 1960’s youth rebellion film. In 1997, Ira Levin published Son of Rosemary: The Sequel to Rosemary’s Baby.
Additional Information
A more detailed discussion of the book and film can be found in Douglas Fowler’s Ira Levin (1987).