Rosemarys Baby [Hindi](in Dubbed Hollywood Movies) Rosemarys Baby [Hindi] (1968) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Rosemarys Baby [Hindi] on your mobile, tablets and ipads
Plot: Desirous of starting a family, the young Catholic housewife, Rosemary Woodhouse, and her struggling actor husband, Guy, move into the Bramford: New York's iconic building that brims with unpleasant stories of obscure dwellers and ghastly occurrences. Before long, the young couple is befriended by… Runtime: 137 min Release Date: 12 Jun 1968
When people talk about perfect films I don't actually know what they mean. Perfect for whom? Perfect compared to what? I think that perfection is in the brain and heart of the beholder. "Rosemary's baby" is a perfect film to me. Scary in a way that makes you breathless. You're thinking and feeling throughout the film. One of the many sides of Polanski's genius is to suggest. And what he suggest is so monstrous that we don't want to believe it, but we do. The characters are so perfectly drawn that there is no cheating involved. John Cassavettes's superb study <more>
in selfishness and egomaniacal frustration is so real that comes to no surprise that he could do what he does to advance his career, but we are surprised, we're horrified. The spectacular Ruth Gordon and Sidney Blackmer are not Deborah Kerr and David Niven, are they? So that they turn out to be what they turn out to be is totally believable, but Polanski presents it in such a light of normality that you can't believe it. Mia Farrow's predicament is as classic as the boy who cried wolf tale and yet, as told by Roman Polanski in the wonderful face of Mia Farrow, is as if we're hearing it, seeing it and living it for the first time. Every silence, every voice in the distance, every door opening. Your heart is always in your throat. There is something there that accelerates a constant state of dread. Very few movies have been able to take me to that place, most of them by Roman Polanski, what about "The Tenant" or "Repulsion"? Other movies that come to mind: David Lynch's "Eraserhead" and Martin Donovan's "Apartment Zero" But "Rosemary's baby" stands alone as a terrifying masterpiece.
Psychological Horror at its very best (by RWiggum)
One might argue Roman Polanski's Rosemary's Baby is not a horror film, since it lacks almost everything you'll find in almost all of them: shock moments, vampires, werewolf, serial killers, even blood. The most graphic scene is a nightmare sequence that displays a rape scene so stylized it isn't actually disturbing. But one might also argue that Rosemary's Baby is a horror film in its purest form, since it doesn't depend on all those gimmicks to create its atmosphere. I prefer the latter point of view. So what is happening in this film? Rosemary and Guy Woodhouse move <more>
to a new apartment. Their neighbors are Roman and Minnie Castevet, an elderly couple. Although they are very friendly, there is something strange about them - the sounds that come from their apartment, the fact they remove all the pictures from their walls when the Woodhouses visit and other things like that. While Rosemary tries to keep a certain distance from them, Guy is very fond of the relationship to his new neighbors, and especially Minnie becomes more and more obtrusive, especially when Rosemary finds out she's pregnant - she recommends her another better, as she says gynecologist's and mixes a healthy, as she says herbal drink for her every day. The pregnancy, however, develops rather unpleasant: Rosemary keeps feeling pain in her stomach and she becomes thinner Pregnant women are supposed to gain, not lose weight, a visiting friend observes , and when the pain doesn't stop after several months, she begins to believe that her neighbors, her gynecologist's and even her husband conspired against her and want to harm the baby she's carrying. All this is told by Roman Polanski in the perfect tone; the mood for the entire film is already set during the opening credits when we hear that weird lullaby, sung by Mia Farrow. And a lot of strange things happen throughout the entire film: Guy and Rosemary are told by Hutch, a friend of theirs, about the horrific past of the house they're now living in, a young girl that lives with the Castevets commits suicide really a suicide? , Guy, an actor, gets the role he wanted so badly after the contestant who was originally supposed to play it turns blind, and Hutch, who might have found something out that would help Rosemary, suddenly is in a coma and dies three months later; all these and a few other events are precisely dosed by Polanski to draw us more and more into the film, while he makes sure on the other hand that the film doesn't become absurd. And he manages to give the film an ending that works, makes sense and is observant, slightly but only slightly funny and very disturbing, all at once. Rosemary's Baby also contains two of the most memorable performances ever: Mia Farrow is haunting as Rosemary Woodhouse. She looks like she is physically suffering from her pregnancy and close to complete despair. And Ruth Gordon is amazing as the curious Minnie Castevet, always friendly, but also giving you the feeling that, hidden behind her generosity, she actually follows her own, obscure motives. If you have a helpful elderly female neighbor, you'll see her with other eyes once you've encountered Minnie Castevet. So, if you think a real horror film needs shock moments, vampires, werewolf, serial killers or at least blood - watch Rosemary's Baby and you'll change your mind.
Reassuring to fine it's every bit as good as its staunchest champions would have you believe (by Spleen)
Why aren't the horror directors of today as careful with their scripts as Polanski was? Not that this is really horror. Horror as we know it came into being with the slasher flicks of the late 1970s and early 1980s; "Rosemary's Baby" is rather the kind of thing that the term "dark fantasy" was coined to describe, by people of taste who noticed that the word "horror" promised audiences something distinctly unpleasant and nasty.The film's construction is marvellous. Things start slow - one beat, so to speak, to a bar - and gradually pick up speed so <more>
that by the end we are nervously tapping out semiquavers with our feet. Polanski also understands the gentle art of hint-dropping. Many events are filed away as tiny puzzles to be solved later, and they ARE solved later; others we don't attach any particular significance to at the time Polanski invites us to re-interpret in retrospect, AND chooses the right moment to let us do so. And then, at the end, AFTER we've worked everything out, he presents us with a surprise - a delightful, gratuitous twist which nothing had prepared us for, which we couldn't have guessed, yet which doesn't cancel out the story as we'd understood it. Alas, many people know what this surprise is in advance. I, for one. Yet this foreknowledge did nothing to spoil my enjoyment: a sure sign of superb construction. All in all, a film that tempts you to rank it with the best ever made - which is more, but not much more, than it deserves - simply because it's perfect. Everything went right. Rosemary is a wonderfully sympathetic heroine, powerless without being passive, largely ignorant of what's going on around her without being at all stupid, and Mia Farrow makes you care deeply about her. The cinematography is pellucid; the art direction is subtly right; there's also a fine, odd yet tuneful, musical score. I can't believe I waited so long to see this.
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 <more>
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.The film's acting is great, and reinforces the strong script. I particularly liked Ruth Gordon, with her delightfully eccentric behavior and mannerisms. Production design and especially costumes are lavish and colorful. Clothes and hairstyles, as you would expect, are very 1960ish. Visual effects are minimal, and are used to enhance the story, not be the story.Given the film's POV, the story is rather subjective. Its interpretation is based on Rosemary's perceptions, images, and fears. One could explain that Rosemary suffers from delusions. Or, alternately, one could explain that what happens is real. It's all in the interpretation. Either way, it's a great movie. It holds up well, forty years later, a tribute to its writer and director, Roman Polanski.
"Awful things happen in every apartment house" (by Steffi_P)
Rosemary's Baby was originally proposed as a project to Alfred Hitchcock. He turned it down, and instead it fell to the up-and-coming Polish director Roman Polanski. It's hard to imagine what the master of suspense would have made out of this tale of devil worship and Catholic guilt, even though there is some Hitchockian psychology and mystery at work. As it was however, it proved to be right up the young Polanski's street, taking his career to new heights, and spawning a run of occult horrors in the late 60s and early 70s, of which this is still one of the few greats.Polanski had <more>
already established himself as a director most comfortable with the confinement of interiors in films like Repulsion 1965 . Here he draws us right into the claustrophobic feel of the upstairs apartment, often placing the camera in a room adjacent to the action, with the characters viewed through a doorway. The camera movement is mostly restricted to pans. It rarely tracks or dollys, as if it were trapped in a corner. Even in the exterior scenes the sky is often sandwiched or blotted out altogether between the buildings rising on either side. The actors often appear uncomfortably close to the camera, but not in individual close-up shots. Instead, they come in that close as they move around the set and the camera pans back and forth. Not only does this add to the cramped, awkward atmosphere, but this constantly changing distancing of actors within a single shots makes the audience feel as if they are actually standing there.Rosemary's Baby may come across as very slow to some viewers. 140 minutes certainly is a long time in the horror genre. There do also appear to be a lot of unnecessary details in the dialogue we get to find out far more about Rosemary's background than is normal for a character in cinema. But for one thing, Polanski was not interested in making a shock-and-gore horror Rosemary's Baby is all about the eerie atmosphere, the tension and the mystery. He holds our attention by regularly dropping in clues that something sinister is afoot. Furthermore, all the detail and depth has its significance in the finished product like the references to Rosemary's Catholic upbringing or the background of the Castavets.Polanski has never overused flashy techniques no fast editing, zooms or unusual angles that make for a very obvious directorial style. But there is always great complexity and meaning in the look of things the set design, lighting, costume and so on. One of my favourite touches is Mia Farrow's extremely short Vidal Sassoon hairdo that she has done halfway through the film. With her bony features and pale skin she more and more begins to resemble a skeleton, especially under the carefully placed lighting in the scene after the party when she realises the pain has gone. It's simple yet significant ideas like that which make Polanski one of the best directors of his era.There's some great casting in this picture. Careful choice of character actors makes for some quirky supporting roles. Mia Farrow and John Cassavetes are perfect in the lead roles. The musical score that haunting opening melody, or the atonal violin squeaks all add to the atmosphere.Rosemary's Baby is a real landmark in horror. It helped keep the genre alive by pushing the occult - something fairly taboo, and not fully explored in cinema since the days of silents - to the fore. Also the restrained atmospheric horror was doubtless influential, particularly on Kubrick when he came to make The Shining. It inspired a lot, but was rarely bettered.
Spoilers herein.This is absolutely the most terrifying film ever made dealing with supernatural evil. Forget `The Exorcist,' that's kid stuff. Forget the hundreds of `jumping out of the dark' gore pictures. `The Shining'? effete. This has guts like the old horror radio shows used to because I can imagine something worse than anything you can make up and show with rubber and catsup.And surprisingly, this film has aged well, even improved as the hippie era is now long gone.Mia is preciously delicate, open. Her commitment to this film makes it real. One can feel her taking <more>
personal risks and this reflects on her character. Roman almost goes too far here, after `Repulsion,' walking the edge of suspense, slowly building, relentlessly restrained. He so eclipses Hitchcock in his camerawork; he so stamps this with a East European mystical surrealism that I wonder why this film is not more celebrated.When `The Exorcist' came out five years later, the publicity machine made much of supernatural happenings on the set, in an attempt to make the film seem more real. But this film is damned creepy when you look at its history.Many people were students of magick in those days, as part and parcel of spiritual exploration. Mia gets into this film rather by accident, has an affair with Polanski during it. Divorces her husband the singing thug and finishes the film. Goes to India with the Beatles, Donovan and Beach Boys to meditate, during which John and Paul write thirty songs based on Kabbalah. Inspired in part by Crowley.This album inspires Manson to kill Polanski's wife, mistakenly thinking the house was occupied by someone close to the Beach Boys. Lennon takes up with Yoko directly on returning from India. Her interest in the occult leads her to the Dakota, where they keep their home until John is killed. During which period, Yoko has a parade of occultists and mystics, even the largest private US collection of Egyptian artifacts.Polanski meanwhile makes the most powerful `Macbeth' ever filmed because of its emotional take on evil anarchy. Then he is exiled from the US. After a long dry spell and much preparation, makes `The Ninth Door.' which shows incredible understanding of the occult tradition in art, and his own role -- his current wife plays the supernatural agent of semiotic art. Pacing and direction refers to `Rosemary,' but is less confident, more frightened.Jesus, scary enough for me.
I obviously didn't pay full attention to this film when it was on, somehow I found most of it boring, now I can appreciate it as a classic, from writer/director Roman Polanski Chinatown, The Pianist . Basically Rosemary Woodhouse BAFTA and Golden Globe nominated Mia Farrow and actor husband Guy John Cassavetes move into a building with a bad reputation to their new Manhattan apartment, against the advice of landlord Edward 'Hutch' Hutchins Maurice Evans . They soon meet friendly but nosey neighbours Roman Sidney Blackmer and Minnie Castevet Oscar winning, and Golden Globe <more>
nominated Ruth Gordon , who Rosemary isn't keen to see too often. Strange things start happening, starting with the sudden supposed suicidal death of Terry Gionoffrio Victoria Vetri, aka Angela Dorian who Rosemary briefly met in the washroom. Not long after Guy suggests they have a baby together, and when Rosemary passes out she has a realistic seeming nightmare where she is tied to a bed, painted in red, and raped by what looks like the devil, with worshippers around them. Rosemary wakes with Guy saying he took advantage, but Dr. C.C. Hill The Great Muppet Caper's Charles Grodin confirms she is pregnant, and the happy Castevet's recommend she go to Dr. Abraham Sapirstein Ralph Bellamy . He gives her odd advice and "vitamin drinks", and she develops a strange pain in her stomach that doesn't go away for a long while. Hutch falls into a coma and dies, and before he did he sent Rosemary a book called "All of Them Witches", all about witchcraft through the ages, with a note saying "the name is an anagram", she assumes it is the title, but she finds the name "Steven Marcato", it Roman Castevet. Rosemary is convinced that Roman, his wife and a few others she has met are Satan worshippers, and Guy may also be involved to get a good acting career . She goes to Dr. Sapirstein to tell him she is not listening to him anymore, only to be feeling guilty for Roman dying and going away to Europe, she bids him farewell. Rosemary's suspicions return though reading how curses can be given to people, e.g. blindness, comas, and after realising Dr. Sapirstain is part of the plot also, she tries to convince Dr. Hill of all she knows. He pretends to take Rosemary seriously so Guy and Sapirstain can come and take her home, and she is panicking when the whole coven group of Satan worshippers hold her down, just as she is going into labour. Rosemary wakes with Guy by her side, saying she had a boy, but Dr. Sapirstain says it died, and she knows this is a lie and takes a knife with her to stop the coven carrying out their sacrifice. But it is what the baby is that is more terrifying than this ritual, her baby is the son of Satan, and all around her are praising him, and in the end all she can do, is accept it!? Also starring Patsy Kelly as Laura-Louise McBirney, an uncredited Tony Curtis as Donald Baumgart and Elisha Cook Jr. as Mr. Nicklas. Farrow is perfect as the victim to this devilish conspiracy, Gordon is a worthy Oscar winner for her gossipy eccentrically menacing character, and with impeccable creepy music by Krzysztof Komeda, Polanski has made a masterpiece paranoia with a little dark humour horror. It won the Oscar for Best Supporting Actress for Ruth Gordon as Minnie Castevet also won the Golden Globe , and it was nominated for Best Writing, Screenplay Based on Material from Another Medium, and it was nominated the Golden Globes for Best Original Score for Krzysztof Komeda and Best Screenplay. It was number 51 on The 100 Greatest Scary Moments, and it was number 9 on 100 Years, 100 Thrills. Very good!
Rosemary's Baby was a shocker in 1968 when it was released. Recently screening the film with my wife, I see it still can impart a huge psychological impact today.My wife did not find it particularly frightening. It is true, there are no CG demons flying around cutting people's heads off ala End of Days. It's from an age of film when people actually watched and thought about what was on the screen instead of just being wowed by eye-candy. As such, it calls upon the viewer to be drawn into Rosemary's plight and paranoia. And at this, it still succeeds.I was struck by the fact <more>
that, even though there are some telltale signs of it's age guys readily smoke around the pregnant Rosemary while handing her drinks, etc. , the film holds up so well and appears even today to be remarkably contemporary. The characters, so well acted, are timeless types of horror: The nosey old lady Ruth Gordon who eventually grows on you and, even after you find out what she's all about, you can't help but find her funny; the benign grandfatherly figure Sidney Blackmer and the trusted doctor Ralph Bellemy who surely wouldn't harm a fly; and the innocent Rosemary who becomes victim to a justified paranoia. At the end, my wife asked whether the second doctor Charles Grodin was "in" on the plot. That's the whole point in a nutshell... you never know.Rosemary's Baby was a daring precursor to many films to follow including the Omen and The Exorcist. While those films use gallons of pea soup and shocking special effects, neither works so hard on your mind as this one. Unlike so many of it's contemporaries, Rosemary's Baby has aged well and can still chill! 8 out 10
An atmosphere like no other. (by Rockwell_Cronenberg)
This is how horror films need to be made. Aside from The House of the Devil a beautiful throwback to this period of the genre there aren't any films that can so perfectly create this kind of a chilling atmosphere that keeps your skin tingling from start to finish. From the haunting echo of Mia Farrow's voice eerily leading us in, Rosemary's Baby immediately absorbs you into it's world and never lets you out. That's the perfect word for this; absorbing. Roman Polanski is one of cinema's finest directors and what makes him stand as such is how perfectly he can create <more>
an atmosphere. Even in his few failures he crafts a unique and full atmosphere that is expertly made for the film he's creating. He's one of the few directors who always know what he's doing and always creates a complete vision that never wavers. That's on display in spades in Rosemary's Baby, a film that drives mystery, supernatural paranoia and the fears of any pregnant woman into the heart of the viewer. With the help of a revelatory performance in terror from Farrow, Polanski creates a truly perfect film.