Final Day! Thursday, July 11

ROSEMARY’S BABY

  • 3:15
  • 8:30

$7 Member   $12.50 Regular

Directed by ROMAN POLANSKI

NEW RESTORATION

Starring MIA FARROW and JOHN CASSAVETES

ROSEMARY’S BABY

(1968) Despite their fab new Upper West Side apartment in the venerable Dakota (doubling for the infamously storied “Bramford”), complete with eerily avuncular neighbors Sidney Blackmer and Ruth Gordon (the latter in an Oscar-winning performance by turns hilarious and chilling), nice kid Mia Farrow’s career-obsessed actor husband John Cassavetes is still looking for that big break. But then a Broadway lead looms when the star mysteriously goes blind, and Farrow gets in the family way after an evening of wild love-making — but wait...was that hubby, or some sort of horned beast? Suddenly every harried mom-to-be’s nightmare seems true, with Farrow getting no help even from her obstetricians, 30s fifth-wheel legend Ralph Bellamy (here beardedly creepy) and weasely Charles Grodin. Horror-gimmick-meister William Castle (The Tingler, Homicidal, Macabre) took his one shot at bigtime producing when he bought Ira Levin’s bestseller, then only got to kibbitz when Paramount studio chief Robert (The Kid Stays in the Picture) Evans handed the directorial reins to Polish wunderkind Roman Polanski, who brought his penchant for no-exit situations and crumbling sanity amid banal settings (Knife in the Water, Cul-de-Sac, Repulsion) to mainstream, big-budget horror. Revitalizing and legitimizing a once-B-grade genre, Rosemary paved the way for future blockbusters like The Exorcist, Jaws, The Omen, and Alien. DCP.

A PARAMOUNT PICTURES RELEASE

ROSEMARY’S BABY

REVIEWS

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*****! [5 stars]
[5 STARS!]
CRITICS' PICK!
"Rosemary's Baby has lost none of its power to shock and awe!"

– Time Out New York

“CONFIRMED POLANSKI AS MASTER OF THE MACABRE... HITCHCOCK’S HEIR APPARENT!”
– J. Hoberman

“Supremely intelligent and convincing... Sexual politics, urban alienation, and a deeply pessimistic view of human interaction permeate the film, directed with a slow, careful build-up of pace and a precise sense of visual composition. Although it manages to be frightening, there is little gore or explicit violence; instead, what disturbs is the blurring of reality and nightmare, and the way Farrow is slowly transformed from a healthy, happily-married wife to a haunted, desperately confused shadow of her former self. Great performances, too, and a marvellously melancholy score by Krzysztof Komeda.”
– Geoff Andrew, Time Out (London)

“A brooding, macabre film, filled with the sense of unthinkable danger. Strangely enough it also has an eerie sense of humor almost until the end. It is a creepy film and a crawly film, and a film filled with things that go bump in the night.”
– Roger Ebert

“It’s genuinely funny, yet it’s also scary, especially for young women: it plays on their paranoid vulnerabilities. The queasy and the grisly are mixed with its entertaining hipness. (It’s probably more fun for women who are past their childbearing years.) Mia Farrow is enchanting in her fragility: she’s just about perfect for her role. And the darkly handsome Cassavetes is ideal as the narcissist who makes the deal for a cloven-hoofed infant.”
– Pauline Kael

“Released at a time when horror mostly meant Vincent Price in a goofy cape, Roman Polanski’s realistic supernatural drama was a transfusion of thick, urbane blood. Much of the movie’s revolutionary impact should be credited to the city itself: The Dakota looms menacingly, every bit the Gothic pile as any Transylvanian vampire’s mansion. A young couple, played by Mia Farrow (in a fashion-forward NYC pixie cut) and John Cassavetes, moves in—they’re recognizable enough. But in another one of the film’s clever subversions, the perennial lovable but nosy neighbor (Ruth Gordon) hides an evil intent. Weird obstetricians, mysterious night noises and even Farrow’s improvised stroll into actual oncoming traffic add up to a bustling nightmare that’s spawned many a Black Swan since.”
– Joshua Rothkopf, Time Out New York

"“What makes Krzysztof Komeda's opening lullaby from Rosemary's Baby so uniquely unsettling? Is it that Mia Farrow isn't given any words to sing? That by giving disaffected voice to a musical statement that has no context, she's essentially acting as a vessel? Roman Polanski's hit adaptation of Ira Levin's occult novel may focus on Farrow's harrowing performance as Rosemary with nearly as much centrality as the director did on Catherine Deneuve in Repulsion, but the devil is in the details surrounding her, acting upon her, sneaking behind her, and forcing their will into her womb. Levin's book ends on an exclamation point, but Polanski wisely closes with a question mark."
– Eric Henderson, Slant

“Pregnant women should see it at their own risk.”
– Motion Picture Herald