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“Rosemary’s Baby”, directed by Roman Polanski and released in 1968, is a landmark in psychological horror cinema. Based on the novel by Ira Levin, the film tells the story of Rosemary Woodhouse, a young wife played by Mia Farrow, who becomes embroiled in a sinister plot after becoming pregnant.


Set in New York City, the film is known not only for its chilling suspense but also for its intriguing trivia. During filming, Mia Farrow actually cut her hair for the role, a decision that sparked controversy at the time.


Additionally, director Roman Polanski incorporated subtle and symbolic details throughout the film, such as references to occult elements and imagery that heighten the sense of paranoia. With its disturbing conclusion and memorable performances, “Rosemary’s Baby” remains a classic horror film that continues to challenge and unsettle viewers to this day.

1 – BASED ON A BOOK


Even before Ira Levin released his novel “Rosemary’s Baby,” it was already on Hollywood’s radar. Director and producer William Castle, famous for his B-horror films like “The Tingler” and “House On Haunted Hill,” saw the book’s potential and acquired the rights before its publication. Castle, aiming for a more prestigious project, struck a deal with Paramount Pictures to develop the film.


Producer Robert Evans also recognized the book’s potential and agreed to adapt it for the screen but insisted that Castle only serve as a producer, considering him “too good” to be directly involved in direction. Roman Polanski was then chosen to direct the film.

2 – THE BRAMFORD


Author Ira Levin named the apartment building in his story The Bramford as a homage to Bram Stoker, the creator of Dracula. In the film, the Dakota building, located on the Upper West Side of New York, was used as the setting, now more famously known as the site of John Lennon’s tragic murder.

3 – WAS IT ALL ROSEMARY’S IMAGINATION?


When offered the directorial role, Polanski accepted and also took on the screenplay authorship. He faced some challenges, but as an agnostic, there was one aspect he wanted to preserve on screen: ambiguity. Polanski decided to tell a story where one could speculate that everything happening to Rosemary could be merely a product of her imagination. “As an agnostic, I didn’t see Satan as any more the embodiment of evil than I saw God as the embodiment of good; that idea contradicted my rational view of the world,” Polanski later explained. “To maintain credibility, I decided there had to be a loophole: the possibility that Rosemary’s supernatural experiences were products of her own imagination. The whole story, seen through her eyes, could be a series of coincidences that seem sinister at first glance, a reflection of her feverish fantasies… That’s why a thread of ambiguity deliberately permeates the entire film.”

4 – GETTING TO KNOW THE SETTING


Before starting filming on “Rosemary’s Baby,” Polanski gathered his crew to familiarize the cast with the locations where the scenes would be shot. He showed detailed layouts of the apartments, and it’s interesting to note that Levin himself collaborated in the process of developing the interior environments.

5 – THE DIRECTOR SKETCHED THE CHARACTERS


To assist in selecting the ideal supporting cast, Polanski created detailed descriptions of each character, highlighting key attributes to consider during casting. This was how actors like Ruth Gordon and Sidney Blackmer were chosen for the film.

6 – MIA FARROW WAS NOT THE FIRST CHOICE


For the role of Rosemary Woodhouse, Polanski initially sought an American actress. He considered Tuesday Weld, known at the time for her roles in films like “The Cincinnati Kid.” However, Robert Evans and William Castle favored Mia Farrow. After a few less-than-stellar auditions, Polanski eventually agreed to cast Farrow. He said, “She had something special. And what she lacked, Roman managed to bring out of her.”

7 – PRODUCTION ISSUES


Polanski devoted himself to the details of “Rosemary’s Baby” with such dedication that he ended up facing problems with Paramount. According to Evans, the director was significantly behind schedule, prompting Castle to frequently call him to warn of escalating consequences. However, the final results were spectacular. At one point at Paramount, Polanski personally explained the challenges of his schedule during the production of the film that would become a legendary work of cinema.


When asked about the studio executives’ reaction to the early rough cuts of the film, Polanski mentioned that Paramount expressed great appreciation for the footage. “They told me they had never fired anyone for delays, but if they didn’t like the dailies, they could fire him quickly. That’s what happened in this case. They really appreciated the material a lot,” the director revealed later.

8 – MIA FARROW FACED REAL TRAFFIC


During the scene where Rosemary tries to escape from The Bramford, she encounters a traffic jam while hastily crossing the street. There was no traffic interruption or stunt doubles involved. Polanski instructed Mia Farrow to run across a busy New York City street, trusting that drivers would stop upon seeing a pregnant woman. He assured the actress that “no one would hit a pregnant woman.” His confidence proved correct, and the scene was shot multiple times, with the peculiarity that Polanski had to operate the camera himself as no one else dared to do so.

9 – FRANK AND MIA


During the production of “Rosemary’s Baby,” Mia Farrow was known for her role in “Peyton Place” and for being married to the iconic singer Frank Sinatra. When Sinatra reviewed the script for the film, he expressed doubts about Farrow taking on the lead role. Despite this, she proceeded with the film. However, Polanski’s delays created conflicts with another project planned by Sinatra, leading Farrow to try to juggle both commitments.


However, tensions escalated, and she was eventually forced to choose between Polanski’s film and her marriage. The divorce was finalized during filming, a moment Farrow described as signing the papers “in a haze of tears” before returning to the set to continue working. The situation caused so much tension between Sinatra and Robert Evans that the two did not speak for several years, even checking if they were at restaurants before entering.

10 – CURSES


According to Mia Farrow, Sidney Blackmer, who portrayed the coven leader Roman Castevet, expressed on set that he saw nothing good in invoking Satan, and he was not alone in thinking so. William Castle later became convinced that the film was cursed. Shortly after production, he fell ill and had to undergo surgery.


While recovering, the film’s composer, Krzysztof Komeda, suffered a fall that left him in a coma and eventually led to his death. In the summer of 1969, actress Sharon Tate, Polanski’s wife who was eight months pregnant, was brutally murdered by the Manson Family. To Castle, all these events seemed to add up. “The story of the film was playing out in real life. All the witches were casting their spells, and I was becoming one of the pieces,” he recalled later.


In summary, “Rosemary’s Baby” is not just a horror film but a work that transcends its genre by exploring profound themes such as paranoia, control, and sacrifice. Behind-the-scenes trivia, like Mia Farrow’s decision to cut her hair for the role and Roman Polanski’s subtle occult references, further enrich the viewer’s experience.


The film’s disturbing and ambiguous ending continues to provoke debates and diverse interpretations, maintaining its relevance over the decades. Moreover, “Rosemary’s Baby” is a classic example of how cinema can delve into the unknown and challenge expectations, leaving an indelible mark on the history of horror cinema.


Whether for its tense atmosphere, Mia Farrow’s compelling performance, or Polanski’s meticulous direction, this film continues to captivate and haunt its audience, perpetuating its status as one of the genre’s great classics.