Like his earlier film “Repulsion” Roman Polanski uses a quiet, sensitive woman as the magnet of his camera in his first American film, and also blends her into its themes and shadows with keen cinematic ability. The film starts with a common-day sight of a man and a woman, ready for a child, buying an Old new york apartment several floors above the city streets, and appearing to be occupied mainly by elderly folk. The hard floor echoes and the empty floors are hallow and unoccupied by furniture. The titular character, played by Mia Farrow, stays at home in preparation for the new baby, while her husband Guy, played by John Cassavettes, goes to work as an aspiring actor. His dramas and failures are more expressed than the fears of Rosemary and her pregnancy, suppressing her internal doubts like the stereotypical housewife.
The signature of Polanski is taking the normal patterns of life and twisting them by the mind’s fears and hesitations into something mutated. Child-birth should be celebrated, but it is instead feared by Rosemary, as she thinks the baby is of a different world or somehow cursed by the devil. Through these dark, brooding sequences of terror, Rosemary’s Baby influenced such well-regarded future films as “The Omen” and “The Exorcist”.
The main source of paranoia in Rosemary is her mysterious next door neighbors, Roman and Minnie. Guy takes a fond liking to them and often leaves to have conversations with Roman, while Rosemary fears the two rather eccentric elders are conniving behind her back. Minnie brings over little bowls of Chocolate Mousse for Rosemary, taking concern over her health, but even the sweet desert seems like a trap, a snare concocted by the odd woman. The film is well-paced and creepy, in huge part due to the performances, especially the older neighbor Minnie, played by Ruth Gordon, with black, focused eyes and a very strange wardrobe; she commands the screen whenever she’s present with her glossy but shadowy facade.