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Post by Deleted on Mar 2, 2017 16:45:26 GMT
Polanski's classic of paranoia and claustrophobia.
Not to mention downright frightening.
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Post by TheOriginalPinky on Mar 2, 2017 17:42:53 GMT
Polanski's classic of paranoia and claustrophobia. Not to mention downright frightening. Love this movie. He sure knew how to make great films. Great casting, and Farrow plays "vulnerable" so well. I believe I have a copy of it, although I cannot locate it.
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Post by Deleted on Mar 2, 2017 18:08:45 GMT
Awesome flick! I can watch this one every few years!
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Post by Deleted on Mar 2, 2017 18:42:20 GMT
It's amazing how well this movie conveyed absolute terror and horror while leaving so much to the imagination. It all came down to an exceptional cast and wonderful acting. Classic movie. Scared the bejeezus out of me.
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Post by teleadm on Mar 2, 2017 19:27:11 GMT
It starts a bit like a soap-opera (as they said on the DVD extra material) and slowly creeps into a nightmare for Mia filld with characters that gets creepier and creepier as movie goes along. Unlike most horror-chillers made today this movie is character and story driven, not effects ladden. A great movie of it's kind, maybe one of a kind, and never equaled. Interestingly cast, with a today odd choice of Charles Grodin in a small role as a doctor.
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Post by telegonus on Mar 2, 2017 19:53:41 GMT
A great modern day horror. Its monsters are human. Polanski's direction is masterful, his casting choices perfect, right down to the small parts. Time has been exceedingly kind to Rosemary's Baby, with the added good fortune of its now being a time capsule of its era, and a subtle and chilling one it is. The Sixties urban paranoia vibe is projects is spot on, and for those of us who were around then it brings it all back home.
I think it deserves more respect. It's a watershed movie, and it captures its zeitgiest, and while I know this might sound odd it's as much a snapshot of its time as, say, Picnic is of its time, or Mrs Miniver and Casablanca are for the world war, I Am A Fugitive From A Chain Gang and Dead End are for the Depression. The problem is, I imagine, its genre.
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Post by marshamae on Mar 2, 2017 21:44:49 GMT
Telgonus. I totally agree about the time capsule aspect. The plays Guy was in, the ads he appeared in, so evocative of the Early - mid 60's. The infamous party was a showcase of mid-60's fashion, of which Mia was a major icon.
The film itself is such an interesting blend of old and new Hollywood. Maurice Evans Sidney Blackmer, Ruth Gordon, Ralph Bellamy , Patsy Kelly and Elisha Cook as old Hollywood , Cassavetes and Polanski as new Hollywood , with Mia dead center in between, The daughter and wife of classic stars and the fashion and social star of the 69's party culture on both coasts.
Mia gave a very good performance, well modulated , letting her hysteria and out rage build so that she had something left for the last scene. She had brilliant support from Cassavetes, Gordon, Blackmer and Evans, as well as her phone scene with an unbilled Tony Curtis.
It was an unusual notion for the time , that black magic was being practiced by people as ordinary as tge Castevets. It's one of tge smartest turns in tge film, and Ruth Gordon really runs with it, playing the annoying harpy next door, devoted to plastic slip covers and worried about spots on her shag carpet. Marrying that banal annoying evil to satanism makes this film work
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Post by Deleted on Mar 2, 2017 22:28:40 GMT
Piece of shit movie. Anyone that likes it is an idiot. Next.
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Post by fangirl1975 on Mar 2, 2017 22:30:25 GMT
It's amazing how well this movie conveyed absolute terror and horror while leaving so much to the imagination. It all came down to an exceptional cast and wonderful acting. Classic movie. Scared the bejeezus out of me. Agreed
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Post by Deleted on Mar 2, 2017 22:59:00 GMT
Thanks for the responses! I agree with everyone, the subtle terror, the great casting, NYC as a 'character', and the whole time capsule thing.
The movie is so well done, even though it is clearly locked into CPW, 1968? Strangely, it doesn't seem dated.
Because all the actors stay 'true'.
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Post by jervistetch on Mar 3, 2017 2:27:52 GMT
The terror starts immediately with that haunting song over the opening credits as the camera moves over NYC and slowly zooms in on the Dakota. Knowing now that John Lennon was killed there 12 years later adds a new level of creepiness. Also when Rosemary gets the book "All of Them Witches" and uses the Scrabble tiles to figure out that Steven Mercato and Roman Castavet are the same person always freaks me out.
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Post by Deleted on Mar 3, 2017 3:46:50 GMT
The terror starts immediately with that haunting song over the opening credits as the camera moves over NYC and slowly zooms in on the Dakota. Knowing now that John Lennon was killed there 12 years later adds a new level of creepiness.Also when Rosemary gets the book "All of Them Witches" and uses the Scrabble tiles to figure out that Steven Mercato and Roman Castavet are the same person always freaks me out. Man, I was thinking the same thing about John Lennon during the opening camera boom as Guy and Rosemary are walking in front of the gates to the courtyard!
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Post by jervistetch on Mar 3, 2017 4:25:36 GMT
Yes, mickee. And Rosemary meets that girl in the laundry room who later throws herself out the window. It appears that she died right where where the Lennon tragedy happened. Unnerving, to say the least.
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Post by telegonus on Apr 2, 2017 8:14:38 GMT
Telgonus. I totally agree about the time capsule aspect. The plays Guy was in, the ads he appeared in, so evocative of the Early - mid 60's. The infamous party was a showcase of mid-60's fashion, of which Mia was a major icon. The film itself is such an interesting blend of old and new Hollywood. Maurice Evans Sidney Blackmer, Ruth Gordon, Ralph Bellamy , Patsy Kelly and Elisha Cook as old Hollywood , Cassavetes and Polanski as new Hollywood , with Mia dead center in between, The daughter and wife of classic stars and the fashion and social star of the 69's party culture on both coasts. Mia gave a very good performance, well modulated , letting her hysteria and out rage build so that she had something left for the last scene. She had brilliant support from Cassavetes, Gordon, Blackmer and Evans, as well as her phone scene with an unbilled Tony Curtis. It was an unusual notion for the time , that black magic was being practiced by people as ordinary as tge Castevets. It's one of tge smartest turns in tge film, and Ruth Gordon really runs with it, playing the annoying harpy next door, devoted to plastic slip covers and worried about spots on her shag carpet. Marrying that banal annoying evil to satanism makes this film work Ruth Gordon, who can irritate me sometimes, is a treasure in Rosemary's Baby. At times she appears to be channeling,--or maybe sending up--the Shirley Booth of Come Back, Little Sheba; while at other times the Massachusetts born actress comes off (to me) as using a caricature of a Boston Irish accent: "eat the mouse, eat the mouse,--it's good for ya'--you'll feel better in the morning!". Spot on, and frickin' priceless.
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Post by BATouttaheck on Apr 2, 2017 11:36:38 GMT
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Post by Lebowskidoo 🦞 on Apr 21, 2017 2:21:37 GMT
We sure could use more classy, creepy movies like this. An extremely well made and effective movie. I do know people who were underwhelmed by it, I guess their expectations were on The Exorcist level. That movie showed so much, this one, barely anything, both were great.
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Post by TheOriginalPinky on Apr 21, 2017 15:56:06 GMT
We sure could use more classy, creepy movies like this. An extremely well made and effective movie. I do know people who were underwhelmed by it, I guess their expectations were on The Exorcist level. That movie showed so much, this one, barely anything, both were great. People nowadays don't like slow burn types of movies. They want blood, guts, action and gore. I love psychological horror. It's the best!
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Post by Lebowskidoo 🦞 on Apr 21, 2017 16:06:09 GMT
We sure could use more classy, creepy movies like this. An extremely well made and effective movie. I do know people who were underwhelmed by it, I guess their expectations were on The Exorcist level. That movie showed so much, this one, barely anything, both were great. People nowadays don't like slow burn types of movies. They want blood, guts, action and gore. I love psychological horror. It's the best! It takes true talent and imagination to do so much by doing so little.
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Post by TheOriginalPinky on Apr 21, 2017 16:07:34 GMT
People nowadays don't like slow burn types of movies. They want blood, guts, action and gore. I love psychological horror. It's the best! It takes true talent and imagination to do so much by doing so little. One of the best scares you can have is leaving it up to your imagination what occurs off camera - if it's done well.
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Post by telegonus on Apr 21, 2017 16:41:19 GMT
Yes, I prefer the psychological kind of horror to action, blood and gore.
From the classic era, horror was as much a matter of style as a anything else, and I love that, though it's gone way out of fashion, as high tech rules these days in damn near everything
In the old days it was all misty and foggy places, Gothic architecture, detailed sets, including furniture, costuming,--fixtures?--call then what you will. How these films looked and played; plus, the stylish writing and acting, and actors who knew how to speak.
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