Rosemary's Baby 1968

In the autumn of 1965, New York City was awash with the golden hues of fall, a stark contrast to the eerie foreboding that enveloped the Woodhouse couple as they ventured into the labyrinthine Bramford building in Manhattan. Rosemary and Guy, played by Mia Farrow and John Cassavetes respectively, were a young married pair who had recently set up residence within the gothic walls of this storied edifice, much to the chagrin of their friend and landlord, Edward “Hutch” Hutchins (Maurice Evans). The building’s checkered past was riddled with tales of cannibalistic killers, Satanists, and witches, including the notorious Adrian Marcato, who had conjured up a scandal in the late 1890s by claiming to have summoned “The Living Devil.”

Despite these ominous warnings, Rosemary and Guy decided to take the plunge, enticed by the promise of new beginnings. Guy was an actor with a fledgling career, his portfolio filled with TV plays and commercials that had brought him financial success, but he yearned for something more substantial. Rosemary, on the other hand, was a gentle soul from Omaha, Nebraska, where she had been raised in a Catholic household and attended convent school. Her life in New York City was her haven, a place where she could escape the estrangement from her family, who disapproved of her marriage to Guy due to his mixed Jewish/Protestant heritage.

As Rosemary settled into her new life as a young housewife, dedicated entirely to making a good home for her husband, whom she adored, she found solace in her social circle and the comfort of her own company. However, this sense of security was short-lived, as fate had other plans in store. One fateful day, while doing laundry, Rosemary crossed paths with Terry Gionnoffrio (Victoria Vetri), a former drug addict who had been “rescued from the gutter” by the eccentric couple, Roman and Minnie Castevet (Sidney Blackmer and Ruth Gordon). The Castavets’ apartment was once part of their own, separated only by a partition.

Tragedy struck when Terry plummeted to her death from the bay window just days after Rosemary’s encounter with her. The Woodhouses were among those who witnessed the devastating scene, along with the Castevets, who seemed eerily unperturbed by the events unfolding before them. As they began to form an acquaintance with the grieving couple, Roman’s persistent attempts to speak privately with Guy only added to Rosemary’s growing unease. Her concerns were further exacerbated when Guy’s career received a sudden boost after his main rival, Donald Baumgart, suffered a debilitating loss of sight. With his new play dominating his every waking moment, Rosemary was left to navigate the treacherous waters of their marriage and the enigmatic Castavets, whose true intentions remained shrouded in mystery.

The tranquil atmosphere of Rosemary’s life is disrupted by an unexpected twist: Guy’s sudden desire to become a father. Her excitement is palpable as she prepares for “baby night,” with Minnie’s chocolate mousse - or, rather, “mouse” - making an appearance. However, the evening takes a turn when Rosemary complains about the unusual taste and texture of the dessert, prompting Guy’s ire. As tensions simmer, she discreetly hides the remainder in her napkin, a move that would later prove to be a harbinger of things to come.

As the night wears on, Rosemary’s world begins to unravel. A bizarre dream transports her to a surreal realm, where she encounters the Kennedys, witnesses a series of unsettling events, and finds herself beset by naked elderly individuals and an eerie, statue-like figure. The dream takes a dark turn when she is brutally assaulted by an inhuman force, leaving her crying out in despair. Just as all hope seems lost, Pope Paul VI appears to offer absolution.

Upon awakening, Rosemary’s body bears the physical scars of her traumatic experience. Guy offers a half-hearted apology for his actions while she was unconscious, but Rosemary’s anger and resentment simmer just below the surface. The successful “baby night” notwithstanding, Rosemary’s life is forever altered by this pivotal moment.

As news of her pregnancy spreads, the Castevets persuade her to consult Dr. Sapirstein, a prominent obstetrician with ties to their own upper-class social circle. Rosemary places her trust in his unorthodox advice and recommends Minnie’s enigmatic “vitamin drinks,” which contain the rare herb tannis root. Her first trimester is marked by physical pain and weight loss, causing concern among those around her - except for Guy, the Castevets, and their eccentric social circle, which includes Dr. Shand and Laura-Louise McBurney.

As Rosemary’s pregnancy advances, an insidious sense of foreboding settles over her, exacerbated by the conspicuous lack of empathy from those around her. In a desperate bid to drown her sorrows, she hosts a gathering for her young friends, a condition she insists upon, and makes it clear that the Castevets are strictly off-limits. Her girlfriends, including Elise and Joan Jellico (Marianne Gordon), Tiger Hoanigsen (Wende Wagner) among them, offer their candid assessment: Rosemary looks wretched and her pain is anything but normal. Convinced she needs a fresh perspective, she decides to consult a new doctor. Her husband Guy is less than thrilled about the development, leading to a heated argument that ultimately subsides when Rosemary’s suffering inexplicably ceases. The sudden cessation of her torment is accompanied by an unmistakable sensation: the baby stirs within her womb.

In the midst of this turmoil, an unexpected visit from Rosemary’s friend Hutch sets off a chain reaction. Roman and Minnie Castevet spot him, prompting Guy to return home in haste, as if summoned by some unseen force. Hutch’s curiosity gets the better of him as he quizzes Roman and Guy on various matters before departing, leaving behind one glove, which becomes a telling clue. Tragedy strikes when Hutch succumbs to a mysterious coma, only to expire shortly thereafter. Rosemary is left reeling upon receiving a book from Hutch’s companion, Grace Cardiff (Hanna Landy), intended as a personal gift. The tome, “All of Them Witches,” delves into the dark arts, featuring an entry on Adrian Marcato (his appearance familiar from Rosemary’s unsettling dream) and his son Steven. As she pores over the book, Hutch had left her with one final enigmatic message: the name is an anagram.

Rosemary’s Scrabble tiles hold the key to unlocking a terrifying truth: “Roman Castevet” is, in fact, an anagram for “Steven Marcato.” Her suspicions are thus confirmed: Roman, Minnie, and their excessively obliging associates are, in reality, practitioners of the occult. With this newfound understanding, Rosemary seeks out Dr. Sapirstein, informing him that she will no longer tolerate their involvement. The timing is fortuitous, as Sapirstein reveals that Roman is dying and intends to embark on a farewell tour across Europe. As Rosemary grapples with her guilt-ridden feelings, she bids the Castevets a fond farewell, unaware of the sinister forces that now converge around her.

As Rosemary’s due date of June 28, 1966, draws near, she uncovers a web of deceit that threatens to destroy her very existence. Guy’s seemingly innocuous behavior begins to take on a sinister tone as she discovers disturbing connections to the dark arts. It appears that witches are involved, and they have a peculiar fondness for babies - using them in their twisted rituals. Furthermore, these malevolent entities utilize the personal belongings of their intended victims to render them helpless or even fatal. Her suspicions piqued, Rosemary turns to Guy’s former rival, Donald Baumgart, who reveals that Guy had swapped neckties with him just before losing his sight. This revelation sends her reeling into a state of panic.

Seeking solace in the supposed wisdom of Dr. Sapirstein, Rosemary arrives at his office, only to have her worst fears confirmed by an innocuous comment from his secretary - the good doctor has a peculiar affinity for tannis root, more commonly known as Devil’s Pepper. This realization shatters any remaining trust she may have had in him, solidifying the notion that he is deeply embroiled in Guy’s sinister plans.

Rosemary finds herself trapped between despair and desperation as she implores Dr. Hill to intervene on her behalf. Initially, he seems receptive to her concerns, but his willingness to help is short-lived as Guy and Sapirstein arrive at the apartment, forcing Rosemary to barricade herself inside. Just as she manages to secure her door against their intrusion, they mysteriously gain entry once more, leaving her feeling vulnerable and helpless.

As the situation spirals out of control, Rosemary’s contractions intensify, and she finds herself forced to comply with Sapirstein’s demands, as he injects her with a sedative. When she awakens, Guy is by her side, announcing the birth of their son - a boy, he claims. However, this revelation is short-lived, as Sapirstein soon reveals that the infant has met its untimely demise.

The true horror unfolds as Rosemary realizes that the coven members have been collecting her breast milk, and she begins to hear the faint cries of an unseen baby emanating from the walls of her apartment. It becomes painfully clear that they have indeed taken her child, with plans to offer it up in some twisted dark ritual.

As the days blend together in a haze of medication and manipulation, Rosemary (Wood) seizes control of her own destiny, arming herself with a razor-sharp butcher knife and infiltrating the seemingly impenetrable partition between her apartment and that of the enigmatic Castevets. With calculated stealth, she disassembles the closet interior, revealing a hidden doorway that leads her into the heart of the mysterious flat. The atmosphere is heavy with foreboding as she surveys the scene before her: an oil painting of a burning church seems to whisper eerie truths in her ear, transporting her back to the haunting “dream” that has been plaguing her. As she takes in the surreal tableau unfolding before her, Rosemary’s gaze falls upon the gathered coven, their faces aglow with an otherworldly light. Minnie (Marcus) and Roman (Masso) sit alongside a host of unfamiliar faces, each one seemingly summoned from the farthest reaches of the globe - Japan, perhaps? A portrait of Adrian Marcato hangs above the mantle, its presence a jarring reminder of the sinister forces at work. As Rosemary’s eyes are drawn to the bassinet at the center of the room, her horror is palpable as she beholds the infant for the first time (though the camera mercifully shields our gaze). “He has his father’s eyes,” Roman observes with a cold detachment, and the coven confirms what can only be described as a monstrous truth: Satan is the father, not Guy. The revelation shatters Rosemary’s world, and she sinks into a chair, defeated by the cruel reality that has been unfolding before her. As she struggles to comprehend the magnitude of her situation, Guy (Paramount) finally reveals his true nature - an agent of the coven who made a pact for a successful acting career in exchange for Rosemary’s unwitting sacrifice. Her outrage is met with a cup of tea from Minnie, as Roman offers a twisted sense of solace: she need not join their dark ranks to be the baby’s mother. Though initially hesitant, Rosemary’s maternal instincts ultimately prevail, and she approaches the bassinet with a newfound sense of purpose. As she begins to rock the infant to sleep, her soft melody is punctuated by a gentle reprimand aimed at the witch rocking beside her: “You’re holding him too fast.” The coven protests initially, but Roman’s authoritative command brings the woman to heel. And so, Rosemary finds herself embracing her new role as mother, her love for the child tempered only by the crushing weight of her circumstances.