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This beloved picture follows titular character Rosemary (Mia Farrow) and her husband, Guy (John Cassavetes), as they move into vintage apartment building the Bramford. During their stay there, the young couple meets Minnie and Roman Castevet (Ruth Gordon and Sidney Blackmer), a seemingly friendly older couple who we eventually learn are harboring their fair share of secrets. When Rosemary learns that she is with child, she’s initially elated, but following a series of unforeseen complications, her pregnancy becomes a literal hell on earth.
Rosemary’s Baby Is a Standout Effort That More Than Earns Its Near-Perfect Rotten Tomatoes Score

The film was met with much acclaim when it first bowed before audiences in 1968, and little has changed since. If anything, this feature is even more beloved by modern audiences. Both movie lovers and film scholars connected with the picture’s expert-level tension-building. Director Polanski utilizes long takes and closely cropped shots to pull the viewer into the proceedings and unnerve them in the process. He additionally employs an eerie score by Krzysztof Komeda that features a series of discordant interpretations of the lullaby Rosemary sings early on in the film.
The aforementioned lullaby features prominently throughout, unnerving viewers with a sense of cognitive dissonance because the initially innocent sounding melody gradually grows more intense and cacophonous as the narrative builds to a crescendo. It is subtle flourishes like that which elevate this picture to the level of greatness.
Polanski proves a master of his craft by largely eschewing jump scares and brutal acts of unseemly violence and instead builds tension by gradually making us question our sanity. Like Rosemary, audience members begin to wonder what’s real and what’s imagined. The sense of paranoia and distrust continues to grow throughout, ultimately culminating in an unforgettable denouement that plays out like a swift punch to the gut.








