A creepy, darkly comic psychological horror/drama, “Rosemary’s Baby,” in case you’re living under a rock, centers on a New York young couple (Mia Farrow and John Cassavetes) who move into a new apartment, only to be surrounded by peculiar neighbors and odd occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins controlling her life (and that's just the tip of the iceberg).
It’s become a touchstone horror film, that like all the classic ones, is much more than just a horror picture thanks to its deliciously wry humor and its potent ambiguity (some have posited the entire story is just in Rosemary’s head). Released on the Criterion Collection on DVD and Blu-ray this week, it’s finally found a suitably cared for home by these home video tastemakers with a gorgeous transfer and insightful extras.
Evidently Alfred Hitchcock himself had passed on an option of the novel and instead horror producer William Castle optioned it and took it to renowned Paramount head Robert Evans who, on the extras, said the movie “remains a highpoint of my career.” Evidently no one at Paramount, including the notoriously conservative chairman Charles Bludhorn, wanted to Polanski to direct the film nor trusted him to make a horror for his first English-language picture in the U.S. But Evans dug in his heels and Bludhorn eventually relented. The DVD extras detail out several fascinating aspects of the production so here’s seven highlights of elements we learned from “Rosemary’s Baby.”
According to the Criterion Collection DVD extra “Remembering Rosemary’s Baby,” Mia Farrow recalled that Castle called her and said, “I’m so glad you’re going to do the part, but we may be doing it without Roman,” she remembered, noting that Castle, also a director, would take the helm if such a thing happened (presumably this meant the filmmaker had a change of heart at one point or negotiations weren’t going well). “My heart sank. I mean, lovely man, William, but I knew the power of the film would lie in Roman telling the tale.”
Evans wouldn't let Castle direct it. Instead choosing Polanski because he was so impressed and unnerved with "Repulsion” and the directorial prowess evinced by “Knife In The Water” and “Cul De Sac.” Evans said he was “fascinated” with Polanski’s films, while Castle was a shlocky B-film director/producer of gimmicky horror films. “Macabre” was touted as being so scary it came with a ridiculous $1,000 life insurance policy for each customer in case they should die of fright during the film. “13 Ghosts” was shot in “Emergo” (essentially accompanied by a dangling glow-in-the-dark skeleton in the theater) and he best known for wiring theater seats to jolt patrons of “The Tingler.”
“He was good [at what he did],” Evans said. “But the quality of the films were not what I wanted to make. I read his submission of 'Rosemary’s Baby' and I loved it. Because it was a horror film, but brilliantly written. It was too good for Bill Castle,” he laughed, saying he needed a special person to take on the job.
As Polanski was a ski buff, Evans hooked him under the false pretense of letting him direct "Downhill Racer.” But Evans told Polanski, before he should do anything, he should read this other script first, “Rosemary’s Baby.”
It struck Polanski like a like a syrupy Doris Day number at first. “I went to the hotel and started reading and it looked to like a kitchen melodrama for television,” Polanski said on the DVD extras, “But as I read, I got deeper and deeper into it and the suspense was such that i didn’t stop until 4 in the morning and the next day I came back to the studio and I said, ‘Ok, let’s do this first.’ ” Of course, “Downhill Racer” would eventually be directed by Michael Ritchie and star Robert Redford (also on The Criterion Collection), but Polanski didn’t seem to care after the creepy mood horror launched his career.
During production, one day William Castle called Robert Evans and complained that Polanski was ten days behind schedule and if this continued he was going to cost Paramount a fortune. Evans said the producer’s suggestion was to “get rid of him.” Evans quickly flew to New York and told Polanski to pick up the pace or said he’d get shipped back to Poland. But the producers were thrilled with the dailies and what they were seeing thus far.
Worried, Polanski ran into filmmaker Otto Preminger in L.A., and the elder director asked Roman why he was so visibly concerned and gloomy. Polanski explained his situation, that he was behind schedule and he was worried that Evans and Paramount were going to fire him. Preminger said, “What about the rushes? Do they like them?” And Polanski said, “They’re delighted with them!” Preminger, countered, “So what do you care then? They never fired anyone because of schedule, but if they don’t like the rushes, you’d be out very soon.” And soon after, Polanski regained his confidence and stopped fretting.
While Polanski concurs with Evans and Paramount was making him “miserable” during the production, the director gave him a big compliment. “Robert Evans trusts talent very much,” he said. “He was a great enthusiast of motion pictures. He loved a good movie and he was trying to inject new blood into the system and it paid off.”