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28 out of 32 people found the following comment useful:-
One of the ultimate horror classics, 2 May 2001
Author:
Vince-5 from northeastern PA
Every bit of acclaim that Rosemary's Baby has earned is totally deserved.
The Dakota, located at 72nd and Central Park West, is the perfect setting
for the demonic events; all that rich Gothic detail in the heart of
Manhattan provides the perfect atmosphere, serving as a dark fairy-tale
world of its own within the modern setting. Roman Polanski knows this and
utilizes it brilliantly, opening the film with stunning aerial shots of the
skyline and focusing in on the ornate castle amongst the skyscrapers and
tenements.
The acting is fantastic, particularly Mia Farrow, who is the only person I
can envision as Rosemary. Her fine-boned fragility makes her the ideal
target for terror. She goes from obliviousness to suspicion to fear to near
madness without showing a seam, and we as the audience are with her all the
way. And Mia is given a run for her money by the delightful Ruth Gordon, a
comical yet sinister presence popping in on a deliberate schedule with pale
green drinks and sandpapery advice. She's scary because we know her--a batty
old broad with a seemingly sweet nature beneath her caustic surface. That
such a person could possibly be a vessel of evil is a thoroughly unnerving
concept.
Unnerving is the proper adjective for the entire movie. Unnerving, eerie,
and penetratingly frightening in a very subtle manner. The subtlety is key,
since a more explicit treatment would've spoiled everything. As the tension
heightens, we feel what Rosemary feels: Curiosity, then vague suspicion,
then paralyzing terror at the final revelation. At all times, the movie
retains its dignity, from the opening and closing shots of the building to
the flourishing title script to the beautiful music. Even on TV, this
picture can chill you to the bone. The best big-budget horror movie of all
time.
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