Malgré les conseils de leur ami Hutch, Guy et sa femme, enceinte, s’installent dans un vieil immeuble new-yorkais considéré comme une demeure maléfique. Aussitôt, leurs voisins, les Castevet, imposent leur amitié et leurs services. Si Guy accepte facilement ce voisinage, Rosemary s’en inquiète.
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Polanski, for all his insanity about women and sexuality, nailed the putrid plight of the twentieth century woman, and, let’s face it, 21st century women too. Besides its unparalleled aesthetics–young Farrow alone!–that liberationist rage is why I clamor to the film again and again.
It’s one of my favorite horror movies, and probably one of yours, too, though it now seems much closer to 60s/70s paranoia thrillers than it does to today’s horror flicks. This also means Rosemary’s Baby faces the obstacle that all paranoia thrillers face: namely, we figure out what’s going on long before the hero(ine), and then have to wait for them to catch up. But that’s just the raw framework, and Rosemary’s Baby hangs on it a richly detailed story
It’s like being stuck in a satanic vortex of mansplaining where you’re going to have to accept your devil child or run far, far away just to get these people to stop talking AT YOU… Well, for Rosemary, the love of the child supersedes devil worshipers, the medical profession and her terrible husband, and she will accept her newborn, no matter what they’ve done to his eyes. It’s, in the end, heartbreaking and extremely touching.
35mm, rewatched, re-rated. Cinematography by William A. Fraker and music by Krzysztof Komeda. It's a very interesting script in its accumulation of paranoia, but also boring in its constant reiteration. Polansky, always so overrated, seems to have filmed a landmark horror movie, when, after all, he has accomplished an appreciable work of industrial craftsmanship. Mia Farrow is insuperable.
I know I'm ignoring the point, but Rosemary is such a very stupid woman from beginning to end that I couldn't sympathize, which eradicates any of the horror aspects for me. It'd be far more chilling if I felt that she was smart and trapped rather than so trapped in the social mores of the time that she is unable to think straight until it's too late.
Instead of stupid jumpscares, the horror here is psychological. I think Mia said it was a very pleasurable experience working on this film. The fact that her life intertwined with Polanski and Woody Allen probably has a little to do with how she can look like a little girl. I love love love Cassavetes who plays a stinker.
Tenho de dizer que o guarda roupa é simplesmente incrível. Fiquei agarrado até ao final e a certa altura gostei tanto do filme que quis que ele durasse para sempre. O final é uma desilusão ligeira, mas talvez porque a tradução do título em português é um ultraje. Dei cinco estrelas de qualquer forma: merece-as todas.
"Rosemary's Baby" is a really haunting tale about a woman that is carrying the Devil's child. I love the very suspenseful atmosphere and how we can relate to Rosemary as she is finding herself more and more caught up in all the craziness surrounding her pregnancy, her husband and the strange couple of elderly neighbors...
For me, it has one of the best movie posters ever created!
Re-watched (good time of year for it) and was struck for the first time by how hilarious it is. Ruth Gordon and Sidney Blackmer are a masterclass in scenery-chewing. "I seem to have overfilled the glasses!"
I watched it again recently, and it really was a marvelous performance by Mia Farrow. I loved the way she and Cassavetes played off each other, although he is better behind the camera than on screen. It isn't so much a horror story as it is a dark comedy on our infatuation with the occult.
The greatest and creepiest horror film of all time!!! Polanski introduced to us a fascinating story with satanism and prepartum deliria as the main subjects. the world wouldn't be the same after this film, from a cinematic view as well as for the consecuences led by it.