Platonic_Caveman — 4 years ago(May 22, 2021 03:19 AM)

A Veneer Of Normalcy
It starts off like one of those 1950's Doris Day movies. Young, idealistic Rosemary (Mia Farrow) and new hubby Guy (John Cassavetes) move into a Manhattan apartment building called the "Bramford". Throughout most of the film we, as viewers, see and hear what innocent Rosemary sees and hears. There's a veneer of normalcy at the Bramford that belies what's really going on, behind our backs. It's the script's POV, therefore, that makes this film so chilling.
At the Bramford, which has quite a colorful history, you can hear through the walls. And, as Rosemary and we viewers soon find out, strange people lurk in other parts of the building. The strangest of all are Roman and Minnie Castevet (Sidney Blackmer and Ruth Gordon), superficially cordial, but a bit too inquisitive. Roman is retired. His wife, Minnie, wears tons of makeup and pawnshop jewelry, and gushes with praise for herbal cures, especially something called tannis-root. And Minnie's friend Laura-Louise (Patsy Kelly) wears thick glasses that make her eyes seem to bulge, and she talks with a strangely deep voice.
"Rosemary's Baby" is one of the great thrillers of all time. Given the underlying subject matter, can you imagine how this film must have come across to viewers in 1968? The strength of the film is the script, which through its plot and dialogue implies and suggests. Not until near the end do we, like Rosemary, find out the presumed truth. Suspense increases toward the end as Rosemary ventures into the inner sanctum of the Bramford.
https://www.imdb.com/title/tt0063522/
Trailer:
Clip: "Aren't you his mother?":
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