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 Even now 47 years later it doesn’t even in the remotest bit seem outdated at all.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+]

Advertisements

Review: ‘Venus in Fur’ 10.1.14

It’s great to start off a new month with a much anticipated new film by one of your favorite directors. Polish director Roman Polanski is one of maybe 10 directors that have been around for decades that I can think of where I can honestly say that I’ve probably seen about 75 – 90% of their entire body of work.  That’s saying a lot considering the guy has been around making and producing feature films since the early 1960’s. If Alfred Hitchcock became the real first “psychological horror” director with his 1960 release “Psycho”. Then one could argue that Polanski was his successor. Polanski’s 1-2-3 punch of “Repulsion” (1965), “Rosemary’s Baby” (1968), and still my favorite – “The Tenant” (1976) took art house audiences by storm. Polanski broke new ground in psychological horror and became one of if not the most influential directors in the genre during that time. Period. These days almost every time I hear about a newly original and inventive psychological horror film people will use the tagline “it’s reminiscent of early Polanski”. And with a couple of rare exceptions (Ti West’s “The House of the Devil” (2009), Rob Zombie’s “The Lords of Salem (2013)) it doesn’t turn out to do be true. He is the master of the slow burn, wait for it, pound you over the head structure But rather then being pigeonholed to one specific genre Polanski went on to make such great films as his 1974 masterpiece “Chinatown”, 1979’s “Tess”, and the 2003 film where he won his first Oscar for Best Director – “The Pianist” (though was not present to receive because he is exiled from America). Along with the aforementioned films I also thoroughly enjoyed Polanski’s 1988’s “Frantic”, his 1994’s psycho-sexual thriller “Death and the Maiden”, as well as his more recent efforts like 2010’s “The Ghost Writer” and 2012’s “Carnage”, the latter of which was adapted from the famous stage play of the same name. It was in this film that we first got to see Polanski start to get in touch with his more theatrical side.

“Venus in Fur” is yet another stage-to-screen adaptation based on David Ives’ Tony Award winning play which derives from the source novel by Leopold von-Sacher Masoch. The story revolves around a theatre director (played here by the instantly recognizable character actor Mathieu Almeric) who’s holding auditions for his new play. It’s getting to be after hours and auditions seem to be over. That is until a young, rather attractive woman (played remarkably by Emmanuelle Seigner) stumbles in though looking rather disheveled. The director at first seems put off by her neediness. His first impression is that she’s just an amateur just looking to land a role so she can get a paycheck. And because of this he practically shuns her off. However, she continues to be persistent and doesn’t seem to want to take no for an answer. So eventually he winds up throwing his hands up in the air, lets his wife know that he’s going to be late, and gives her the audition she so desperately wants. That’s when things really start to get interesting and the line between being able to tell their stage selves apart from their real selves becomes blurred.

I’ll first start off by saying this film really took me by surprise. Even given that it was Polanski I didn’t necessarily have high expectations for it. But even at the ripe old age of 81, Polanski once again proves to us here that he can really deliver the goods and shows us why he has been able to prevail as a film maker and still remain relevant throughout all these years. It’s simply a master class in the art of theatre. He does an incredible job grabbing the audience’s attention with the play’s razor sharp dialogue which would be nothing without the two exceptional leads. Both of which whom give very fine performances. The fact that it takes place on one single set with only two actors involved for the entire duration of the film yet still somehow manages to be so effective is astonishing. Polanski practically demands interest on behalf of the viewer, grabs a hold, and doesn’t let go. If anything the grip keeps on tightening. The chemistry between the two leads is nothing short of spellbinding. As if they couldn’t have possibly paired up a better set of actors with one another. It’s a total actor’s showcase. Anybody interested in what lies at the core in the art of acting is absolutely going to love this movie. It also boasts an incredible score by Alexandre Desplat who has achieved the remarkable feat of having been nominated for 7 Oscars in 7 years for his wonderful original scores. This highly effective one utilizes both strings and piano in equal measure perfectly to help drive the suspense on stage. The only reason why I wouldn’t necessarily recommend it to everyone is you really have to have a love for the craft of theatre to get into a movie like this. It relies solely on its two lead actors and very little action happens outside of the interplay between them. So in that respect I can see some people maybe being a little put off by its concept. However, for everybody else, it will be one of the more exciting, devilishly fun, suspenseful and thrilling stage-to-screen adaptations you’ve seen in awhile. It earned Polanski a Palm d’Or nomination (the equivalent of Best Picture) at last year’s Cannes Film Festival and took home the Cesar (France’s Academy) Award for Best Director. This is the best Polanski picture I’ve seen since “The Pianist”. And, next to “The Selfish Giant”, is the second film I’ve seen this week that has already earned a spot on my top 20 films I’ve seen so far this year.

Grade: B/B+