Rosemary's Baby

"Rosemary's Baby" is a knockout of a thriller, a perfect example of visual storytelling, it keeps you on edge, you're not quite sure what is happening when it's happening, you know something is up, something is not right, but you just aren't sure what that something is. Could it be as exactly horrific as what Rosemary and we think it is, or is it something much worse? For those of you who know the ending, you know, it's worse. That's usually the way things play out in a film directed by Roman Polanski, a man who has lived through real horrors in his life, someone who would have perfect reason to be suspicious and not trust the people around him.

"Rosemary's Baby" was the first American film directed by Polanski after European success with films like "Knife in the Water", and "Repulsion". The film was originally set to be directed by William Castle, who was mostly known for schlocky b-movie tactics like in "The Tingler" where he implanted shockers in a movie theatre to make people jump up every time something scary happened. The studio, lead by a young producer named Robert Evans rejected Castle as director, but he stayed on to produce the movie. Evans instead wooed Polanski to Hollywood after being impressed with his early films. Polanski was a young auteur, with a personal vision, and the film lent itself to his sensibilities.

The film based on a novel by Ira Levine, tells of a young married couple Rosemary (Mia Farrow) and Guy Woodhouse (John Cassavetes), who rent an old Gothic apartment in New York called The Bramford. The Bramford has a bit of a haunted history we learn from the couple's friend Hutch (Maurice Evans), but Rosemary and Guy think of it merely as old stories or folktales, but soon enough tragedy does strike the building. A young woman who Rosemary briefly meets, commits suicide outside the apartments. She was being taken care of by the Woodhouses' next door neighbours, an odd elderly couple Minnie and Roman Castavetes (played by Ruth Gordon and Sidney Blackmer). We know the Castavetes lived right next door, because Rosemary and Guy could hear them through their thin bedroom wall, which is a device Polanski would incorporate throughout the film.

Pretty soon the Castevetes become very friendly to the Woodhouses', they invite them over to their home, and they enter their lives as surrogate parents even without really being asked. Pretty soon things start getting a little strange; suddenly Guy, a working actor gets a big break when he wins a major role after the original actor cast in it mysteriously goes blind. After feeling like he's been rejecting Rosemary, he suddenly wants to have a baby. Rosemary is elated by the news, but on the night they decide to conceive, she passes out, perhaps drugged by a chocolate dessert made by Minnie. She has a strange dream, and is awoken with mysterious scratches on her back. Guy admits, even though she was passed out, he didn't want to miss baby night, which suggests she was violated without her knowing.

But soon, the strange night is forgotten, as Rosemary gets the news that she is pregnant, she is delighted wover the fact that she is going to be a mommy, but the strange things have only just begun. Roman and Minnie take it upon themselves to help Rosemary with her pregnancy, even referring her to their own doctor (Ralph Bellamy). Minnie concocts a special drink for Rosmary with her own special herbs, something that was prescribed from the doctor. But she falls ill, soon Rosemary suspects the baby is in danger, and she thinks everyone around her isn't what they seem including her husband.

Rosemary's pregnancy turns into a story of paranoia between a mother who is only trying to protect her baby and everyone around her who she thinks his hurting her. Polanski puts us in Rosemary's shoes, we know as much as she knows, we can understand what she is feeling, pretty soon we are as paranoid as she is. Everyone seems to be playing a part, and Rosemary is the audience member, she seems to be caught in a world of make believe where nothing seems to be real.

What I loved about "Rosemary's Baby" is how every element brought into the world of the film is utilized, Polanski doesn't throw anything away once introduced, such as the hearing through the walls of the apartment. Through the walls, we hear half conversations between Minnie and Roman, not always everything but just enough to keep us interested in the mystery. It's used later when Guy leaves the apartment, then suddenly we hear a doorbell ring, indicating he's in cahoots with the strange couple.

There's also the use of the herbs Minnie gives Rosemary, she makes her wear a necklace which contains a smelly concoction known as tanus root, this was the same necklace that was given to the girl who committed suicide, and the root itself, Rosemary learns is directly linked to a coven of witches.

The film reminded me of Polanski's earlier thriller "Repulsion" where he introduced things like cracks on a sidewalk, and a razor blade that would play bigger parts in the film as it moved along. Polanski has that way of introducing something in a subtle way, planting it in our head almost subliminally without us knowing it will be used again in a bigger way.

The tone of "Rosemary's Baby" struck me as darkly comic, it starts off as a pleasant all-American young couple love story, but then it's tattered in a macabre tale of witches and Satan worshipers. The villains in the film are usually the ones who fill it with a dose of humor, this particularly comes from Ruth Gordon as Minnie who is the real nosy neighbor from hell, the film becomes somewhat a comedy of errors whenever she appears, and sometimes with her equally off balance friend Laura-Louise (Patsy Kelly). It should be noted that no matter how dark Polanski can get, he doesn't forget his sense of humor.

The ending of the film itself although devastating, is also grotesquely comic. We do find out what has become of Rosemary's Baby and all the usual suspects of the conspiracy are there in one room, the scene itself is so far from reality it becomes relatively absurd. The ending probably join "Psycho" as one of the most notorious twists in the horror genre, and probably one of the most well known, yet knowing how it all comes together does not diminish the real artistic vision of the piece.

"Rosemary's Baby" is such a fascinating piece of filmmaking, it works as a piece of artistry about layers, every bit is peeled away with precision, until we are left with the core of the mystery, it's horrifying, but we are delighted by what has been revealed to us.

Sergio Leone's Infield Fly Rule Quiz

1) The classic movie moment everyone loves except me is:I guess the scene on the beach with Burt Lancaster and Deberah Kerr in "From Here to Eternity". I found their love story much less interesting than what was going on with Monty Clift and Donna Reed.

2) Favorite line of dialogue from a film noir: Keyes in Double Indemnity: "Closer than that Walter."

3) Second favorite Hal Ashby film: For Now I'm gonna say "Bound for Glory". Favorite is "Harold and Maude".

4) Describe the moment when you first realized movies were directed as opposed to simply pieced together anonymously. * I think it was just growing up and seeing familiar names on films like Frank Capra, John Ford, Alfred Hitchcock, and Steven Spielberg and realizing that their was something similar about their movies, it wasn't instantaneous, I gradually realized it.

5) Favorite film book: Probably "Hitchcock" by Francois Truffaut.

6) Diana Sands or Vonetta McGee? I have never seen any of their movies I believe.

7) Most egregious gap in your viewing of films made in the past 10 years. Probably new foreign filmmakers.

8) Favorite line of dialogue from a comedy: I'm abstaining from my usual Marx Brothers pantheon and instead will go with Steve Martin's "Dead Men Don't Wear Plaid" when I believe Cary Grant asks him if he wants a cigarette and he says "No thanks I have Tuberculosis."

9) Second favorite Lloyd Bacon film: I suppose I'll go with "42nd Street" after looking up what he did, I've only seen that and "Golddiggers of 1937", so the former would be the better film.

10) Richard Burton or Roger Livesey? I don't think I've seen Roger Livesey in anything so I won't answer.

11) Is there a movie you staunchly refuse to consider seeing? If so, why? I can't think of one off the top of my head, I'm sure under certain circumstances I'd be apt to see almost anything.

12) Favorite filmmaker collaboration: I'll go with Spielberg and Kubrick for "A.I."

13) Most recently viewed movie on DVD/Blu-ray/theatrical? Blue-ray: "The Insider", Theatrically: "Oz The Great and Powerful".

14) Favorite line of dialogue from a horror movie: "Bride of Frankenstien" when the monster says "I love dead, hate living."

15) Second favorite Oliver Stone film: Probably "Platoon" although the only film of his I feel compelled to see more than once is "JFK" which remains my favorite.

16) Eva Mendes or Raquel Welch? Eva Mendes

17) Favorite religious satire: "Life of Brian" of course.

18) Best Internet movie argument? (question contributed by Tom Block) I think if Video Games can be considered art, which I first heard on the Internet.

19) Most pointless Internet movie argument? (question contributed by Tom Block) Probably do fan boys ruin movies for the rest of us.

20) Charles McGraw or Robert Ryan? I like Charles McGraw, but Robert Ryan to me is one of those quintessential noir actors who i get excited about when I see his name on the screen.

21) Favorite line of dialogue from a western: From "Unforgiven", Eastwood's line "It's a hell of a thing killing a man, you take away all he's got, and everything he's ever going to have."

22) Second favorite Roy Del Ruth film: Haven't seen any of his films.

23) Relatively unknown film or filmmaker you’d most eagerly proselytize for: He was relatively unknown to me, but I guess he is well known in the film world, but Olivier Assayas.

24) Ewan McGregor or Gerard Butler? Ewan McGregor is an actor I enjoy seeing, while Gerard Butler is someone I usually don't enjoy seeing.

25) Is there such a thing as a perfect movie? Probably not, but in my mind "Tokyo Story" comes the closest, I don't see a flaw in it, but I am perhaps blinded from them.

26) Favorite movie location you’ve most recently had the occasion to actually visit * Last year I was in Paris, so basically any movie that took place in Paris.

27) Second favorite Delmer Daves film: "3:10 to Yuma" my first would be "Dark Passage"

28) Name the one DVD commentary you wish you could hear that, for whatever reason, doesn't actually exist *I would love to hear critic Jim Emerson's commentary on "Miller's Crossing" or "Barton Fink", I think that would be interesting.

29) Gloria Grahame or Marie Windsor? Gloria Grahame of course.

30) Name a filmmaker who never really lived up to the potential suggested by their early acclaim or success. I'll go for the easy answer since he's the only guy I can think of but M. Night Shalamayn.

31) Is there a movie-based disagreement serious enough that it might cause you to reevaluate the basis of a romantic relationship or a friendship? * I don't think I've ever ended a relationship just based on that fact, but I showed a date "Casablanca" once where she thought it was corny, later I showed her "His Girl Friday" and she turned it off midway. I then took her to see The Coen Brothers "Burn after Reading" which was new in theatres, and she thought it was stupid. Needless to say it didn't work out.

In Bruges

You may not know that Bruges is an actual real place, before seeing "In Bruges", I never knew it existed, but as one character observes at the beginning of the film "it's in Belgium", who knew? In the film "In Bruges", this little city nobody has ever heard of is the place two hitmen must hideout after a job goes wrong. The hitmen in question are Ray a young impatient hothead (Colin Farrell) and his older more seasoned partner Ken (Brendan Gleeson). Ray has just finished his first hit by killing a priest, but in the process, he accidentally and tragically kills a little boy who was praying in the church.

While in Bruges, the two men are meant to lay low and wait for further instructions by their boss Harry (Ralph Feinnes). Ray grows impatient with Bruges, he's bored out of his mind, while Ken is fascinated by the history, culture, and old buildings, he wants to sight see.

"In Bruges" is a surprising dark comedy with many wonderful lines that are easily quotable, and contain some really human emotional moments by these violent but funny characters. The film was the first by writer/director Martin McDonagh, who was known for writing plays, and actually earned an Oscar for his short film "Six Shooter". He has made one other movie, 2012's "Seven Psychopaths", which was a film I was much impressed by with its very funny dialogue and unique characters.

McDonagh seems to really like his characters, and their relationships to eachother, he gives them time to breath. When Feinnes' Harry does appear in the final third of the film, there is so much build up about him, we know things won't end pretty, yet McDonagh doesn't make Harry into quite the monster he's depicted. In a surprising move, Harry is seen as a rational and moral guy who has time to have a pint with Ken before the inevitable blood and carnage has to begin. It's always refreshing to see men of action talking to eachother, and by the time the final gun battle goes down, there is more at stake, and more suspense and McDonagh doesn't welch on the action even if he plays with it tongue and cheek. During the final gun battle the pregnant motel owner Marie tells Harry and Ray to put their guns down, to which Harry replies "This is the shootout", as sort of a wink to the audience that this is what they expect in the action movie. At that moment, I kind of was reminded in "Seven Psychopaths" where the writer Marty (Also played by Farrell) is writing an action movie, but prefers just to have the people talk in the end, to which is friend Billy (Sam Rockwell) reminds him, you have to have a shootout.

There are also some truly funny moments in the film as well, ones that would rival any straight out comedy made today, it mostly comes from Ray's bizarre relationship with a dwarf (Jimmy Prentice). They also have fun with stereotyping rude American tourists. Ray actually punches out an man in a restaurant who he mistakes for being American, yet he feels bad afterwards when he in fact finds out he was Canadian, as a Canadian myself, I could appreciate that.

But despite all the comedy, "In Bruges" is really dealing about Ray's guilt about killing a kid, and whether or not he should be given the chance to redeem himself. Ken is actually instructed by Harry to kill Ray for his accident, but he has second thoughts, when he sees that Ray himself is actually suicidal over it. The film actually becomes more about forgiving oneself, and also getting that chance for redemption. In the end, it doesn't sentimentalize Ray's situation, and even then when he's put through the ringer, he isn't exactly off the hook, for him Bruges is somewhat of purgatory where he can't seem to escape. The ending of the film could change for you depending weather or not you're a glass is half empty, or glass is half full type of person, for me there is a sliver of hope for Ray.

When it was first release, "In Bruges" was often compared to "Pulp Fiction", I suppose in the way that both films depicted hitmen as regular folk who could talk about regular stuff. Yet Tarantino's film always worked on the grand scale, as it moved around in space and time, telling multiple stories, "In Bruges" is far more intimate, and feels more personal, that's simply an observation, I think both films are great, yet I feel a far better kinship with "In Bruges" as I grow to like Ray, Ken, and Harry, in a way I didn't with Tarantino's film.

I'm pointing this out not to call out "Pulp Fiction" being the lesser film, but more to mention that I think Martin McDonagh is an original voice and makes his own original movies. No doubt he was influenced by Tarantino, but it's only a surface level one, he's not going out of his way to be him.

"In Bruges" is one of the best movies to come out in the last ten years, the more I watch it, the more I really love the characters, and admire its screenplay. Right now, I suppose it could be considered as a cult movie, people I know who have seen it all say how much they love it, and how much they can quote from it. I suppose that's one way to know when a movie is great.

The Absolutely, Positively, No Doubt About it....Top Ten Best films of 2012

Forgive my delay, I was meaning to have this prepared prior to the Oscars, however sudden realities in life have left me tardy for delivery. However in a way it's good, now that the brouhaha of The Academy Awards have subsided, it's now time put a cap on what was to me a very good year for films. I was astonished how many times I went to the movies and actually found myself really enjoying what was put on screen. There were many highly original, and entertaining films, I found it difficult to make up a top ten list...I know many people say that, and it turns out it is difficult. How could I possibly compare a film like "Goon" to one like "Lincoln"? The truth is I can't, no one can, yet I was effected by them in different ways, what I can say for both of them is they left an indelible mark. Of course these aren't the best films, the title of this blog entry merely serves as tongue and cheek. I hope this list leads you to a film you might not have thought of seeing, or one you may not even have heard of, or perhaps will create a stirring debate. But let me say without further adieu, here is what I believed to be the best films of last year, and I hope you reflect upon them as I have.

1. Moonrise Kingdom A uniquely clever and funny film about first love, that only a filmmaker like Wes Anderson could make. Here, we are taken on a journey about two misfit kids who create a world of their own, while the rest of their universe is adamant to break them apart. Anderson populates his world with many of his familiar faces, and also adding new ones, but it's one that seems invented out of his whole imagination. He deals with themes as innocent and timely as young love, and the disappointment of adulthood. It's a wise, charming movie that completely surprised and delighted me.

2. Lincoln It was only after re-watching this film again, that I realized just how brilliant it really is. To call it merely a biopic would be to not give it justice. This is the story of what makes a great man great, we are shown Lincoln as a man of thoughtfulness and wisdom, who took his time to make the proper decision, we are shown this through the most eloquent speeches delivered this year in film, written by Tony Kushner, who if there was one man robbed at the Oscars, it was him. Peppered with a perfect ensemble of actors, and shining with quiet uplifting moments as only a man like Spielberg could do, "Lincoln" proves to be the great American movie it wishes to be.

3. Seven Psychopaths Writer/Director Martin McDonagh's sophomore effort after his brilliant "In Bruges", starts off as a meta story about a screenwriter with writers block, dealing with a friend who kidnaps dogs only to return them for reward money. After stealing a gangster's dog, they are on the run from the mob. Yes this is a movie that knows it's a movie, but it doesn't stop there. McDonagh is a unique voice full of humour and wisdom about the effects of violence, which gives this dark comedy a silver lining.

4. The Master A film that once it had me did not let go. I found this to be a meditation on a lost soul searching for purpose and meaning, and what happens when the truth you are told turns out to be false. Helmed by a Joaquin Phoenix's brilliant performance, with the help of Phillip Seymore Hoffman, and Amy Adams, "The Master" feels like a tragic-comedy about the utter emptiness of life.

5. Silver Linings Playbook With the exception of the two kids in "Moonrise Kingdom", there was not a screen couple I didn't root for more than Bradley Cooper and Jennifer Lawrence. A romantic comedy with hyper speed screwball dialogue as if lifted from 40s Howard Hawks comedies and brought to modern days. Lawrence in particular brings memories of the danger and goofiness of Barbara Stanwyck. Proof that romantic comedies are still alive and well, let's hope they continue with this type of energy.

6. Django Unchained Quentin Tarantino's latest is a fury of blood, and violence set in the deep south. The twist of this film that sets it apart from his others is Tarantino seems to actually not shy away from the real life atrocities that slavery is responsible for. The revenge tale depicted here seems to come from a deep personal place all dolled up in his usual b-movie fantasies, but if this is all that he delivers, sign me up for more.

7. Take This Waltz A stirring modern film about a woman who is tempted by betraying her very loving husband. A film about longing for something you think you need, with the thought of its pure excitement and passion overtaking you. It leaves you with a refreshing ending that will surely have you talking and debating. As she did with her first film "Away from Her", Polley has demonstrated an awareness and keen understanding of human relationships plus giving out natural performances.

8. The Dark Knight Rises An operatic film in the guise of a super hero genre piece. A film that deals with betrayal, loss, forgiveness, and redemption. It is framed in a story about overcoming fear even when it's all around you. Yes the idea that this is a Batman movie does not make its message subtle, but by piling pop culture icons into it, the film becomes intriguing and subversive.

9. Goon Filled with as much violence and strong language as "Seven Psychopaths" and "Django Unchained" put together, this ode to the good old hockey game and the tough guys who run it serves as great satire. Sean William Scott surprises as a guy who can't skate but can throw a punch, he becomes the heart of the team, and sticks up for them as a big kid with a big heart would do if any of them were bullied. One of those comedies that may have more than meets the eye if looked at closely.

10. Cloud Atlas The most ambitious film of the year. I can't say it's perfect, yet it cannot be overlooked as so many people have this year. A film about time, space, and connection. It splits genres from exciting sci-fi, 70s crime movies, British Black comedy, and costume drama. It's weaved and edited together with very old fashioned precision, one might think of D.W. Griffith's silent classic "Intolerance" which I saw for the first time right before seeing this. It lost a lot of money, very few people saw it, and most critics loathed it, a perfect recipe for a cult revival....here's hoping.

As I have said, this has been a great year for movies, I didn't have room to name they all on my top ten, yet here's a few more titles, I simply couldn't leave out.

The Deep Blue Sea which has the most dreamlike opening of any film this year plus a terrific performance by Rachel Weiz.

Bernie Richard Linklater's oddball comedy about a man convicted of murder even though his entire community loves him, featuring Jack Black's best performance.

Zero Dark Thirty Kathryn Bigalow's account of the hunt for Osama Bin Laden with a terrific central performance by Jessica Chastain

To Rome with Love I would agree with one critic who said if this film were done by a no name filmmaker and not Woody Allen, this film would be called a masterpiece. Just goes to show how we sometimes take Allen for granted, no matter he'll have a new film this year no doubt.

Flight A towering performance by Denzel Washington is one of the reasons to admire this film, but it also contains the most eye opening, nerve shattering sequence of the year, yes I'm talking about that plane crash, and it's not even an action movie.

Paperman This is an animated short, that played before "Wreck it Ralph". I saw "Wreck it Ralph" and enjoyed it, but "Paperman" is the film that I remembered the most.

Skyfall James Bond lives in an era where sophistication no longer reigns, yet this proved to be a grippin action movie with a nice Daniel Craig and Javier Bardem making a nice cat and mouse duo, plus you'll be humming Adele's song long after the credits roll.

Chronicle A terrific compact genre piece playing on the Super Hero mystique but only in a much more real world.

The Avengers The other side of the Super Hero coin, with some great one-liners.

Cabin in the Woods That Avengers guy Joss Whedon sure knows how to subvert a genre. This one is a meta horror movie with a funny and clever twist.

Argo A killer story, with a Hollywood twist. The opening sequence of this film is wonderfully directed.

Looper A great Sci-fi noir

Premium Rush An killer exercise in genre.

Beasts of the Southern Wild A great naturalistic fable about a poverty stricken sick father, and her ever tough, and resourceful daughter.

There are others, I am sure, but I think that's a nice little capper on the year. Again, I hope you see some if not most of these films. Am I wrong, am I completely out of left field? I'd love to hear your thoughts. Here's hoping 2013 is even better.