The Stepford Wives (1975)

 

After the sweeping success of Rosemary's Baby, Ira Levin continued his exploration of the horrors of idle domesticity in his 1972 novel, The Stepford Wives. This was when the Second-Wave Feminism movement gained momentum, as did the divorce revolution of the 1970s. Levin began to dissect the Norman Rockwell 1950s picture-perfect housewife that seemed to clash with the more free-thinking, intelligent, and liberated women of the 1970s. So why not make a horror satire? At first, the project would be a stage play, but since there were too many characters, Levin decided to make it into a novel instead. Then it was going to be a comedy. Still, considering how those women suffered during the seemingly idyllic 50s, whether it be emotional, physical or psychological abuse, Levin decided to take the novel into a more serious approach. 

The novel is more so a character-driven story with a bit of mystery and suspense thrown in. It mostly focuses on Joanna's discomfort with suburban life and how the women of Stepford, once upstanding feminists, suddenly devote their entire livelihood to cooking, cleaning, gardening, and tending the children. What Joanna desperately wants to escape from is to not set herself up to be just a wife and mother. If anything, she strives to establish herself as a photographer, which doesn't sit right with her egghead husband Walter. As the novel concludes, Joanna befriends two new women in Stepford: The talkative, sharp-tongued Bobbie and the sexy, shallow Charmaine. Joanna fits as a balance between their distinct personalities. Speaking of which, that's the driving force of her story arc: Seeking the balance between her family and career. However, something seems to disrupt that balance...

Now, at first,  the novel shows Walter as a supportive husband. He joins her in the women's liberation movement, helps her tend to the kids, and supports her chosen career. But as the novel continues and as Joanna's suspicions about the Men's Association arise, Walter gaslights her. You see, the women of Stepford had their own association, but strangely, mysteriously, the president of the Women's Association, Mrs. Dale Coba, stepped down from her duties and the other members followed suit. The reason? To cook, clean, and tend to the children. In the early moments of the novel, Joanna and Bobbie attempt to run their own women's group but, unfortunately, most of the Stepford women decline their offer, deciding that cooking and cleaning are more important. Nothing seemed out of the ordinary until there was a sudden change in Charmaine too. Charmaine, an avid tennis player who had a keen interest in astrology, suddenly forgoes her daily hobbies to cook, clean, and satisfy her husband. Bobbie thinks there might be some chemical goings-on in Stepford and suggests Joanna should move out with her in a town in Eastbridge. But when Bobbie goes away for some alone time with her husband on the weekend, there's a sudden change in her too! She pleads with her husband Walter to move out of Stepford, but he vehemently refuses. Feeling the walls cave in on her, Joanna tries to unveil the mysteries of the Men's Association but it's far too late...By the end of the novel, a minor supporting character, a black woman named Ruthanne, runs into Joanna who recently gave up her photography career to...cook, clean, and tend to her children. Ruthanne, a children's author, has a bout of writer's block and feels uneasy about her run-in with Joanna. The novel soon hints that Ruthanne might be next in line...

The novel sparked a cultural wave of both outrage and intrigue from its female audience, which caught the attention of producer Edgar Scherick.

At first, Brian De Palma went on board to take the directing duties, which would've been quite the choice. Carrie is one of my all-time favorite movies and for Brian De Palma to direct an off-the-wall concept like The Stepford Wives would be a match made in heaven. But screenwriter William Goldman wanted nothing to do with De Palma, so Sherick recruited English director Bryan Forbes. However, Goldman would have issues with him, too. Forbes decided to cast his wife Nanette Newman as Carol Van Sant, which didn't sit well with Goldman. Originally, he wrote the wives to be younger and scantily-clad, which was obviously inspired by Julie Newmar's character in the short-lived TV series My Living Doll. Nanette Newman, although beautiful in her own right, didn't quite fit the playboy bunny image Goldman envisioned and looked more like a typical suburban mom, which prompted Forbes to do some re-writing, making them less like pin-up models and more like June Cleaver. Considering that the movie satirizes this type of character, Bryan Forbes' revision works better for me. 

As for the casting for the Joanna Eberhart, here are the actresses considered:

We have Diane Keaton who would've been an amazing runner-up but her analyst got bad vibes from the script, so unfortunately Keaton backed out of the project.

Then we have Anne Archer, an underrated actress I've seen time-to-time.

The legendary Jacqueline Bisset.

The sensational Karen Black.

The one and only Stockard Channing.

The riveting Julie Christie. 

The highly respected Blythe Danner.

The fabulous Jane Fonda.

The adorable Barbara Harris.

Then there's the captivating cult actress Olivia Hussey who starred in another classic horror film, Black Christmas, which was released the year before. If she had starred in this film, it would make a great double feature for her 70s horror film set.

The always endearing Shirley MacLaine.

Then you have Elizabeth Montgomery who would've been an interesting choice since she's best known for playing the witchy housewife Samantha Stevens on Bewitched.

The imperial Vanessa Redgrave.

Then there's the impeccable Susan Sarandon, who would later star in another 70s cult classic, The Rocky Horror Picture Show, which catapulted her into stardom.

The iconic Jean Seberg from the French New Wave.

And lastly, the ever-enchanting Natalie Wood, who I could definitely see in a role like this.

Also, actress Joanna Cassidy was originally cast to play Bobbie but eventually dropped out in favor of Paula Prentiss. However, she would star in the 80s cult classic Blade Runner years later. 

Another fun fact: the movie would be the screen debut of Mary Stuart Matherson, who I've seen in a string of films throughout the 80s and 90s. She plays one of Joanna's daughters and is the real-life daughter of Peter Masterson who plays her on-screen father. 

Now on the actual film review...

What I like about these underrated movies from the 70s is how the actors portray these characters as real people, and The Stepford Wives is the best example of that. The main three women have different quirks, personalities, and sensitivities, to the point where the actresses make them as real and human as possible. It makes the audience feel for them more, and once their personalities are stripped from them, it's very unnerving to watch.

Just like in my Rosemary's Baby perspective, the main crust of the film is Joanna and Walter's marriage. Before the credits roll, the camera focuses on Joanna staring at the mirror as she prepares for her move to Stepford. You can tell that she's not too keen on moving out of the city and she's a bit out of her element, though Joanna is willing to make it work if she has to. The city ignites her passion for photography as she observes the strange and unknown, but now that she's moving to the quaint and quiet suburbs of Stepford, Joanna worries that her artistic integrity could be stagnant. Unlike the book, the tension between Joanna and Walter is noticeable. Walter seems to be one to make the decisions without consulting his wife, and it greatly frustrates Joanna. When the family finally settles in, Walter meets up with his neighbor, Carol Van Sant, who greets him with a welcome casserole. When he has a little chit-chat with Carol's husband, Ted Van Sant, Walter mentions that his wife "cooks as good as she looks"...as sinister music plays, which indicates that there might be a conspiracy between these two men.

As we focus on the topic of Carol Van Sant, the film shows hints that something isn't quite right with her. First, she gets into a car accident at the grocery store, and as the ambulance pulls her away she seems dazed and confused. Secondly, when she arrives at a party, she keeps repeating the line, "I'll just die if I don't get this recipe" over and over again. When Carol visits Joanna and the other townswomen, she insists that she has a drinking problem...but again, nothing is what it seems. 

When Walter gets back from a meeting with the Men's Association, he has an overwhelming sense of guilt which wasn't explored in the novel. Whether humanizing Walter in the movie is a good or bad choice, it still works here because at least it shows that Walter seems to be conflicted with the choice he's making. 

Feeling isolated by the archaic values of Stepford, Joanna finally meets her match: Bobbie Markowe. She's vibrant, expressive, and full of life. A fully realized woman she can connect with. The chemistry between Katherine Ross and Paula Prentiss was totally spot-on as they were friends in real life. You can tell that they can lean on each other for anything, which is why the middle half of the film becomes heartbreaking once you see the change in Bobbie. 

Paula Prentiss was just delightful as Bobbie. She's not afraid to speak her mind and she refuses to be put in a box. Just because she's a housewife doesn't mean she's prone to doing wifely duties like cooking or cleaning. She's the type of mom who would order the kids take-out or just sit back and live in a messy house. After all, it's her life. Who needs to be perfect?

They meet up with another independent-minded Stepford woman named Charmaine, a former model and trophy wife. Although Charmaine is meant to be on the superficial side, Tina Louise gives an exceptionally charming performance that you can't but like her. She accepts that her husband Ed doesn't truly love her and just marries her for her looks, pretty much like a typical sugar daddy wanting to show her off as eye candy. And it's also implied that she might've had affairs in the past since Ed doesn't sexually satisfy her. 

Although it's a very serious film, there are subtle hints of comedy. There's of course the awkward party scene where the three main women are dressed in their hip, 70s fashion in contrast to the old-fashioned style of the Stepford wives. Then there's the scene in the women's group held by Joanna and Bobbie. While Joanna, Bobbie, and Charmaine pour their feelings out and share their grievances in their marriages, the other Stepford women are more concerned about housework and cooking, as if they were advertising for an infomercial. At the end of the scene, Bobbie's face is priceless. 

Nothing seemed out of the ordinary until there's a sudden change in Charmaine. Now dressed in a frilly white frock, she boasts about how selfish she was and now it's her duty to serve Ed as a devoted wife. No more hobbies and no more tennis, just cooking, cleaning, and serving.

As Joanna and Bobbie watch the construction men tear down Charmaine's tennis court, they feel that something's not right in Stepford. So, the two of them decide to conduct an amateur investigation to find out why the women in Stepford are so capricious.

Bobbie thinks there might be a chemical imbalance, and Joanna just so happens to have an ex-boyfriend who is a biochemist. When they meet up with him, Joanna and the biochemist ex-boyfriend catch up on old times when they claim to be "happily" married but eventually confess that's not the case. Unfortunately, Bobbie's theories are debunked but she is determined to leave Stepford and wants Joanna to go with her, insisting that they're a team and should stick together...This eventually will lead to a tragic end for Bobbie. She soon asks Joanna to watch her kids while she goes away with her husband for a little vacation time. 

While taking the kids to a summer picnic, Joanna suddenly reignites her passion for photography. There's a key scene where Walter is left to fret over the kids while Joanna works on her photo lab. Walter is totally incompetent in entertaining the kids, so he asks Joanna for help but she waves him off, heavily focusing on her newly printed photos. It kind of implies that Walter, who's a workaholic and an alcoholic, has no idea how to spend time with his own kids, insisting that Joanna should be their caretaker 24/7. But Joanna refuses to be tied down and eventually takes a trip to the city for somebody to purchase her photos. Hope seems to be on the horizon when an art gallery dealer is actually interested in selling her photos. 

But as soon as she tells Bobbie the good news, Joanna notices that something has changed in Bobbie too. Her messy kitchen is suddenly spotless, her hip 70s fashion is now an outdated white blouse and dress, and her blunt forwardness is now switched into a sunny disposition, a happy, smiley drone. This unnerves Joanna to the point where she almost gets into a cat accident. She soon becomes paranoid, worried she might become a hausfrau like the other women in Stepford. After getting into an argument with Joanna about leaving Stepford, Walter suggests she sees a therapist, and until then, he might move the family out. Tired of Walter making decisions for her, Joanna insists on choosing her therapist. Which turns out to be a woman since a male therapist could be prone to gaslighting. 

 This actually turns out to be one of my favorite scenes in the film. Now there really wasn't much going on in this scene in the book but it's played out much differently here. When Joanna finally confesses that she might become a robot like the other Stepford women, the therapist actually believes her. Now she's not thinking that the women of Stepford are actually being replaced by robots, oh no, the therapist might think that Joanna is in an abusive and controlling situation. Throughout her time, the therapist must know what women like Joanna go through and how society treats women. The therapist herself might've fought hard for people to take her seriously as a professional. She actually understands Joanna's goal to be a full-time photographer and not just the pretty kitchen-wife Walter wants her to be. It also reminded me of the scene in Rosemary's Baby because through all the gaslighting she goes through in that movie, Rosemary finally gets to be around friends who empathize with her situation. So I find this scene to be incredibly powerful because there might be hope that Joanna could get out of this...

Before I continue on to the climax of the film I would like to take a moment to praise the amazing performance of Katherine Ross. After starring in supporting roles in films like The Graduate and Butch Cassidy and The Sundance Kid, Ross really gets to shine on her own here. There is a sense of earnestness in her role as Joanna. She reminds me of a hippy mom. Laid back, carefree, isn't afraid to let her hair down, and can dress a little hip and sexy if she wants to. Now it's easy to see Joanna as a blank slate in the novel but she so easy to root for her here. Thanks to Katherine Ross' terrific range, Joanna becomes a three-dimensional character who can feel all kinds of emotions and it adds an emotional weight to her survival. You as the audience want her to get out of the situation so badly and there's a sense of urgency that you want Joanna to succeed in the end...

Now the last 20 minutes of this film is absolutely bonkers! When Joanna plans to sneak out the kids, they're nowhere to be found. Walter becomes evasive which raises Joanna's paranoia. She knows her time is running out. Joanna makes a mad dash up the stairs while Walter tries to stop her. They get into a physical scuffle until Joanna finally breaks free, locks the door, and sneaks out the window. 

This leads to the "I bleed, do you bleed?" scene. Now this happens in the few final moments of the book and it's pretty anti-climatic in my opinion. So, the Men's Association members finally catch up with Joanna. To convince her that Bobbie is not a robot, they lead Joanna to her house. Strangely, loud rock music is playing from upstairs while Bobbie brings out a huge knife, she slowly walks towards Joanna while the members hurriedly run into the house where the scene suddenly ends, implying that Bobbie stabbed Joanna to death. But the filmmakers wanted to give this scene more gravitas and suspense, which definitely works here. Joanna cuts her hand to show Bobbie that she's human, to somehow see if Bobbie is still human too. Out of desperation, Joanna stabs her below the waist but...somehow, Bobbie doesn't bleed! She doesn't even feel the pain of her wound, just slightly annoyed. This leads to one of the creepiest and strangest moments of the film where Bobbie malfunctions, freaking Joanna out. 

When she sneaks back home, Joanna gives a good swing at Walter with a fire poker. You can't help but cheer her on because Walter definitely deserved that. She demands to know where the children are and Walter mutters that they're at the Men's Association headquarters before passing out. Little does Joanna know that this is most likely a trap. 

When Joanna arrives at the Men's Association headquarters, she hears the cries of her children. Joanna hurries up the stairs as she tries to save them but as it turns out, it's a tape recording. It turns out that this was all a rouse to fall for their trap. And then, Dale Coba, The Men's Association ringleader appears. He claims that the children are safe and sound with Charmaine. He sneakily locks the front door and has Joanna trapped in the mansion. Need I remind you that Joanna does have a fire poker in her hand but somehow, she doesn't use it. She asks Dale why he's doing this of course, and he just simply answers, "Because they can" and imagines a world where the men are men and the women are "perfect." As Dale calmly takes the fire poker from her, Joanna makes a dash for it. 

Joanna eventually runs into a strange room where a woman is brushing her hair, which mirrors the same length as Joanna's. As the woman turns around, Joanna stands back in horror. The woman has all her features. From her hair to her lips, and even her body frame except for...her eyes.

The filmmakers originally wanted to give the effect where the Joanna replicant had no eyes but they couldn't quite pull it off and gave her black contacts instead. However, the black contacts are just as effective as they give the Joanna replicant a sort of ghostly, ethereal aesthetic. But what makes the scene kind of frustrating is that Joanna doesn't put up a fight in the end. Hell, even Katherine Ross agrees. But sadly, Joanna gets strangled by her robot Joanna which leads to the grocery store scene.

So all of the robot women of Stepford greet each other in a pleasant but hollow manner, all saying each other's name as if they're in a lineup meeting. There's a brief shot of a black couple arguing in the store, which I assume is Ruthanne and her husband. Obviously, she feels uncomfortable about staying in Stepford but her husband might have plans for her soon. Then there's robot Joanna, dressed in a white lace dress and hat, staring blankly at the camera as the credits roll.

Let's talk about the Men's Association. Early in the film, there are subtle hints that they're up to no good. When Joanna invites them for dinner, although it comes off like an awkward get-together, with the men being super creepy and weird towards Joanna, they're actually examining her like a test subject. Drawing out sketches, recording her voice, and eventually molding her into a robot replicant. Back in the day, there were criticisms that the film was against women. But from my understanding, the film is actually empathetic towards the women and it's men who are being satirized and stereotyped. They are presented as schluby, pathetic, egotistical chauvinists who are workaholics as well as alcoholics. They may have won in the end but not really. There is nothing more valuable than having a soul connection with someone and these men will never have that with these robots. They're not able to feel, just obligated to do, and yes it's valuable to them or at least they think so, but in the long run, they'll become hollow and depressed and even worse than how they started off. Some of the kids may be small now but as they get older, they're going to question why mom looks the same while dad is aging, This was even hinted in the book where Bobbie's older son noticed the change in his mom and he feels uncomfortable about it. So what? Are they gonna switch out the children too? And trust me, I'll explain that later. Anywho, the men may have conquered in the end but it's more of a detriment for them than an accomplishment.

So this was an overall fairly decent film but there is one thing that would've worked better. I wish the Stepford wives were more exaggerated and more animated to really sink into how their personalities changed. However, I quite enjoyed this film and especially the performances of Katherine Ross and Paula Prentiss. 

Throughout the years, there has been at least three TV sequels and a 2004 remake. Now with the 2004 remake, that's going to be it's own review. So for the time being, I'll give a brief on the TV sequels. 

There's Revenge of the Stepford Wives (1980) starring Sharon Gless (Cagney and Lacey), Don Johnson (Miami Vice), and Julie Kavner (The Simpsons). In this sequel, a news reporter goes out to investigate the strange eldritch town called Stepford. This was the strongest of the three although the filmmakers did make some slight changes. In this version, the Stepford wives are brainwashed not replaced by robots or at least Julie Kavner's character is the one that gets brainwashed but she gets better in the end. However, one of the things that worked in this sequel is that one of the members of the Men's Association actually regrets his decision, as he feels he can't connect with his robot wife on a human level. See what I mean? And it's nice to see that disgusting Dale Coba gets his comeuppance at the end where he gets practically devoured by the Stepford wives. Touché. 

Then there's The Stepford Children (1987), which I find to be the weakest of the bunch. Bad dialogue, so-so acting, and a really hacky script really soured my enjoyment of this movie. It stars Barbara Eden (I Dream of Jeannie) joining her whiny, controlling husband alongside her unruly teenage kids to the mysterious town of Stepford where not only the wives are arbitrary, but so are the teenagers. Now the main teenagers are not really all that bad, they're just slightly obnoxious and pretty much overall regular teenage kids, it's just the male adults around them, particularly the members of the Men's Association are extremely controlling if not outright unhinged and psychotic. So in this version, yes, the kids are replaced by robots but...so is their essence? You see, they have the kids hooked up to a machine where the robots slowly take over their minds, bodies, and souls. Well, not actually their soul in which they're still alive yet they become skeletal zombies? Yeah, this was a total headscratcher. So Barbara Eden and her kids escape while her husband, alongside the members of the Men's Association, are killed in an explosion, blowing the Men's Association headquarters for good. So this wasn't at all great but there is one interesting thing about the movie. This actually predates Disturbing Behavior, which I feel is a much better sequel than The Stepford Children.

Lastly,  we have The Stepford Husbands starring the legendary Donna Mills (Knots Landing) and the fantastic Michael Ontkean (Twin Peaks) as an artsy city couple who moves to the town of Stepford to gain some inspiration. Little do they know that the women of Stepford might be hiding a secret that involves their husbands...

This was WAY better than The Stepford Children. Sure, it plays out like a typical Lifetime Movie of the Week but I do find comfort in that and to be honest, I had a bit of nostalgia while watching this. And Donna Mills was a staple in these movies and she was a joy to watch as well as Michael Ontkean who was also decent. Yes, they do the whole brainwashing thing but I didn't mind it here. Plus you have Oscar-winning actress Louise Fletcher in a deliciously villainous role as the Dale Coba equivalent, Miriam Benton. Not to mention, Sarah Douglas and Cindy Williams who were also great in their supporting roles. So I've enjoyed this for what it was. Nothing much but just enough. 

A concept like The Stepford Wives is still resonant today. You got your Red Pill guys who prefer a woman who's not over the age of twenty-five, always wears a bikini, and serves them sandwiches, which is beyond absurd and nonsensical. But that's the thing, men who have this mindset are beyond absurd and nonsensical. That's what the film was trying to teach us. A Stepford wife is just an idea, not a person you can share your thoughts with or have a mutual understanding with. Feelings are important. Human connections are important. And if you can't find that with someone you love, it leaves a hollow, empty person. So the town of Stepford is a fantasy. And it's a fantasy not worth fulfilling.

My Last Word: Five of the Dime Cult Classic! You should definitely check it out. 

Rosemary's Baby (1968)

Okay, before I start the review, I want to make a disclaimer: I do not support the actions of the director of this movie. Although I deeply praise the film for its artistic direction and impact on cinema, I do not, I repeat, DO NOT support the actions of director Roman Polanski and his crime back in 1977. If you want to look it up, just Google it. Without further ado, here's the review of the all-time horror classic Rosemary's Baby. 

Just in time for Halloween, I've decided to check out Rosemary's Baby. It's been 56 years and this movie still holds up, primarily because of its cultural themes surrounding Women's Liberation, Religion, Women's Health rights, and the occult. It was during the early to mid-sixties when the first-wave feminist movement was starting to take heed. The women in this era were straying far away from the confines of the conservative 1950s. No longer did they play the role of the housewife/homemaker, tending to the kids while the husband came home for a five-course meal. These women had agency and a lot more to give to society than just staying in the kitchen and being subservient. 

Author Ira Levin took wind of this and incorporated these themes in his 1967 novel, Rosemary's Baby, and another classic gem, The Stepford Wives. Regarding Rosemary's Baby, the film is mostly faithful to the novel, beat for beat. But the novel gives more development to Rosemary's backstory. For starters, Rosemary comes from a large family in a small town in Omaha with a catholic upbringing. It's implied that she doesn't get along with most of her family members and has recently become agnostic due to the strict rules of her religion. When one of her siblings gives her enough money to get out of dodge, Rosemary moves to New York City. In this case, Rosemary is in the same league as Anne from Valley of the Dolls. A small-town girl who wants to break out of the traditions of said small town and goes on a journey of self-discovery in New York City. I also get the feeling that Rosemary is an artsy type as there is mention of her going to a sculpting class and gaining an interest in interior design. Now the most important part of the novel is, of course, the ending. We get into Rosemary's thoughts and her contemplating on whether she should kill herself and the baby or raise it as her own. But given her motherly instincts, Rosemary chooses the latter, seeing how frightened the baby looked despite his demonic appearance. However, there is one part of the ending that stands out for me: I like how Rosemary stands up to cult leader Roman Castevet (Steven Marcato is his real name, more on that later) and says that she chooses the name Andrew for the baby while Roman wants to name the baby after his father, Adrian. Rosemary wins by a long shot and she has the say so on how to raise her son. Although it's basically a downer ending, It's good that Rosemary gains a backbone and there might be hope for Andrew to become a decent person. 

Now, let's focus on the film:

Most of the focus is centered around Rosemary and Guy's relationship. It was actually the main topic in my film writing class. At the start of the film, they're sort of in their honeymoon phase. Young, fresh, bright-eyed, and hopeful, Rosemary and Guy set their sights on building a home and eventually building a family. You can see why Rosemary is drawn to Guy. He's naturally charismatic, an actor (which makes him an artsy type just like Rosemary), and promises her a life much greater than her own. There are hints of how self-absorbed Guy is but it's not too bad. But once we get to the second act, that's where things get a little fucked up. 

It all starts with a chocolate mousse made by their next-door neighbor Minnie. Rosemary finds it delicious at first but then there's a chalky undertaste, indicating that the mousse might be drugged. Rosemary follows her instincts and discards it right away but Guy is the one who insists and eventually guilt trips into finishing the mousse. Rightfully, Rosemary dumps some of the mousse into the napkin and pretends to eat it. However, the aftereffects have already kicked in and Rosemary passes out into a deep psychosis while Guy undresses her for some reason.

Things start to become sinister when, just as Rosemary breaks out of her psychosis, she sees the eyes of the devil himself, realizing that this is definitely not a dream, this is really happening! This is downright one of the scariest, most disturbing scenes, not only because Rosemary is literally getting raped by the devil, but because of how she's surrounded by these weird, naked people chanting and watching the act. It's some sick shit, even back in the day.

The next morning, Rosemary tries to recollect what happened the other night. Guy admits that he had his way with her while she was unconscious because he didn't want to miss "baby night. This is the moment that ends their honeymoon phase. What's so fucked up about this is how nonchalant Guy is about the situation while Rosemary is deeply disturbed. The topic of marital rape was uncommon, but looking at it in a modern lens, what Guy did was a total violation. Just because you're married to someone doesn't give you the right to own her/his body. This is moreso apparent in the novel as Rosemary justifiably keeps her distance away from Guy by staying at Hutch's cabin. But in the film, although, Rosemary is left shaken, she never contemplates going away to her ease mind though, it would've been appreciated. So this was a huge red flag and showcases how much of a narcasist Guy really is. 

But once the news comes of Rosemary's pregnancy, she and Guy reconcile, however, Rosemary reminds Guy that they should be open with one another. Whether Guy reciprocates this is debatable.

To distract herself from the labor pains, Rosemary gets her a haircut. Guy, of course, is not a fan of it and even says that "it's one of the worst decisions she ever made." It's ironic he says that because it's actually one of the most fashionable hairstyles of the 1960s. Even Tyra Banks famously wanted one of her models to sport the hairstyle in her reality show America's Next Top Model. So that is another red flag for Guy. He obviously sees Rosemary a particular way and believes that longer hair on a woman adds to her feminity. I guess Guy is uncomfortable that Rosemary is adapting so easily to the city life, therefore straying from the naive small-town girl she used to be. 

Guy's gaslighting is on a roll this time even going so far as throwing away a book gifted by her deceased friend, Hutch. This incident is what triggers Rosemary's paranoia, causing an immense mistrust in Guy. 

Well into the third act, she uncovers Guy's conspiracy towards her and his allegiance to the cult. Rosemary was once charmed by Guy's inherited self-absorption, becoming his personal cheerleader and being the dutiful housewife.   

But she finds herself disgusted, knowing now that she and her baby are used as a vessel for his success. 

Guy has shown himself to be a textbook narcist, charming his way to his own gain. To me, it is sort of like if you picture this young Hollywood couple, working their way up to the A-list but the girl has to do certain favors for a Hollywood Producer for the guy to get a role in a major film. But the producer in question is the Devil himself. I can't think of another actor like John Cassavetes who could play a detestable character like Guy and make him likable. There had been other candidates such as Robert Redford and even Jack Nicholson would've been an ideal choice, but Polanski felt that Cassavetes was the right choice, even though Cassavetes was reluctant to take on such a role. But in hindsight, his reluctance is what makes Guy a more interesting character. Although Guy lures his wife to be a vessel for the antichrist, you can tell he's not comfortable with it. And that's the thing, Cassavetes doesn't play him off like an outright jackass, he's very subtle with it, which the role requires. Not to mention, he and Mia Farrow actually have good chemistry, which makes his betrayal more devastating. 

Although the relationship between Rosemary and Guy is the centerpiece of the film, Guy is not actually the antagonist. That honor goes to Minnie and Roman Castevet. Their introduction starts with a tragedy. 

Before Rosemary's arrival, The Castevets takes in a troubled young girl named Terry, who recently kicked a drug habit. While doing the laundry, Rosemary meets up with her and the two become fast friends. 

But it's not until Terry's sudden suicide that Rosemary and Guy meet Minnie and Roman Castevets, weaving them tightly around their web. At first, both Rosemary and Guy object to their invitations, seeing them as just another silly old couple. But once Roman starts stroking Guy's ego, it all goes down here from there. 

Looking into it, Roman/Steven is technically the main antagonist since it's revealed that he is the son of a notorious Satan-worshiper, Adrian Marcato, but he's not the one who drives the story. This leads us to...

Minnie Castevet, played by the amazingly talented Ruth Gordon. What makes the character engaging is that she comes off as a warm and fuzzy grandma who brings cookies and milk and tells stories by the fireplace. Gordon portrays her as a real person and you would never think that she would be a leader of a satanic cult. What I like about the Castevets is that they're dressed in these colorful pastels and not the usual black attire that's usually associated with Satan worshipers. Not only does it fool Rosemary, but it also fools the viewers regarding their perception of them. 

What sets Minnie apart from Roman is that she is a master of persuasion. While Roman impresses Guy with stories of meeting with legendary theater moguls, Minnie, on the other hand, tries to have a genuine connection with Rosemary. Therefore, once the news comes of Rosemary's pregnancy, Minnie suggests that she see Dr. Sarpenstien to do further tests on her. Then Minnie starts making these weird milkshakes for Rosemary to consume and even gives her the necklace she gave to the recently deceased Terry, which freaks Rosemary out. 

Throughout the rest of the film, Minnie constantly smothers and meddles in Rosemary's life, even if she doesn't appear much on screen. This begs the question: What was it really like for Terry to live with her, let alone put up with her. But beside the point, Ruth Gordon did an excellent job of humanizing the character instead of just making her an outright villain. Gordon was actually nominated for an Oscar for this performance and deservingly so. She has natural charisma and such an enchanting presence that makes her all the more captivating. 

The most unsettling aspect of the film is how the majority of the cult consists of nice, gentle elderly people who always know what's best and makes decisions for you before you can even make your own. Particularly when Minnie suggests Dr. Sapirstien.

Dr. Sapirstien represents the medical industry and how women were treated. There's just something about him that seems off. Cold, Clinical, and never by the book, Dr. Sapirstien is one shady character. 

Just when Rosemary starts to have complications from her pregnancy, Dr. Sapirstien just waves her off and never listens to her, which causes Rosemary to be in immense pain for quite some time. She feels that she needs a second opinion but Guy and the cult members keep saying how awesome Dr. Sapirstien is and how he's the most popular doctor in New York, again waving off Rosemary's pain, even if she looks like she withering away. 

Fed up with the constant gaslighting, Rosemary invites her much younger friends to have a bit of a bonding session. When Rosemary confides in them about her situation, the girls are full of her support. I like how the women take the time to actually listen to Rosemary and console her when she breaks down. It's one of the few heartwarming moments of the film and for once, Rosemary finally has friends she can trust. They suggest that Rosemary goes back to her original obstetrician, Dr. Hill. When Guy gets wind of this, he and Rosemary get into a heated argument. I really wanted to wring Guy's neck in this scene because all Rosemary wants to do is get a second opinion from another doctor. But when Rosemary finally stands up for herself, the pain suddenly stops. 

Although Rosemary is relieved from her pain, she still has her suspicions about The Castevets. She soon receives a mysterious book from her good friend Hutch, a novelist and historian who recently died. When she discovers that Roman is in fact the son of a notorious Satan worshiper Adrian Macarto and that the rest of the apartment residents, along with Guy, might be conspiring against her, Rosemary takes action and goes to Dr. Hill for help. 

This leads to one of the most frustrating and heartbreaking scenes in the film. So, Rosemary tells Dr. Hill everything, she even shows him the book Hutch gave to her. And for a second there, he actually believes her and takes what she says into consideration. There is hope after all....until Guy and Dr. Sapirstien show up in his office. Dr. Hill betrays her and it's devastating. However, I wouldn't think that Dr. Hill is one of the cult members, that's up to speculation, but he more or so sees Rosemary as just another hysterical woman because that's just how it was back then. However, it was frustrating that he would lead Rosemary on the way he did, which makes him just as despicable as Dr. Sapirstien. 

So Rosemary is trapped, not knowing which way to go. The scene in the taxi demonstrates Rosemary's fear and uncertainty while placed in the middle of her two oppressors.

 

Try as she might, Rosemary is unable to escape from her perpetrators, therefore, falling into their web of power.

This leads to the film's climax and it's one of the best, if not, terrifying moments on screen. There is no demon or big hairy monster, but just the sheer terror Rosemary displays when she sees her child for the first time. Mia Farrow's acting here is purely phenomenal. You can feel the agony and fear in her eyes. But it's also the build-up of the scene, the anticipation that sets it ablaze. It's in this scene where Mia shows her acting prowess, from shock and terror to sadness and contentment, it's hard to believe that this was her first leading role in a major motion picture. So when it comes to the ending, Rosemary does have power over these weak-minded people, and in her hearts of hearts, there is hope for baby Andrew. It's all registered in Mia Farrow's face.

Polanski originally envisioned Rosemary to be a robust, full-figured, girl-next-door type and there were many actresses considered before the casting of Farrow. These include:

Tuesday Weld

Jane Fonda

Goldie Hawn

Patty Duke (who ironically co-starred with Polanski's wife Sharon Tate in Valley of the Dolls)

And of course, Roman Polanski's own wife, Sharon Tate.

When Mia Farrow was eventually cast, she was the star of the prime-time soap opera Peyton Place, which co-starred Barbara Parkins who also starred in Valley of the Dolls, which also Roman Polanski's wife Sharon Tate, which was also directed by Mark Robson, who also directed the film version of Peyton Place. Man! The Peyton Place connections are wild! 

Although Farrow was booked and ready, her casting process wasn't exactly easy. She was married to Frank Sinatra at the time, who objected to the idea of Farrow being the lead of her first film. I guess this was a case of art imitating life on Mia Farrow's part. However, she stood her ground and proceeded with the film, and the rest is history.

This was a role of a lifetime and I'm surprised Farrow wasn't nominated for an Oscar. It's hard to picture any of the actresses mentioned to take on such a role and make it believable as Farrow did. Not only is she very captivating on screen, she displays all the attributes of her character. She's vulnerable, eager, humble, and most of all, human. Mia Farrow is what makes Rosemary so enaging and she carries the film on her shoulders.

It's just the way she emotes that gets it for me, and that comes to fruition in the final moments of the film. That is definitely her Oscar moment, not in terms of being a scream queen but a dramatic actress as well. Mia Farrow is, by far, the best thing about this film, and since then, she has become a legendary actress in her own right.

Now when it comes to the writing and the directing, there's nothing to be said because it's already been said. It's incredibly masterful! Now I know there's a saying that terrible people make great art, which is the case here. Roman Polanski captured the feel and tone of the book brilliantly, which focuses on the psychosis of Rosemary and her struggles of adjusting to the city and its inhabitants, being a supportive wife, and eventually an expectant mom, which goes beyond the supernatural circumstances.

Rosemary's Baby is a textbook example of a great horror film.

1. It relies on anticiaption, tension and suspense. Rosemary's Baby is one of the films that doesn't focus on practical effects or gore to make it scary. It's all about the paranoia, the sense of dread that trickles throughout the film.

2. It has a character you care about. I feel like the most scariest of horror films is when they have characters you feel scared for. And Rosemary is one of the those characters. This was at a time where women didn't have much agency and that's a very scary situation to be in. Rosemary feels trapped, with no way out and that's what makes the film suspensful. Not only is it horrifying but it's also heartbreaking. 

3. It has an engaging plot with perfect execution. What sets Rosemary's Baby apart from other films at the time is that it has a "real world" setting with characters who act like real people. Sure, a story about a woman who carries a demonic child might sound ludicrous on paper but the outcome is magnificent. It's a very visceral and visual film that focuses on anticipation as the plot thickens. And the beauty of it is that you never see what the baby looks like and with horror movies like these, your imagination is what makes it scary. 

Let me not forget the haunting film score by Krzysztof Komeda called Sleep Safe and Warm, which sets the tone of the film. It's a sweet, soft lullaby sung by a mother to her baby but it also brings a chill down your spine. It's creepy yet beautiful at the same time.

Since the release of Rosemary's Baby, unbeknownst to me, there has been a made-for-tv sequel, a novel sequel, a remake, and most recently a prequel. So let's get into it:

There's the 1976 made-for-tv sequel titled Look What's Happened to Rosemary's Baby which starred Patty Duke, who was once considered for the role of Rosemary in the original, but now plays her here. I haven't heard good things about it but I did see that Ruth Gordon reprises her role as Minnie Castevet. However, I'm not too keen on checking it out. The title alone gives off a cheesy low-budget vibe that doesn't sit right well with me. 

Then there was a sequel to the novel titled, Son of Rosemary, released in 1997. Its plot is very much similar to Look What's Happened to Rosemary's Baby but kind of different. It starts with Rosemary waking up in a coma in 1999 after an escape attempt with Andrew when he was seven years old. Apparently, the cult members put a spell on Rosemary, rendering her into a coma that lasted for two decades. A little far-fetched but whatever. So Andrew is now thirty-three years old and is the charismatic leader of an international charitable organization. Eventually, mother and son reunite while on the run from the cult members who want to bring forth the apocalypse during The Turn of the Millenium. I haven't heard good things about this book and from what I read, it's pretty nonscensical. But the most baffling thing about the novel is its ending. It turns out that it was all a DREAM and Rosemary finds herself back in 1965 where the original story started. Holy crap, Ira Levin really lost his touch with this one. Nope, I will not be reading this anytime soon.

In 2014, NBC produced a miniseries starring Zoe Saldana as the titular Rosemary. I've watched at least 30 minutes of this and, I have to be honest, I wasn't impressed. There's something about it that seemed stale, predictable, and quite boring. First of all, they changed the setting from New York to Paris. That's interesting enough I guess, but nothing about the setting impressed me as much as the setting in New York. This time Guy is an English professor and aspiring writer. Not as exciting as a working actor but okay. And from what we know about Rosemary, she is a former dancer. Then there's the execution of the plot, which is changed entirely. Okay, so here's how Rosemary meets The Castevets: A hoodlum steals Rosemary's purse and when she catches him, she just so happens to find Margaux's (who is the Minnie equivalent) I.D. in her purse. Coincidence? I think not. Anywho, Rosemary arrives in this big, fancy, smacy mansion and that's where we meet Margaux, who right off the bat, invites her to a party. From what I can tell, the script is kind of rushed. I feel like the inciting incident in the original film was more organic whereas, in this version, it felt too forced. So, Rosemary and Guy arrive at the party and we're introduced to Margaux (Minnie) and her husband, Roman. In this version, The Castevets are this sauve, sophisticated, middle-aged rich couple. Again, this just doesn't work for me. What I liked about the original was how unassuming The Castevets were. They came off like this sweet, gentle elderly couple and in no way you would suspect that they would be part of some Satanic cult. But in the 2014 version, it's WAY too obvious and, for me, they come off like James Bond villains more than anything. Speaking of the party, it's not like your usual get-together with small festivities like in the '68 version, oh no, it's an ELITE party. There might even be a freak-off during the afterparty, who knows. And Speaking of freak-offs, Rosemary sees a man (who might be the devil in human form) in the middle of a threesome. This catches Rosemary in a trance and she gets slightly aroused but Guy catches her just in time. I guess this is supposed to be a foreshadowing of what's to come but again, this. just. doesn't. work. for. me. After that, The Castevets use their charm over Rosemary and Guy, and...you know what happens. I just sort of stopped watching because I was so unimpressed. Come to find out, not only was this an adaptation of the first book but also Son of Rosemary? If the plot alone turned me off from reading the book, what makes you think that this might be a good adaptation? So yeah, I might check this out but not right now, I just wasn't invested enough, and again, it was very, very boring. 

Lastly, we have the prequel film, Apartment 7A, starring Dianne West as Minnie Castevet, Kevin McNally as Roman Castevet, and introducing lead actress Julie Garner in the role of the unlucky Terry Gionoffrio. I don't know about this one. Some part of me feel that it's a bit unnecessary to expand on the character of Terry Gionoffrio. The mystery surrounding her character is what made the original palpable and it's the imagination that hooks you in. Just what happened between her and The Castevets that made her want to commit suicide? But nowadays we're plagued with these prequel and remakes that wants to explain EVERYTHING about the original when it really doesn't need explaining. Maybe I'll check this one out but it's not gonna be anytime soon. 

Rosemary's Baby works best as a stand-alone story. I can see why Hollywood would want to expand on the Rosemary mythos because it's a classic story that still holds up today. It's one of those movies that was ahead of its time and wasn't afraid to just go there. It's terrifying, frustrating, haunting, beautiful, and bittersweet.

Rosemary's Baby will forever be held as the crowning jewel of classic horror.

My Last Word: Yes! Go watch it right now!