Rendező:
Roman PolańskiForgatókönyvíró:
Roman PolańskiOperatőr:
William A. FrakerZeneszerző:
Krzysztof KomedaSzereplők:
Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer, Maurice Evans, Ralph Bellamy, Victoria Vetri, Charles Grodin, Tony Curtis, William Castle (több)Streaming (3)
Tartalmak(1)
Rosemary és Gus fiatal házasok, akik beköltöznek új New York-i otthonukba, egy kellemes, Central Park melletti társasházba. Szomszédaik - a középkorú Minnie, és Roman Castevet - barátságosak, bár nagyon titokzatosak. Rosemary hamarosan megtudja, hogy gyermeket vár. Boldogsága nem ismer határokat, de az öröm nem tart sokáig. Egyre tisztábban rémlik fel előtte egy borzasztó álom emléke - mintha egy sátáni bestia erőszakolta volna meg... Hasán titokzatos karmolásnyomok jelennek meg, és a szomszédból - ahová munkanélküli férje egyre gyakrabban jár át - különös hangok szűrődnek át... Roman Polanski talán legismertebb filmje a modern horror egyik legjelentősebb képviselője - igazi modern klasszikus. Külön érdekessége a filmnek, hogy a forgatás jórészt abban a New York-i épületben - a Dakota házban - zajlott, amelyben néhány évvel később John Lennon lakott, és amely előtt az egykori Beatles-tagot meggyilkolták... (MTVA)
(több)Videók (1)
Recenziók (9)
Mesterien, milliméterről milliméterre épített feszültség egy lakás területén. A bezártság és a paranoia kiváló megfogalmazása. Roman Polanski maga a sátán, hogy egy ilyen érzékeny nőt, ráadásul élete legérzékenyebb időszakában, ilyen nyomásnak teszi ki. De lelkes nézőként csak helyeselni tudom, és egyben fejet hajtok Mia Farrow és bravúros színészi alakítása előtt. Az egyetlen dolog, ami egy kicsit zavar a filmben, az a nem kielégítő befejezés.
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The main thing I appreciate about the whole Rosemary phenomenon is that Polanski's adaptation was made so soon after Levin's book was published. This preserved the authentic atmosphere of the story. However, with Levin, it is a joy to wade through the marginalia of the lives of the various people in the house and the vicissitudes of Rosemary and Guy's young marriage. The full spontaneous paranoia comes into play only in the final part of the book, and until then the reader might think that this is just an ordinary idyll written for the purposes of social criticism. The final whirlwind then completely changes the literary genre and the book cannot be put down until the last page. The film is more so enchanted by Levine's text and doesn't fundamentally change anything. The only thing I missed in the film was the chapter about Rosemary's defiance in which Hutch lends her a car and a cottage so she can think about whether she'll continue to stay with Guy. In this way, Rosemary, played by Mia Farrow, remains a much flatter character, which is quite a shame. And with her new hairstyle, she loses all her charm, but that's perfectly fine.
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After watching this film for the first time years ago, I considered it a powerful experience with an effective ending. The problem is that Polanski sticks faithfully to Levin's book, and that is the stumbling block. Polanski's film is strong where the viewer doesn't know whether it's the paranoia of a woman with a risky pregnancy or a real conspiracy and the intervention of supernatural forces. Theoretically, it would work if the twist weren't notoriously known. Rosemary's Baby is one of Polanski's most successful films, and this title is usually the first that comes to mind for an average movie fan when Polanski is mentioned. At the time, the film fascinated audiences precisely because of the combination of motherhood and the then immensely popular theme of Satanism. Levin's book is about the strength of maternal love, not the psychosis of an unhappy mother. The film would simply work much better as a psychological drama than as a horror, and the literal ending is disruptive and ineffective. Moreover, it is more of a dark grotesque now than a horror. In retrospect, I appreciate Mia Farrow's performance and, above all, Polanski's traditionally meticulous direction, but the script and twist are quite off for me, so I can't rate it higher than 3 stars. Overall impression: 60%.
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Excellent performances, music and direction, but it’s only around the middle that it gets a proper atmosphere, up until then it’s a pretty ordinary drama. The second half, however, is a brilliant portrayal of paranoia (similar to The Tenant, Polanski knows his stuff), but unfortunately it’s somewhat devalued by the overly literal ending, which may convey the idea of the relationship of mother and child, but at the cost of the atmosphere. Overall, though, Rosemary’s Baby is very good.
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Except for the last ten minutes, a masterpiece, brilliant in the way it confuses the viewer and encourages them to interpret the story in their own way. You can take it as a thoroughbred satanic horror film or, on the contrary, as a psychological drama of a woman gradually sinking into her paranoia, and Polanski's thoughtful direction doesn't make it any easier. On the contrary, thanks to many clever hints that can be interpreted in multiple ways, it builds the same sense of insecurity and paranoia in the viewer themselves. Unfortunately I have to agree with some of the reviews here that the ending is unsatisfying, it was a terrible disappointment for me. The cards are laid on the table all too clearly, everything is explained in a half-hearted manner and the wonderful atmosphere of uncertainty and suspicion falls to dust. If Polanski had left it open at the end, in the more ambiguous level of the whole narrative, I wouldn't have hesitated a second with the maximum rating. Such a shame.
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