A (Halloween) Trip (Back) To The Movies: Review – “Rosemary’s Baby” (1968) 10.18.15

One could say to some degree of authenticity that William Friedkin’s original “The Exorcist” (1973) is the “scariest” horror film of all time. It could also be said that Stanley Kubrick’s “The Shining” (1980) is the most “well made” horror film of all time. If both of these are true, which I personally believe them to be, than Roman Polanski’s “Rosemary’s Baby” (1968) is the most disturbing horror film of all time.

What a lot of people don’t know, or think of when they think of the great Polish director Polanski, is how significant of a contribution 3 of his films were that he made across the sixties and seventies. In fact, his 1-2-3 punch of “Repulsion” (1966), “Rosemary’s Baby” (1968), and “The Tenant” (1976), otherwise known as Polanski’s “Apartment Trilogy”. Are maybe the three single greatest examples of psychological horror that were released following on the foot heels of Alfred Hitchcock’s “Psycho” (1960) — still considered by many to be the first psychological horror film of all time. But of the three, “Rosemary’s Baby” was Polanski’s most successful film (it was made on a modest (even for then) budget of 3.2 million and brought home 10 times that at the box office) as well as his being his most highly regarded. But what really became clear and true to me upon this viewing, the first time I had ever seen it on the big screen, was how timeless the film actually seems. Even now 47 years later it doesn’t even in the remotest bit seem outdated at all. And still packed just as much of a wallop now as one could only imagine it did then.

Since most people I know have either a) never seen this film or b) haven’t seen it in many years or in some cases decades Iike me (I think my first and last viewing of it before this night was as a teenager in the mid nineties) I will provide a short synopsis. The story revolves around Rosemary Woodhouse (the excellent and superb Mia Farrow) and her husband (the great director and actor John Cassevetes) who move in to their dream home apartment in an upper crust section of New York City. The two are trying to get pregnant with their first child, and seemingly want to be left alone. That is until they meet their neighbors (played by the effectively creepy Sidney Blackmer and Ruth Gordon — the latter of whom’s performance earned her an Oscar nomination and win for Best Supporting Actress at the Oscars the following year). In fact, they start to meet a circle of friends, and as their life grows increasingly complicated, particularly that of Rosemary’s, when they start to feel surrounded and everything seems to be mysteriously linked, out the door goes their idea of marital security and as the story progresses it is revealed that everything isn’t what it seems and those people around them just might have other ideas for how they want Rosemary’s pregnancy to go once she does find out for certain that she is pregnant with her first child.

Polanski here tackles a number of different themes, some of which would become his signature trademark ones, but those in which up to this point in film history, had never been explored on-screen. Betrayal, corruption, marital trust, the illusion of friends and family, the boundaries of sanity, the mysteries of women’s psyches, as well as urban hysteria, all are expertly interwoven into Polanski’s Oscar nominated adapted screenplay. Many of the film’s iconic scenes and characters from the film are etched into viewers minds forever. Farrow hunched over a kitchen sink gnawing raw animal flesh, the dreamscape rape/consummation which is far more unsettling for what is suggested than actually shown. Ruth Gordon’s evolving over the film from friendly elderly neighbor to something much more sinister, and the film’s grand finale, with Rosemary entering “the gathering” of people in her apartment building with a knife. But even despite these completely and totally unnerving scenes, it is the overall Satanic aspect of the film that really makes your skin crawl and taps into some of our own’s most visceral fears.

Polanski’s magnificent weaving together of these elements as well as his masterful manipulation of these existential fears are what gives the film’s its true raw power. As previously hinted at, time has done nothing to diminish the film’s taut and meticulously focused building sense of dread and unspeakable horror. And for those of you who like me that are previously familiar with the film it can only keep them in awe of Polanski’s fine attention to detail, his rhythm and pacing, the skill in which he films his actors and the performances he gets out of them, and the fine script he adapts for the screen. Which all make it a landmark achievement and contribution to the horror genre, and truly one of the finest examples, certainly one of the first and most daring, original psychological horror films ever put on-screen. One that will go down in history as one of my top 3 favorite horror films of all time.

[A+]

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Weekend Recap (Part 2): The Second Trip To The Movies – “Clouds of Sils Maria” + A New-To-DVD Release – “The Seven Five” (6.7)

Clouds of Sils Maria - Poster

Today marked my fourth movie of the weekend, and the second I ventured out to the theater to see. Olivier Assayas’ “Clouds of Sils Maria” had been on my radar since it was picked as the opening night debut film at last year’s Cannes Film Festival and was up for competition as a Palme d’Or nominee. Not only that, but I had seen many of the French director’s previous works: films like “Irma Vep” (1996), “Demonlover” (2002), “Boarding Gate” (2007), and 2010’s epic masterpiece “Carlos” – which was presented in 2 forms: as a cable TV-Miniseries or a shortened 2-part film. Assayas is another in the long list of French directors (Gasper Noe, the Dardennes, and Jacques Audiard) (to name a few) that I anticipate their releases with much enthusiasm as I become more and more familiar with their body of work.

“Clouds of Sils Maria” boasts an incredible female cast with Juliette Binoche (probably the most famous French actress of our time), Kristen Stewart (whose career trajectory post the “Twilight” franchise is showing some serious promise), and Chloe Grace Moretz (of “Let Me In” and the “Kick Ass” movies). It revolves around a famous movie and stage actress (played by Binoche) who is given the opportunity to play a lead part of an older woman in a play that brought her international success when she played the other lead part in the same play of a much younger woman 20 years prior. The playwright unexpectedly dies as she’s in route to give an acceptance speech in his honor. This devastates Binoche’s character as this was a man who she essentially put her on the map and of whom she owes her career to. The playwright’s wife, not being able to stand being in her deceased husband’s house, allows Binoche and her assistant (played by Stewart) to stay at in their beautiful home in the Swiss Alps while she prepares for her upcoming role in the play which she hesitantly agrees to sign onto. Throughout the preparation process for her role she discovers a lot about who she is, finding a number of truths about both herself and the part in which she’s agreed to play.

If my bare bones synopsis of the film doesn’t sound appealing, that don’t be fooled. This was a remarkable film with incredible performances by Binoche (whose performance could earn her a spot on next year’s red carpet if this movie winds up being considered a 2015 release), Kristen Stewart (who has never been better here and is a shoo-in for Best Supporting Actress at next year’s Academy, having already won the Cesar award for the same category at this year’s French Oscars), as well as Chloe Grace Moretz who does her best Lindsay Lohan impression as a young starlet whose private life is tumultuous and widely documented over the internet. Assayas depicts some of the most breathtaking cinematography that I’ve seen in almost any film this year. Further proving why he’s one of the best directors to have come out of France in the past 20 years. As for the story and script, it’s spot on, and both Binoche and Stewart create some great on-screen chemistry as the aging actress and her assistant. Stewart puts in a career best performance here that is equally impressive seeing as how she has to act off of an actress as talented as Binoche. This is a film that has gotten praise from most critics, and deservedly so, that I was glad that I caught in the theater as I found myself both intellectually and emotionally invested in throughout. This should please fans of both more commercial and art house audiences alike. [B+]

Second up was the new-to-VOD crime documentary “The Seven Five”, about the dirtiest cop in NYC history, Michael Dowd. These kinds of documentaries, particularly as of late, having just watched HBO Documentary films like “The Jinx: The Life and Deaths of Robert Durst” (2015) and “Tales of the Grim Sleeper” (2014) both of which I found utterly fascinating in their depictions of ruthless criminals. A part of me was a bit reluctant going into this one, because to be honest, I’ve seen the dirty cop formula done in a plethora of different feature films like Abel Ferrera (1992) and Werner Herzog’s (2009) “Bad Lieutenant” films. But what got me sold on this one was simply the poster’s tagline – “In 1980’s Brooklyn The Most Notorious Gangsters Were New York City Cops”.

The documentary instantly grabs you from the beginning, when in 1992, New York City police officer Michael Dowd testimony is shown in archival footage as he faces indictment on charges for both racketeering and drug trafficking. The judge asks him a serious of questions of just about every crime that an individual could possibly commit, never mind a police officer, which Dowd says yes and pleads guilty to just about every single one. Flashback 10 years earlier, and we are shown how the young Dowd, not being satisfied with his measly $600 a week paycheck, was allured into getting himself involved in just about every single criminal act of corruption that a police officer could get themselves involved with. He stole money, burglarized homes, held up places where he knew large amounts of money were, etc…to support a lifestyle where he could do just about anything he wanted, bringing in and involving other officers, particularly one by the name of Ken Eurell, who would become his both his police partner and partner in crime as he commits the countless acts of corruption over the ten-year period (1982-1992).

This was another fascinating story of police corruption told through a series of candid interviews mostly focusing on the recently released Dowd (who served 12 years in prison) and his ex-partner Eurell. It’s not only a great examination of police corruption at its highest level but also says a lot about the cop “ethos”, which is to never rat someone out no matter what level of corruption they’re involved in. Cops live by a sort of “moral code” to protect one another and it is talked about and depicted here and brazenly truthful honesty that makes it one of the first documentaries I’ve seen to really delve into and explore this to such an extent. The trajectory and pacing of the film is well done as we’re almost sold on Dowd’s reasons for abusing his power, seeing his climb to greatness, only to see the downfall of his decline. For fans of the crime documentary this is one worth recommending, even if its presentation of the material seems a bit scattered it’s one that’s both compelling and riveting to warrant a recommendation. [B]