The 1968 psychological horror filmRosemary’s Babyis a masterwork ofslow-burn horror, seamlessly infusing terror with social commentary that, over 50 years later, has inspired a number of contemporary filmmakers fromJordan PeeletoAri Aster. Adapted fromIra Levin’s novelof the same name,Mia Farrowstars as the eponymous Rosemary, a young woman unwittingly recruited into a Satanic cult by her overbearing neighbors and forcibly impregnated with the child of Satan. Explorations of cultism are popular in the horror genre, and while the Satanic cult is certainly an essential part ofRosemary’s Baby, the true horror lies in her husband’s betrayal, the manipulation and gaslighting he subjects her to, and the way their abusive relationship strips Rosemary of her bodily autonomy.
‘Rosemary’s Baby’ Reflected the Cultural Shifts in 1960s America
The1960s were rife with groundbreaking horror films, fromNight of the Living DeadtoAlfred Hitchcock’sPsycho, andRosemary’s Babywas one that effectively reflected the cultural shifts taking place in the United States at the time. Anti-establishment and countercultural movements were on the rise, the civil rights movement was in full swing, the anti-Vietnam War movement intensified, and second-wave feminism was just beginning. A number of cults also emerged, and just one year after the film’s release, American actress and directorRoman Polanski’s then-wifeSharon Tatewasmurdered by members of the Manson Family. Levin’s novel and Polanski’s film expertly play into the anxieties brought on by the rapid evolution of American culture, particularly those of the New York City metropolis.
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When Rosemary and her husband Guy (John Cassavetes) announce they’ll be moving into the Bramford apartment building, their friend and former landlord Hutch (Maurice Evans) warns them of Bramford’s occult history involving murder and witchcraft. They pay him no mind, but there are warning signs from their very first tour of the apartment that the Bramford is not what it seems. Guy, a budding actor struggling to land a more substantial role, is quickly recruited into the cult by their nosy neighbors Roman (Sidney Blackmer) and Minnie (Ruth Gordon) Castevet, who have connections all over the city. We soon discover that Guy has offered Rosemary’s body to be used as a vessel for the child of Satan in exchange for success in his acting career.
‘Rosemary’s Baby’ Is As Much About Marital Abuse as It Is Cults
Though the Satanic cult is the driving force of the film,Rosemary’s Babyexcels by showing how Guy’s indoctrination into the cult manifests in his abuse of Rosemary. Before meeting the Castevets, Guy and Rosemary seemed to have a relatively healthy relationship, excited to move into their new apartment and looking forward to starting a family. But as soon as Guy starts spending more time with them, his demeanor towards Rosemary shifts. He suddenly becomes very controlling, trying to dictate what she eats, what doctor she goes to, and what friends she sees. In order to recruit her into the cult along with him, he discourages her from leaving the apartment or hanging out with any of their old friends.
Cult leaders and domestic abusers usesimilar tactics in manipulating and controlling their victims, which is made clear inRosemary’s Babythrough the treatment Rosemary receives from her husband and the other members of the cult. Minnie forcefully encourages Rosemary to see fellow cult member Dr. Sapirstein (Ralph Bellamy)throughout her pregnancy, makes her special homemade drinks, and keeps tabs on her as much as possible. Dr Sapirstein tells Rosemary not to read books about pregnancy or take any pain relievers, despite her continued suffering. Guy, the Castevets, and the other members of the group collectively control and abuse Rosemary for their own selfish gain, with absolutely no regard for her mental or physical health.
Rosemary’s Loss of Bodily Autonomy Is More Horrifying Than Satan
As Rosemary finds herself trapped in an increasingly abusive relationship with Guy, she is stripped of her bodily autonomy time and time again. Most egregiously, Guy drugs and allows Rosemary to be raped by a scaly, red creature (presumed to the Satan) in an occult ritual, and lies to her the next morning, telling her that it was actually justhimraping her. Claiming he “didn’t want to miss baby night,” Guy sees no issue with taking advantage of Rosemary while she is unconscious, making light of the big red scratches on her skin and joking about necrophilia. Throughout her pregnancy, despite her sickly appearance, weight loss, and constant complaints of sharp pain, Guy refuses to let her seek a second opinion, even though Dr. Sapirstein offers her no solutions. When Rosemarydoestry to exert control over her body, even just superficially, by getting a chic Vidal Sassoon pixie cut, Guy immediately berates her.
Despite Guy often treating her like a child, Rosemary is smarter than he thinks, so once she starts putting the pieces together and discovers the Satanic plot against her and her baby, he gaslights her, telling her she’s crazy and that her paranoia is probably just a symptom of her pregnancy. Even when Rosemary does manage to escape and explain her predicament to a different doctor, he pretends to believe her but proceeds to turn her right back over to her husband and Dr. Sapirstein. She’s physically restrained and sedated right before giving birth, and when she wakes up, Guy lies to her that the baby has died, but tells her that they can simply try again.
Rosemary is continuously dehumanized from the moment Guy joins the cult to advance his career. Instead of “selling his soul” to the devil, he sells Rosemary’s body. Any time she tries to make decisions for herself and preserve her own identity, we’re reminded of how little those around her care about her as a human being. Her husband, the Castevets, and the rest of the cult pretend to offer her community and support, but only see her as a means to an end, a vessel to control and manipulate for their own nefarious purposes.Rosemary’s Babydoesn’t rely on jump scares or gore, but on real human selfishness, abuse, and brutalization to horrify the viewer.
