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Guy and Rosemary: Happy Parents-to-Be John Cassavetes and Mia Farrow / Patrick J. Adams and Zoe Saldana |
The idea of adapting Ira Levin’s 1967 novel Rosemary’s Baby and its much-reviled 1997 sequel Son of Rosemary into a TV miniseries has been bouncing around Hollywood for years. In 2005, ABC Television acquired the rights and announced a Rosemary’s Baby miniseries for its Fall 2006 schedule. When that project failed to materialize, the network made a similar announcement (to a similar result) in 2008. In each instance, fans of Polanski's classic film breathed a collective sigh of relief, attributing the abandonment of each project to an 11th-hour attack of common sense on the part of the producers. Or, at the very least, a dawning awareness of the fool’s journey involved in remaking a film widely regarded as a modern classic and one of Hollywood’s few faithfully rendered adaptations of a popular bestseller.
Having been taken down this road several times before, when I learned that NBC had actually made good on its lingering threat…I mean, promise…to turn Rosemary’s Baby into a four-hour telefilm, my natural curiosity overrode my innate skepticism. I knew I was going to watch the TV remake, even if only to satisfy my curiosity over what degree of hubris could possibly inspire the kind of delusional, presumptuous, thick-headed arrogance necessary for one to think they should try their hand at Levin’s modern gothic masterpiece. Especially when, in 1968, a young, pre-felony Roman Polanski fairly batted that particular Satanic ball well out of the park.
And that was just my curious side.
In 1976, Ruth Gordon reprised her Oscar-winning screen role in this almost startlingly awful made-for-TV sequel, which cast Patty Duke in the Mia Farrow role and Stephen McHattie as the grown-up Satan-child (played like James Dean on Quaaludes). The director of this opus is Sam O'Steen, editor of the original Rosemary's Baby, and director of the 1976 film Sparkle. |
Rosemary's Baby - 1968 Mia Farrow, John Cassavetes, Ruth Gordon, Stanley Blackmer Directed by Roman Polanski |
Rosemary's Baby - 2014 Zoe Saldana, Patrick J. Adams, Carole Bouquet, Jason Isaacs Directed by Agnieszka Holland |
Minnie & Roman |
Roman & Margaux |
Rosemary’s Baby: The feature film, is a seminal horror classic, integral in moving the horror film from the B-movie bargain basement into the mainstream. Rosemary’s Baby: The miniseries, while respectful, ultimately proved itself only as an innocuous work of professional competency. By any qualitative standard that makes a movie resonate with me (character development, physiological sensitivity, narrative cohesion, use of cinema vocabulary, subtlety) there really is no comparing the two.
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The Tannis Racket |
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Hearth and Hell |
New York's Dakota Apartments became The Bramford for Rosemary's Baby |
Standing in for The Bramford, La Chimere: an exclusive Paris apartment building |
RB1 was released during a time when the Catholic Church was undergoing a period of reform. Pope Paul VI (his 1965 New York visit is referenced in the film) took strides to modernize the church’s image, while, simultaneously, Christian theologian Paul van Buren was making headlines with his “God is Dead” theories. Into this atmosphere came a horror film whose premise was viewed by many to be a bastardization of the allegory of the Christ child. A reversal of the New Testament Christian myth complete with a divine father figure, a chosen vessel, and a birth–signifying the dawning of a new era–attended by adoring followers.
In Levin's fantasy, Satan, Rosemary (significantly, a lapsed Catholic), and the birth of the anti-Christ all signaled the dawning of a new Dark Age for the world. A bleak period all too imaginable given the climate of the times (gun violence, political assassinations, urban riots, the Vietnam War). In the socially conscious world of the 60s, Rosemary's Baby, as a quasi-religious horror parable, had an eerie urgency that struck a chord with the public.
No such social urgency occurs in RB2. To an almost hermetic degree, the real-life horrors of today fail to intrude upon the clichéd horrors on display in RB2. Just going from my own idea of what a contemporary embodiment of Satan on earth would be like, I envision him as one of those conservative, ultra-right-wing billionaires using his vast fortune to convince middle-class people that the problems of the world are the fault of the poor. He would use his money to help perpetuate fear, oppress the powerless, accelerate global warming, and subtly promote war, gun violence, and international terrorism. That sounds evil to me. A story proposing Rosemary's pregnancy unleashing this kind of evil into the world, I would find compelling, to say the least.
I've never seen Zoe Saldana in a film before, yet without actually becoming Rosemary for me (or any human being I've ever known, the script has her behaving so erratically), I think she is very good. She's written and portrayed in such a blank manner (so little is provided in the way of narrative thrust for her character) that when things start to go horribly wrong, there's no risk placed on any of her goals because she has none.
RB2's saving grace and sole element of inspired casting and character is Carole Bouquet's Margaux Castevet. I absolutely love the changes in the character, how she's written, and how she's played. Mysterious, maternal, malevolent, VERY sexy...it's the only part of RB2 to which I'd give an unqualified thumbs up.
Mrs. Castevet, you're trying to seduce me. Aren't you? |
I've been crazy about Rosemary's Baby since it scared the crap out of me as a child in 1968. It has always seemed to me such an ideal, perfectly realized film...I never seriously thought anyone would really attempt remaking it. Well, they finally did, and after seeing it, I would be lying if I said I didn't feel a slight sense of vindication in my belief that Polanski's film is precisely Levin's novel, ingeniously adapted, and should be left alone. Hollywood is so hooked on the safety-valve factor of no-risk moviemaking that every time a reboot, remake, or sequel fails, some filmmaking angel gets their wings. Producing one less sequel opens the potential for something original to be made.
A genuine, bona fide classic motion picture is a rare thing. When it occurs, perhaps we should just let it be and simply enjoy it as is. Dated material and all. It still has value.
BONUS MATERIAL
Look What's Happened to Rosemary's Baby, the ill-advised 1976 TV-movie sequel to Rosemary's Baby, is available on YouTube.