Falling From Grace: Defenestration within “Cinema’s Unholy Trinity”

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The Exorcist, 1973

defenestration
ˌdiːfɛnɪˈstreɪʃ(ə)n
noun
  1. the action of throwing someone out of a window.
    “death by defenestration has a venerable history”

Any seasoned horror film fan will have vicariously experienced any number of various forms of gruesome death: impalement, eviseration, decapitation, burning in flames, eaten alive & etc. etc.. Whilst we continue to pursue our occult horror kink of pondering The Devil In The Details, we noticed one particular form of death presents itself in the three classic Devil themed horror films widely considered to be Cinema’s original “Unholy Trinity,” namely Rosemary’s Baby (1968), The Exorcist (1973) and The Omen (1976). These three films have historically contributed a lion’s share to the satanic cinema vanguard and unleashed a flood of imitators in their sulphuric wake. The form of death exhibited in these three films which we are referring to here is technically known as defenestration, otherwise known as jumping, or being pushed, from a window.

First, let’s start with a quick review of the defenestrations in said Unholy Trinity.

Rosemary’s Baby: Actress and Playboy Playmate Victoria Vetri, aka Angela Dorian, played Terry Gionoffrio, the young houseguest of elderly satanic couple Minnie and Roman Castevet. Terry commits suicide (or so we believe. It is never actually revealed, in either novel or film, whether it was truly suicide or murder; we are left to decide on our own)  by jumping from the 7th floor of the notorious Bramford apartment building where Rosemary and her husband have just moved in as neighbors. We do not see the actual jump onscreen but only it’s immediate aftermath. Terry’s death is the catalyst for Rosemary’s involvement in the Castevet’s insidious, diabolical plot.

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The Exorcist: Two characters in the movie, film director Burke Dennings (Jack McGowran) and Father / Doctor Damien Karras (Jason Miller), are both (at different points in the story) expelled  from the demonically possessed Regan MacNeil’s bedroom window and plummet to their deaths at the bottom of a very steep flight of stairs outside. Father Damien’s death, which is also a suicide rather than a murder, is shown onscreen.

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Nice knowing you, Padre.

The Omen: Lee Remick as Mrs Catherine Thorn, unwitting foster mother to the child Antichrist Damien,  is in hospital recovering from the results of another bad fall which, as with most deaths in The Omen trilogy, appears as the result of an uncanny and tragic accident. As she awkwardly attempts to leave said hospital she meets with foul play and is expelled from a very high window.

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Lee Remick plays the victim in The Omen.

 

 

 

 

 

 

 

 

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Billie Whitelaw as Mrs Blaylock is our favorite Satanic nanny.

You can view Mrs Blaylock’s online dating profile here:

Link:  Bad Date Blaylock

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Mrs. Thorn’s (Lee Remick’s) satanic revelation comes too late in The Omen.

While we’re on The Omen, who can forget the young nanny Holly  (played by Holly Palance, daughter of actor Jack Palance) who made her cinematic debut in perhaps film’s first, and most spectacular, jumping suicide by hanging which ends with her body crashing into (rather than out of) a window?

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The Fall of Lucifer by Gustave Doré

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“It’s all for you!”                                              The spiritual motto of Pope John Paul II was a Marian one, “TOTUS TUUS” meaning: “Totally Thine” or “ALL YOURS”.

Occult Horror Geek Purport

Is it merely our diabolically enhanced imagination which feels some poetic connection may exist between the defenestrations in three of our most highly regarded diabolical horror films and the Fall of Lucifer along with the Rebel Angels from the Book of Revelation (12: 2 – 9) ? Or, the biblical Fall From Grace in the Garden of Eden? Is there not an infernal taint of the soul inherent in such a death? Whether by murder or suicide? This is especially poignant in Father Damien Karras’ savior-like death to save young Regan MacNeil. We might also pause to consider Rosemary’s acquaintance, Terry’s leap (of  faith?) from the seventh floor of the “Black Bramford”, and it’s Qabalistic and spiritually infernal  association with a diabolical “Seventh Heaven” motif.

Of course, plenty of other forms of death occur in The Omen series. The only death from The Exorcist we haven’t mentioned yet is the elderly priest Father Merrin  (Max Von Sydow) who collapses from heart failure during the strenuous exorcism. The only death other than Terry Gionoffrio’s in Rosemary’s Baby is that of Rosemary’s elderly friend Edward “Hutch” Hutchins (death by witchcraft); and that occurs off-screen. But defenestration has a special aura of the satanic. The French have a phrase for it: l’appel du vide, the call of the void. That inexplicable impulse as you stand in a high place to leap. Lucifer rebelled and was cast down (so the legend goes); did He not have the same sort of feeling? Could He not resist the call of the void?

You know: when you’re falling… DIVE!

The significance (if indeed we choose to see it) of defenestration in these black art- flavored movies ends at: 1) the parallel poetic resonance with the biblical Fall of Man, and the Fall of the Rebel Angels. And 2) the case of suicide as a mortal sin in the case of  Terry Gionoffrio in Rosemary’s Baby and Father Damien in The Exorcist. This final point – that of suicide as a mortal sin – we have already examined in a previous article here:

Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’

Though the motif of hanging as ritual suicide, or as a punishment for witchcraft, also intrigues us, we will save that particular form for a later article.

What movies would you add to cinema’s greatest Unholy films? Do Suspiria (1977), The Sentinel (1977) and Angel Heart (1987), come to mind…? Please view our ever-expanding list of diabolical horror films at the Satanic Cinema Sommelier; Our Favorite Devilish Films

Thank you for reading and please share if you like.

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‘This Is No Dream: Making Rosemary’s Baby’ – A Book Review

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‘This Is No Dream; Making Rosemary’s Baby’

Text by: James Munn

Special Photographer: Bob Willoughby

From: Reel Art Press, 2018

206 pages, hardcover. LOTS of photos!

♥♥♥♥♥ 5 Black Hearts (=love it)

The legend behind the making of a horror classic!

Fans of ‘Rosemary’s Baby’ have waited 50 years for a collectible item to be made available to the general movie going public – beyond maybe a poster, or the blue ray DVD with it’s extra features.  But all good things come to those who wait! Finally, we are offered a feast that lingers on our favorite devil movie. Famed Director Roman Polanski’s faithful cinematic version of Ira Levin’s bestselling novel was released in 1968. Now, just in time for the golden anniversary of this diabolical classic, Reel Art Press presents us with a treasure of a book guaranteed to carry the merely curious and the serious film fan behind the scenes of this landmark cinematic production.

The book itself is a large quality hardcover of over 200 pages that spills over with marvelous color, and black and white, pictures by lauded film set and celebrity photographer Bob Willoughby. Quite a fair number of these pictures are seen here for the first time! As Polanski’s voyeuristic lens recorded a classic suspense horror thriller for the ages, Willoughby’s camera caught the intimate on-the-set moments of it’s making.

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Mia Farrow and Ruth Gordon on the set of Rosemary’s Baby. Photo: Bob Willoughby.               Reel Art Press.

The text by James Munn takes us on an insider’s journey through the film’s production, from it’s start as the novel was picked up for film rights even before it had barely reached the bestseller list, through it’s troubled production plagued by tensions – both economical and emotional (Good Lord! The drama!), to it’s momentous popular release during the time of a major cultural revolution in American society,  and to the aftermath of it’s wide influence ever since. We are given lots of information and insight from those who were there or directly involved, and encounter the amazing personalities – Roman Polanski, William Castle, Mia Farrow, John Cassavetes, Ruth Gordon and more – that contributed to this tremendously influential film.

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John Cassavetes. photo: Bob Willoughby. Reel Art Press.

Reel Art Press has done a fantastic service in the quality artistic presentation of the photos and text. Fans of Rosemary’s Baby, satanic cinemaphiles, and those interested in the workings of the film industry will all find this book of fascinating interest as much for it’s insights as for it’s delicious photography. A must-have treasure for any serious Rosemary’s Baby devotee in your life. A coffee table art book Minnie and Roman Castevet would adore! Would make a great Christmas present!

Link to video ad for the book :

This Is No Dream; making Rosemary’s Baby

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From the back cover of ‘This Is No Dream, making Rosemary’s Baby’ from Reel Art Press.

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Read our interview with Rosemary’s Baby cast alumnus Ernest Harada:

An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’

Or some of our other articles on Rosemary’s Baby:

13 Ways You Can Celebrate “Rosemary’s Baby’s 50th Anniversary”

All of Them Witches: A”Who’s Who” in Rosemary’s Baby

‘Rosemary’s Baby’: Raped by The Shadow

‘Rosemary’s Baby’ Turns 50 !

Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’

 

My Baby Rose Marie: A meditation on Horror Film and Spiritual Understanding

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Detail from the original cover of Ira Levin’s novel, 1967.

This is not an easy article to write… and there are many ways of getting this wrong, or misinterpreting my intentions. This is a very personal article which does somehow relate to my fascinations with diabolical horror, religion and spirituality in my personal experience; please bear with me.    –   H.B.G.

My obsession with the story Rosemary’s Baby, as popular novel and film, goes way back into my pre-teen days; and my love of diabolical and occult horror in general goes back even earlier. After a brief look at this website my profound interest in Rosemary’s Baby will become quickly obvious. I won’t try to explain this general attraction towards occult horror; but, I first ought to try to express why I think this particular story has had such a lasting and personal significance to me.

I sympathize with the character Rosemary Woodhouse because she is a Madonna figure; or maybe, at first, after the horrific revelation at the end of the story, a reluctant Madonna. She loves her unborn child and does everything within her power to protect it from a perceived threat of harm from a coven of witches. After the discovery of her baby and the revelation of it’s satanic paternity, and after the initial shock wears off a bit, Rosemary comes to accept and love the child just as she always did. As she always knew she would.images-4

This causes sympathy at the end of Rosemary’s Baby for those sensitive souls who contemplate the mystery within the story. This is the main point: the limitless reaches of Mother Love, of complete parental acceptance of a child despite it’s demonic appearance or diabolical destiny. We question if it is not in fact a happy ending, or… what?!

As a youth I felt terribly flawed, imperfect, weak, and worse than worthless. My family loved me but I was “different.” Midwest American society and religion, in the form of my Protestant upbringing in a small city, was ever quick to point out a particular damning spiritual defect I noticed within myself, a defect I was desperate to conceal as much as possible. But to broach  this topic is to open a whole other can of worms I choose not to deal with here.

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Black Sabbath album cover 1983 This image has always reminded us of this line from The Raven: “And his eyes have all the seeming, of a demon’s that is dreaming….”        E.A. Poe

That a mother or father could love such a “damned” thing despite it’s “sinful” nature flies in the face of God and becomes heresy. Therefore, I developed heretical ideas and beliefs at quite a tender age. Stand unashamedly, even defiantly, before The Almighty with your child – whatever his or her nature, is one way of looking at it. After reading and watching Rosemary’s Baby, I wanted to have a devil baby myself, a child which would otherwise be shameful or unwanted, and love it as my own, and bring it up to be whatever it was meant to be, in perfect love and understanding. Like that devil baby image I saw on junior high  classmate’s Black Sabbath t-shirts back in the eighties. I would have loved to care for Rosemary’s Baby. Now, in hindsight,  I know it was my own self I wanted to love… but couldn’t. A monstrous view of myself caused by small-minded religious trauma.

Fast forward through years of spiritual questing, learning, depression, art, a little therapy – professional or otherwise, some very strange and wonderful religious and occult experiences and wide ranging experimentation and different relationships, and I’m now a married father of two beautiful children (one boy, one girl) living in Japan, until the birth of our third child last October, just a couple days before Halloween… It seemed only natural for us to call her Rose Marie, Marie being a family name on my mother’s side, asides from the 50th anniversary of Ira Levin’s diabolical fable.

We knew Rose Marie was a girl. We knew she would be delivered via c-section just as our previous two were because that’s the way it’s done in Japan. We knew the c-section was scheduled to be October 30th – also known as Devil’s Night (natural birth would have been a week later on November 6th – my own birthday). We knew Rose Marie was destined to be a Scorpio – like her daddy. We were a little surprised when the maternity clinic staff decided to do a c-section earlier than scheduled – on the 29th – due to my wife’s condition. We blamed it on the typhoon we were experiencing. What we didn’t know and were totally unprepared for was that Rose Marie had one extra chromosome number 21, technically called Trisomy 21, commonly referred to as Down syndrome.

We were not told right away. Not sure what the standard practice is in Japan but it was two days after the delivery, on Halloween, after they unexpectedly relocated baby Rose Marie from the maternity clinic to a university hospital. Quite possibly nobody on staff wanted the burden of breaking the news to me, the father, in English. We were told there were some  concerns about our baby’s oxygen levels, but she is doing alright. I was so busy looking after my other two that my time with our newest baby those first days was very limited. I thought she looked a bit funny but I thought nothing of it since all newborns look strange.

After being admitted into the NICU (Neonatal Intensive Care Unit) and washing my hands I found two serious faced doctors standing by one of a dozen or so plastic bassinets and incubators waiting to see me. The first doctor spoke English and asked me if I noticed anything different about this baby from my other two children. Somewhat bewildered, I looked at my baby and commented something about her eyes… it wasn’t possible for her to open them yet on her own, and her cheeks seeming swollen. All newborns look funny and squished after all. The first doctor (the second one didn’t speak at all, as I recall, probably not confident enough in his English ability) asked if I noticed something different about her ears, that they were set a little lower than normal. The bridge of her nose slightly squashed, a lack of muscle tone, the presence of extra skin on the back of the neck….

The word “shock” is appropriate here. You could have knocked me over with a feather were I not so numb and dumb. Did I stop breathing? I don’t remember what was said –  something about more tests being needed but that Down syndrome was likely. But that there didn’t seem to be any heart problems or other immediate concerns, and she seemed strong. The doctors faded away into the background to leave me with my baby.

“My explorations into the occult and mysticism have taught me much, one of the greatest and most persistent being to release fear and to embrace the darkness; it has so much wisdom to offer.”

I stood there in the NICU of a foreign land staring down into a plastic bassinet at a little creature resting uneasily with tubes and wires attached. Beeping, crying sounds, and staff speaking in Japanese in the background around me as they tended their precious charges. I was alone with this tremendous revelation, my wife back at the maternity clinic still recovering from c-section surgery – probably very worried. A chair was brought over and I was told to sit down.

I sat there and stared at Marie-chan. I laid my big hand lightly on her little body, above her heart; my hand covered her entire torso. I had no clue as to what to do. I was feeling a very heavy weight being dropped on my shoulders as I looked at her squished and swollen features. After a little time a nurse approached and asked if I’d like to hold her. “Can I ?” I asked, stupidly.

Can I? Can I do this?

I was so careful because of an IV tube and wires attached to monitors. So small and helpless. I held her. She was so light, so fragile. Happy Halloween, Mr Gardner. Trick or treat?

Such darkness. Such heaviness overwhelmed me. An unspeakable darkness. My hands hesitate to type for fear to implicate myself and my own dreadful thoughts. An evil born of fear and ignorance conjured the worst ideas into my head, then. Ideas masquerading as merciful, which must have been fairly common actions in the time of our ancestors a few generations back when faced with such a situation, when there were fields to till and mouths to feed and back-breaking labor and no time or economy for compassionate nursing.

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Artwork: uncredited, please enlighten us.

But this is my baby. The little Scorpio girl I’d been expecting. My little Rose Marie. Were my parents still alive how would they react? They adored their grandchildren.

I wanted to comfort the flawed and helpless little creature in my arms. She was surrounded by strangers, all good staff, I’m sure, but it’s their job. They weren’t family, and could not be completely loving, as such. They have enough to keep them busy. How to do it? I stared at the cartoon fish, frogs and animals on the walls and over at the industrial sink. I tried not to stare at the other babies in the NICU, some looked much weaker and in more need than my little one. Well, I’ve always sung to my babies, or hummed, when so small, a way of affirming to the little consciousness snuggled in my arms that a caring presence was there. But at that moment, believe it or not, I could not think of a single lullaby, not a one could come to mind or memory! My brain and tongue were frozen. Now, of course, I can list them all: Hush Little Baby, Rock-a-bye Baby, Twinkle, twinkle little star…. But nothing, not a lyric or tune came to mind.

Irony of ironies, only one lullaby came to me as I sat holding my youngest in that NICU in Osaka University Hospital: the opening and closing lullaby theme to the film Rosemary’s Baby; the “La la la la….” sung by Mia Farrow herself. I began to hum it quietly, that sad, sweet, haunting and somehow comforting tune, as I looked down at my youngest, my Rose Marie.

Link to listen:

Krzysztof Komeda – Lullaby – (Rosemary’s Baby – 1968) sung by Mia farrow

My explorations into the occult and mysticism have taught me much, one of the greatest and most persistent being to release fear and to embrace the darkness; it has so much wisdom to offer.

Under the respectfully-distant-but-ever-at-hand-presence of the NICU staff I was able to change Rose Marie’s diaper and to bottle feed her that first Halloween. I feared the bond which I felt forming. I wasn’t sure I could nurture this bond. (Can I? Can I do this?) That night, Aidan and Lily, our two others at home with my mother-in-law, danced around a candlelit Jack O’ lantern as I stared numbly at the grimacing face of the flickering pumpkin. Trick or Treat, indeed. But those first few weeks following the birth were very difficult and dark and full of a bleak sadness for us.

“We now consider ourselves lucky, blessed, chosen.”

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Mia farrow in the final scene of Rosemary’s Baby, 1968.

Fast forward to today. Rose Marie is nearly nine months old now and doing very well, despite the regular “irregular” digestive trouble common among Trisomy 21 babies. My wife and I have come a very long way since last Halloween; we have discovered a new kind of normal (whatever that means!). Rose Marie, or Mari-chan, is a special light in our lives and we cannot imagine life without her. We have reached epiphany after epiphany. About half of babies born with Down syndrome require neonatal heart surgery or some sort of digestive tract surgery. It is about a one in a thousand chance to get a baby with Down syndrome. Most do not even make it to full term and birth. We now consider ourselves lucky, blessed, chosen. Rose Marie is an angel who has enlightened our souls, and her smiles and giggles and cuddles are absolutely enchanting. She dispels the darkness and has ushered in so much light and opened us up to a wider world. It is amazing how the human heart can adapt, change, grow… how a tremendous spiritual upheaval which dashes the soul upon the rocks of harsh physical reality, shattering it apart from the frail and selfish ego, can strengthen one and raise the spirit higher.

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Me with Rose Marie

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Mari-chan

Thanks for reading.

You can follow Rose Marie on instagram:

Follow Rose Marie on Instagram

https://www.instagram.com/marie102921/

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and our Rosemary’s Baby 50th Anniversary Page on Facebook

 

13 Ways You Can Celebrate “Rosemary’s Baby’s 50th Anniversary”

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Mia Farrow and John Cassavetes in the greatest film ever: Rosemary’s Baby (1968)

By: H.B.G.

Some of you know how “our” passion for Rosemary’s Baby goes way beyond any normal level of diabolical decency. Rosemary’s Baby is truly it’s own little world, one we’ve stepped into and walked around in many times (Believe us, we realize how that sounds and the danger we’re in of convincing you of our potential basket-weaving skills).

We have seen Roman Polanski’s film version more times than we can say and our current paperback edition of Ira Levin’s novel (we’ve gone through a few) is highlighted, dog-eared and underlined in. Along with it rests a notebook of details culled from the novel and film, and ideas (culled from our imagination) for every single character in the Castevet’s coven – a sincere (if misguided) attempt at study for a series of prequel related short fiction in relation to the novel, ( i.e. background stories for Adrian Marcato, Minnie & Roman Castevet, Dr Sapirstein, Laura-Louise and all the other coven members). Ideas for a collection of short fiction which would take us on a journey through events in these characters lives up until the very first page of the novel (or frame of the film).

We are pleased to see some recognition beginning to appear regarding this golden jubilee, which we’ve been promoting out of our own enthusiasm, for over a year now in our own little way, via this Devil In The Details site and our Rosemary’s Baby 50th Anniversary facebook page. We started the #RosemarysBaby50thAnniversary hashtag out of a genuine love for the novel and film.

Visit Ira Levin.org where you can enjoy Rosemary’s Baby Album – an online feature that celebrates the novel’s 50th anniversary with unprecedented behind-the-scenes look at it’s creation, using author Ira Levin’s actual notes, drafts and archival materials. There is also a  “making of” book about the 1968 film to be released this July (of course we’ve pre-ordered a copy  through Amazon).

So, how devoted of a Rosemary’s Baby fan are you? How far will you go to celebrate this landmark cultural phenomenon? We have a few ideas… Here are 13 ways (an appropriate number for a witches’ coven) to celebrate Rosemary’s Baby’s 50th Anniversary.

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5oth Anniversary edition

 1. Read the novel by Ira Levin. It is still enjoyable, still relevant, still chilling and very good reading. Reading the novel last year or this year unlocks the Golden Jubilee level of Rosemary’s Baby fandom.

There are several details and insights to be found in the novel which didn’t make it into the film. For example, it describes Rosemary’s get-away to Hutch’s cabin for a week while she deals with feelings of neglect by her husband Guy; the novel also lets us know what exactly is running through Rosemary’s mind during that climactic final scene.

Subtle hints of the diabolical plot, which may go unnoticed in the film, are brought out in reading – like the significance of hearing the Castevet’s door chime is noticed at a certain point in the novel which a casual viewer may miss in the film. Subtle, but telling.

cropped-rosemarysbaby-mia-farrow-paramount.jpg2. Watch the 1968 film. It is truly one of the best suspense thrillers ever made. Make it a drinking game: take a shot of your favorite drink every time Mia Farrow appears in a different outfit. If you make it to the end of the film without passing out you have officially unlocked the “Hail Satan” level of Rosemary’s Baby fandom.

tumblr_oo7nizixwx1v00mydo1_500 3. Play a game of Scrabble. Extra points are due if you manage to spell “witch,” “Tannis,” “Satan,” or “Adrian“. This activity unlock’s the Guy and Rosemary Woodhouse level of Rosemary’s Baby fandom.

rgeyes4. Mix up some vodka blushes. But be sure to spill a little on the carpet in honor of Roman and Minnie Castevet. This unlocks the Minnie and Roman Castevet level of Rosemary’s Baby fandom.

Vodka Blush Recipie:

  • 2 1/2 ounces Vodka
  • 3/4 ounces freshly-squeezed lime juice (strained)
  • Dash Grenadine
  • Fill shaker 2/3 with fresh ice. Add ingredients. Shake and strain into chilled cocktail glass.
  • Garnish with a fresh sprig of Rosemary.
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The most exclusive residence in Manhattan

5. Go to New York City and visit the Dakota apartment building (or Alwyn Court apartments building where author Ira Levin once lived and was the original inspiration for the Bramford). Tell the doorman that the Castevets on the 7th floor are expecting you (bonus points if you’re carrying a gift wrapped baby present with a black ribbon). If the doorman gives you grief, ask to speak to Diego because he’s always on duty. You may be forcibly ejected from the premises but you can rest assured that you have officially unlocked the Bramford level of Rosemary’s Baby fandom. Alternatively, visit Yankee Stadium and ask when the Pope is expected to arrive. Consider traveling by Yamaha motorbike.

Unknown-2 6. Go to Vidal Sassoon and get a pixie cut. This officially unlocks the Mia Farrow level of Rosemary’s Baby fandom.

7. Make a chocolate mousse but call it “chocolate mouse” and bring some over to your neighbors. Tell them they’re extra and you don’t need them. This officially unlocks the Minnie Castevet level of Rosemary’s Baby fandom (bonus points if you ask your neighbors how much they paid for items inside their home)From the novel: “The cups were filled with peaked swirls of chocolate. Guy’s was topped with a sprinkling of chopped nuts, and Rosemary’s with a half walnut.” In case you were wondering, that’s how Rosemary got the “mouse” meant for her.

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Ruth Gordon and Mia Farrow, Rosemary’s Baby 1968

8. Trade ties with someone you despise or covet and wish them to go blind. This unlocks the Guy Woodhouse level of Rosemary’s Baby fandom. If the intended victim really does go blind, you have officially unlocked the Adrian Marcato level of Rosemary’s Baby fandom. Alternatively, hide a friend’s glove – only one of a pair – and if your friend goes into a coma, you have officially unlocked the Mrs Gardenia/Hutch level of Rosemary’s Baby fandom (and you really ought to be ashamed of yourself!!).

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Mia Farrow and Victoria Vetri (AKA Angela Dorian).

9. Do your laundry in a creepy basement laundry facility. Bonus points if  “a dead infant wrapped in newspaper” has ever been found on the premises. If you meet a woman of Italian heritage, or hear glass breaking, you have officially unlocked the Rosemary Woodhouse and Terry Gionoffrio level of Rosemary’s Baby fandom.

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Patsy Kelley as Laura Louise

 10. Buy or make a set of black baby clothes, or knit a black baby hat with horns or cloven hoof booties for someone you know is expecting a baby. This officially unlocks the Laura Louise level of Rosemary’s Baby fandom. In the novel we are informed that Laura Louise is knitting a pair of “shaped-all-wrong booties” for Rosemary’s baby.

images-2111. Buy a bunch of red roses for your wife and say “Happy Rosemary’s Baby‘s 50th Anniversary, Darling!” If she spits in your face, you have successfully unlocked the Guy Woodhouse level of Rosemary’s Baby fandom!

Alternatively, invite your friends and throw a loud party but be sure to exclude any nosey old neighbors. Afterwards, get in an argument with your spouse that ends in tearful laughter and an uncomfortably silent cleaning mode. This also officially unlocks the Guy and Rosemary Woodhouse level of Rosemary’s Baby fandom.

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Kitchen Witchin’ : Mia Farrow as Rosemary and Ruth Gordon as Minnie with the “spice garden” in the background.

12. Start an herb garden. Rosemary dreams of having a spice garden of her own someday. Maybe you’ll select a witch’s pharmacy of either psychoactive or poisonous plants, but you should at least get a rosemary plant potted and set in a sunny location – tradition says that rosemary growing by the front door of a home will keep your spouse faithful. Being a green witch is another way to unlock the Minnie Castevet level of Rosemary’s Baby fandom.

rb1013. If you are expecting a child of your own, name him Adrian, or her Rosemary. We did this ourselves last October for our youngest ‘Rose Marie’ (born two days before Halloween) and have thereby successfully unlocked the Adrian Marcato level of Rosemary’s Baby fandom. (Yes, seriously, but Marie also happens to be a family name).

Please visit and “Like” our Rosemarys Baby 50th Anniversary Facebook page:

Rosemarys Baby 50th Anniversary Facebook page

Use your own imagination and celebrate Rosemary’s Baby’s 50th Anniversary any way you choose. Maybe you’ll write a love letter to Mia Farrow, or… you could send a book on witchcraft to a friend along with the cryptic message that “The name is an anagram.” Try arranging to have a screening of the film at a local cinema and have live performers act-out the characters and scenes a la Rocky Horror Picture Show shadow cast style. The possibilities are endless. WOW! 50 years! This is no dream! This is really happening!

Closest  to our hearts are: an interview we did with actor Ernest Harada who portrayed the Japanese photographer in the final scene of the film which you can read here: An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’ which we did last year; our correspondence with actress Victoria Vetri, (AKA Angela Dorian)  who portrayed the character Terry Gionoffrio – the Castevet’s young houseguest – in the film, who is now free from prison but is occupied with adjusting to life “on the outside” and for whom we are praying for the best in her continuing rehabilitation; and last but not least, a source very close to departed author Ira Levin who complimented our Devil In The Details site for our efforts toward promoting Rosemary’s Baby‘s 50th anniversaries – novel and film – and who is also responsible for the exquisite #RosemarysBabyAlbum at IraLevin.org. These people, along with Mia Farrow, Roman Polanski, and Charles Grodin (surviving cast and crew of the film) – are due for recognition for their significant contributions to cinematic or literary history.

Let’s hope we see more recognition for this classic diabolical novel and film.

‘Rosemary’s Baby’: Raped by The Shadow

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In celebration of the 50th Anniversaries of our favorite  diabolical novel and film, we offer our Occult-Horror-geek purport on the abiding myth of ‘Rosemary’s Baby’.

208d03584a685e2121942f28478d2a72Note: This article is one of our studied opinions and interpretations of the novel and closely adapted film version of Rosemary’s Baby. We make no claims or assumptions that the original author, Ira Levin, had the ideas presented below in mind when creating this story; far from. The perspective offered here is that gleaned from our knowledge of comparative religion and mythology and archetypal psychology. Our occult musings and psychological reflections constellating about these deep and thorny subjects are entirely our own. It is by no means the ultimate interpretation. H.B.G.

Author Ira Levin said in an afterward to the 2003 New American Library edition of his  novel Rosemary’s Baby: “Lately I’ve had a new worry. The success of ‘Rosemary’s Baby’ inspired “Exorcists” and “Omens” and lots of et ceteras. Two generations of youngsters have grown to adulthood watching depictions of Satan as a living reality. Here’s what I worry about now: If I hadn’t pursued an idea for a suspense novel almost forty years ago, would there be quite as many religious fundamentalists around today?”

Ira Levin’s worry is a valid one. Has his highly acclaimed (and fiercely excoriated) novel of contemporary Diabolism indeed help motivate a surge in religious fundamentalism since it’s publication as a best seller and release as a hit film? Moreover, as it has often been observed that “life imitates art,” there must be some recognition paid to Rosemary’s Baby (and it’s many imitators) for it’s influence on the modern occult revival. Why the diabolical hangover which has inspired numerous reiterations in popular film and literature? Why has Rosemary’s Baby had such a long lasting cultural effect?

Some of this is due to it’s timely “Age of Aquarius” appearance just prior to the Summer of Love (1967 novel), and it’s delivery as an Oscar worthy film (1968) just after it. This was a critical time of social upheaval which we’ll delve into more below. See also: ‘Rosemary’s Baby’ Turns 50 ! on this perspective.

‘Rosemary’s Baby’ succeeds in turning horror into the sublime by leading us through Rosemary Woodhouse’s harrowing conception, pregnancy and birth to a climactic revelation of a monster child which, we are left to presume, will bring destruction and devastation. And yet here – at this very point – comes the heart wrenching twist: the monster is undeniably and wholeheartedly accepted in love. “Hail Rosemary!” Full of grace; divine grace of The Mother is moved to embrace that which brings certain doom and destruction. We will attempt to show how the mytheme (myth + theme) of the abandoned child Pan – rescued by Divine Grace – is an acceptance of our dark drives and creative (destructive?) passions, and is reflected in Ira Levin’s bestseller. Rosemary exhibits divine grace just as Dionysos and all the Olympians showed when Pan’s father Hermes rescued him from abandonment and took him to Olympus for presentation to the gods and goddesses. In short, a shattering of traditional values, morals and beliefs is presented as part of a “Divine Plan;” uhm… so to speak.

In short, a shattering of values and morals and beliefs.

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Original hardback copy of the novel by Ira Levin.

It is our studied opinion that the great and lasting success of Rosemary’s Baby, as novel and closely-adapted film, comes from the simple fact that it is mythic. Archetypal. It arises from, and touches upon, the deepest layers of Western religious consciousness and spiritual experience. It follows threads of ancient patterns inculcated by Western spiritual consciousness as exhibited in folk tales and in classical mythic motif – i.e.: Fear of  the Devil, cannibalistic witches and Witchcraft, the Faustian pact with the Devil, the semi-divine child who is secreted away somewhere,  the rejected monster child. Rosemary’s Baby also successfully encapsulates, quite simply and very believably, the ontological polarity within the Western religious Hebrew-Christian paradigm: Good vs. Evil; and then deftly turns that very concept on it’s head. See: Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’ on this last perspective.

Furthermore, as a fairy tale very much of it’s time, Rosemary’s Baby brings us face-to-face with a few thousand years of patriarchal Judeo-Christian cultural oppression and  repression of physical human sexual impulses which have long been projected into the Shadow (in the Jungian sense), or “Dark Side” within the human psyche – the suppressed dark drives and creative passions of our lives. As this article will attempt to show, Rosemary’s Baby is a story in which 1960’s American society’s  cultural shift towards an awakening to greater sexual freedom is reflected as a reawakening to primal Pagan archetypes suppressed within Western consciousness.

Let’s see how Ira Levin, probably unconsciously, helped unlatch the hidden closet door at the back of our minds – leading to the dark shadow side reflection of proper, day-to-day,  morally upright consciousness.

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The Devil got much of his character from Pan. (Google Image search attempts to credit this image only leads us to rants about steroids. Sorry. That right thigh though… could, at least in part, be interpreted as a megaphallic image).

The Resurrection of Pan

It is an old adage that the gods of an old religion will always become the devils of the new one. The Judeo-Christian Devil has been so conflated with various ancient pagan gods that they have become nearly identical in Western consciousness. In psychological terms, many centuries of zealous demonization of (and frenzied fig leaf adding to) the pagan roots of Western culture by puritanical Christians has forced these archetypes to become suppressed within our collective psyche, evidenced by C.G.Jung’s famous saying that the gods have become our diseases.

The image of The Devil of popular imagination is a complex amalgam of ancient pre-Christian gods and daemons, but is borrowed largely from the Greek untamed god of wild nature – the horned, hooved and ithyphallic Pan. Now, the myth of the birth or origin of Pan is part of an ancient recurring mythic motif of the lost, hidden or abandoned, child. This archetype was revived later in the Romantic period which saw a huge revival of Pan, especially in England, with the publication of Peter Pan and his tribe of “Lost Boys” dressed in animal skins and living in a wild Neverland – a stand-in for Pan’s native heathen Arcadia and his band of merry, hairy satyrs.

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Vintage illustration of Peter Pan

“…the myth of the birth or origin of Pan is part of an ancient mythic motif of the lost, hidden or abandoned, child.”

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“What have you done to it?! What have you done to it’s eyes?!” we can imagine her screaming! Image: D’Aulaires’ Book of Greek Myths.

Rosemary’s Baby is a modern reversal of the Christmas nativity story”

While Rosemary’s Baby is a modern reversal of the Christmas nativity story (we find in Rosemary’s Baby Album ((IraLevin.org)) that one original idea for a title was All Is Calm, All Is Bright), the myth of the lost or hidden divine child, or the monster child, has ancient roots. Zeus, Apollo, Hermes, Dionysus were all hidden as babes, as was Moses. The Minotaur is a perfect example of a monster child that is secreted away in the labyrinth. According to ancient myths the god Pan was rejected by his wood nymph mother because of his frightful goatish appearance and uncanny laughter (“What have you done to it?! What have you done to it’s eyes?!” we can imagine her screaming). Besides baby Pan’s hooves and horns, the eyes of the goat (as well as those of cats and frogs – all associated with witchcraft) are notorious for their uncanny appearance. This trait derives from Pan’s father, the trickster shepherd god Hermes (Mercury) who oversaw all forms of trade and commerce, including thievery, but especially that of animal husbandry. As a son, or extension, of his father, Pan takes part in the sphere of Hermes and is closely connected with beastial providence. Hermes is the patron of herdsmen and always has his eyes upon their interests, which is to say their flocks (as for Pan, you might see this as a reinterpretation of “He has his father’s eyes.”). Moreover, this Mercurial aspect directly relates to the Faustian pact, or economical deal, struck between Rosemary’s satanic neighbors and her  husband Guy who will do anything to achieve success as an actor, including deceiving his wife and pimping her out to Satan as a breeding animal, in order to serve his own interests. This also reminds us of Hermes’ famous legendary exploits at deception and as protector of thieves.rgeyes

“…the myth of the monster child has ancient roots.”

Myth tells us the strange babe Pan, upon being rejected and abandoned by his mother, was rescued by his fleet-footed father Hermes,  bundled in a white hare’s skin (associated with fertility, the moon and Venus – indicating some of his attributes), and spirited away to Mt. Olympus where all the gods delighted in him – especially Dionysus (Bacchus), god of wine and religious ecstasy, with whom Pan is often closely associated. The crude and salacious nature of the young he-goat is partly concealed within the gentle appearance of a snowy white hare, much as the young couple’s innocent plan to make a baby conceals an insidious diabolical plot. The abandoned babe Pan, however, is universally accepted by lofty,  omniscient Olympian consciousness – for it is there that his divinity is recognized: the animal nature of human impulse, instinct and sexuality is revered as an essential and sacred component of life, nature and human existence itself by the divine powers. And as we know from the final scene in Rosemary’s Baby, the monster child is hidden away from the mother, and the demonic babe is accepted – not only by the supernaturally empowered and mysterious coven of witches overseen by Roman and Minnie Castevet – but later by Rosemary herself in a complete reversal of the initial attitude of horror. A manifestation of Divine Grace is thus an integral part of this satanic tale: accepting the monster within, the child she has loved all along during her pregnancy, despite the painful misgivings experienced. Soul-deep horror is surpassed by gracious and tender mother love, giving this dark fairy tale of the magical child a significant contemporary twist. See: Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’

Rosemary’s “Dream” as a visitation by Pan, the Incubus

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Pan is the archetype of the incubus, the bringer of erotic nightmares.

Pan, from whose name we get  our word “panic,” is the god of the wild, shepherds, flocks, hunters and herdsmen; and his solitary, often melancholic, and “rough and ready” nature exhibits this. Pan was considered the instigator of panic, fear, terror, mental disturbances and the bringer of nightmares, prophetic dreams, oracles and possession. He belongs in consciousness as  the original archetype of the incubus. He is the sender of  erotic nightmares. His wild, instinctual sexuality is his most prominent characteristic (beyond the obvious physical signs), and it constellates about masturbation, beastiality, and the pursuit and rape of nymphs and handsome young goatherds. Pan is nature in all it’s fierce and unrelenting natural urge to merge, to couple, to unite.

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A Panic Nightmare Daemon/Incubus appears in The Cell, (2000), a film which explores the reality of dream consciousness.

But Pan is unlucky in love: he never marries (no wedding band on this old he-goat!), and he is always left longing for those just out of reach (Echo, Syrinx, Selene, Pitys). His divinity is a solitary existence apart from the Olympian gods. He is also the original archetype of the misunderstood and lonely musician. His music is said to stir the soul of man, beast and god. Pan dwells in the wild, unpopulated areas: where the lonely goatherd plays his pipes and contemplates his erection.

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The Nightmare by Henry Fuseli, 1781, depicts an Incubus squatting upon a troubled dreamer. The Night Mare intrudes from the shadows at left.

When Rosemary’s wedding ring is removed by her husband just before the rape scene we are being told that we are crossing outside the boundaries of morally accepted Apollonian consciousness. A law is being transgressed. Like an inverted cross, it indicates a reversal of what is considered acceptable. The Abyss is traversed as Rosemary, the good but lapsed and doubting Catholic, passes from her sunny, white and yellow apartment (egg colors: fertility), through the secret passage at the back of the closet, where hidden things are secreted or suppressed: remember old Mrs Gardenia’s big heavy furniture used to blockade the hall closet early in the story? Rosemary passes into the shadowy, Dionysian, chthonic and infernal world of the Castevet’s; the “Nightside” of dreaming and erotic nightmare consciousness, where nude witches cast spells and demons dwell. Indeed, Rosemary is young American consciousness with doubts about  organized religion who, after getting caught up in the herbally enhanced spirit of the 1960’s (“Tannis anyone?”), discovers the spiritual archetypal world of gods and monsters.

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The Pope appears in Rosemary’s dream to offer a Satanic benediction of forgiveness.

As the devilish dream begins with the removal of her wedding ring it ends with Rosemary being offered a ring as worn by the pope himself to kiss, a ring in the form of the silver pendant given to her by the Castevets (silver is the metal of lunar consciousness and witchcraft). The marriage vow is broken and a new sacrament is presented to Rosemary for this Panic marriage – bringing us, ring-like, full circle, just as Rosemary’s journey through her diabolical pregnancy comes full circle like the pitted, full moon-like orb of the evil smelling charm which mirrors the full-moon like belly of the puerperal mother: again reflecting (moon like) the charming young lady who carries something foul and foreboding within her swelling womb: the fulfillment of the Castevet coven’s greatest aim and achievement.

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A charming young woman with a foul-smelling, round silver charm… which she is soon about to, moon-like, reflect within her own swelling body.

 

 

 

 

 

 

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The image of a burning St Patrick’s cathedral  in Rosemary’s “dream” forebodes a future destruction of Christianity.

A “Panic Marriage”

On the morning after the “nightmare,” (remember Pan-morphed-into-the-Christian-Devil is an instigator of nightmares and the primal icon of the erotic Incubus) Rosemary awakes feeling pretty awful and complaining of her nightmare of being raped by “someone inhuman.” She discovers scratches all over her body. Guy admits to “doing it” to her while she was unconscious as he didn’t want to miss “baby night,” and  admits to having drank a bit too much himself  (laying the blame on ecstatic Dionysius). Rosemary is not only the victim of rape but also the victim of a mysterious nightmare brought on intentionally through witchcraft via Minnie Castevet’s narcotic, psychoactive “chocolate mouse” – an important reference to the Dionysian cultural experience exhibited in the bourgening experimentation with psychedelic drugs, which undoubtedly evoked visionary and spiritual revelations,  during the 1960’s counter culture movement. This  narcotic aspect is present as the evil-smelling Tannis Root in the novel, something Rosemary smells, along with sulphur, during the rape, and is subtly hinted in the dream sequence in the film by a greenish vapor veiling Rosemary’s face just before she looks up into the eyes of the Devil raping her. “Pharmakeia”, being the Ancient Greek reference for “witchcraft” or “sorcery”, reveals it’s connection to herbalism, veneficium and psychoactive plants as used in magic and ritual.

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Pan and a Maenad

In myths, human women are often visited or seduced by Gods in various guises, and such unions often result in the birth of semi-divine heroes… or monsters; Zeus is notorious for his philandering exploits with mortal women. Rosemary, in an inversion of the Annunciation and Immaculate Conception of the Virgin Mary by The Holy Spirit, is the victim of witchcraft, and rape – called by some Ancient Greek writers a “Panic marriage,” in reference to Pan’s fierce and sudden couplings.  Rosemary rather weakly complains of this non-concensual coupling to her husband but she remains submissive to her circumstances. However, there is no denying there has been a penetration by the inhuman, the beastial-divine, and that a tremendous upheaval within her has taken place. Mother Earth herself, as The Nymph, has been violated; but the protest has been, at least up to this point, weak: the traditionally accepted submissive attitude of the patriarchally conditioned wife, just as the unrestrained pollution and exploitation of the Earth’s natural resources went largely uncriticized until the strong push for ecological reforms which started gaining momentum in the “flower power” era of the 1960’s. The “Father” of Rosemary’s baby is conspicuous by his “absence” after the conception, both literally and figuratively, in the forms of both The Devil and Guy Woodhouse respectively.

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Rosemary may be conscious but she has not yet awakened to her circumstances

Rape transgresses the boundaries of most any human law – represented by the removal of Rosemary’s wedding ring in the “dream,” – and is a key element in the story. Reports of sexual assault is a fact we often encounter in the news and, these days, in the #MeToo movement. Rape is also a phenomena which follows in the panic and wake of war and invasion – significant here as the U.S.A.’s direct involvement in the Vietnam War began around the time Rosemary’s Baby as novel (1967) and film (1968) appeared. Pan also appears in connection with war, as for instance his assisting the Athenians by causing the retreat of the  Persians at the Battle of Marathon, and Olympian Zeus’s battle against the monster Typhon, as well as Pan being Dionysius’s shield bearer in his campaign to India  – all occasions in which Pan’s influence, usually by causing panic terror, decided a fortunate outcome.

Rape is an overpowering of animal drives that unfortunately, yet undeniably, occurs within human nature: has ever a day passed upon human-dwelling Earth in which a rape, or sexual assault of some kind or other, has not been committed? Yet, it is such a universally taboo subject that even today it is still barely understood within the study of psychopathology: we all know what rape is, but understanding and charting how it happens within the landscape of the human soul is extremely difficult. It is significant to note here the emergence of ‘Rosemary’s Baby’ at the start of America’s involvement in Vietnam in which, as in all wars, rape occurred – including G.I on G.I. rape (here: Vietnam war rape), and simultaneously at the heralding of The Summer of Love in 1967, and The Sexual Revolution which followed in Western Culture – about the same time as the first gay pride, feminist and ecology movements.

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 Story: This ancient statue of Pan coupling with a she-goat was unearthed from the Villa dei Papiri in 1752 and the King and Queen of Naples and all the court were present as it was brought to light. They were horrified when they saw what it depicted. The King was so shocked that he ordered the excavation to be halted and the statue was thereafter hidden away and kept under lock and key in the gabinetto segreto. It was not actually viewable  to the general public until the year 2000. We are lucky it survived at all. More info about the sculpture here: Pan: “disreputable objects of pagan licentiousness”

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Nightmare Daemon. The Cell, 2000

PAN, whose name means “All” (e.g.: Panasonic, Panavision, panorama, pandemic etc…) transcends  even human bisexuality and emerges as a kind of omnisexual (Pansexual?) creature: He is God, man and beast. Awareness of Pan touches upon religion and sex. His nature is to force himself upon consciousness – thereby often causing panic – another key factor in Rosemary’s experience in the story. According to psychologist James Hillman, Pan’s rape is not an urge with intent to destroy, nor even to merely “deflower,”  but to force awareness of the primal animal body upon lofty, rational “Apollonian” consciousness. And this is what Rosemary’s Baby did in it’s day: it forced upon Christian, middle class, American consciousness the imminent sexual awakening and changing of traditional religious values. (See: Pan and the Nightmare’  by Hillman).

And this is what Rosemary’s Baby did in it’s day: it forced upon Christian, middle class, American consciousness the imminent sexual awakening and changing of traditional religious values.

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Cult-ivated for great things.

Rosemary is not a virgin – a qualification required as we learn from Minnie Castevet in the novel, but she is, at first, naive and unexperienced with the Shadow.  Rosemary’s condition changes drastically after the diabolical rape and conception. Like a victim of  an Incubus or nightmare daemon, she begins to appear and feel vampirized. In the dream the Pope says “They tell me you have been bitten by a mouse.” This could be rephrased as: “They tell me you have received The Mark of the Beast.” The rodent is a symbol of plague. Rosemary has been “infected” by the fever dream awareness of religious doubt and repressed sexual urges amid contemporary society, topics which were exploding in the U.S.A. in the Sixties. She is in constant pain. She cuts her hair boyishly short in a “pixie cut”reminding us of many young actresses who have portrayed Peter Pan. This is the beginning of her transformation and the gradual appearance of a subtle “masculine” aggression to her character, which before was only hinted at e.g.: she initiates sex on the couple’s first night in their dark, empty, cavern-like, new apartment – Pan was worshipped by lovers in caves and grottos. Guy also instills a brief moment of panic fear in this scene as they begin making love by referring to a pair of cannibalistic, Victorian era sisters who’d lived in the building. Later, perhaps due to her awakened consciousness raising brought on by the Incubus infection, Rosemary instinctually begins to use powers of deception, an art within the sphere of Pan’s father Hermes, herself as a survival mechanism (e.g.: the phone call to tease some information from the actor blinded by witchcraft, the lie she tells to Dr. Sapirstein’s receptionist while escaping his office, the spilling of the contents of her purse as a distraction by the elevator, the secreting and hoarding of sleeping pills…).

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All of Them Witches is a fictional book created by author Ira Levin.

As a distraction from her excruciating pregnancy, she plans a party for her young friends (a service to Dionysos) which intentionally excludes the strange, elderly neighbors. The women who attend her breakdown in the kitchen during the party offer advice, insight and validation for her unusual circumstances. The kitchen as heart(h) of a home and traditional place of women’s power is the place of Olympian “family” goddess Hestia/Vesta. After the party, when panic over her degenerating condition finally threatens to overwhelm, her anger irrupts and the pain suddenly stops. The “feminine” – finding it’s inner “masculine” strength – has found it’s voice and begins to take on it’s own instinctual power – separate from patriarchal conditioning – from then on in the story: a symptom of Incubus/Pan’s (instinctual) animal influence coursing through her blood at this point. The submissive and assertive qualities are balanced, and the violated nymph is finally transformed into the powerful and avenging Mother Goddess. We seem to be witnessing a related uprising in consciousness in the #Me Too movement of today. Rosemary’s suspicions increase after she attempts to protest when Guy bullies her into surrendering her book on witchcraft before setting it out of easy reach for her on a high shelf – across the tops of a two volume set of Kinsey’s ‘Sexual Behavior in the Human Male/Female’ in both the novel and film.

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Pan o’ Mantic

Pan is also a mantic god, i.e. He is a god of divination and prophecy. He is said to have taught the art to the god Apollo himself – lending some chthonic prestige to The Shining One when Apollo took over the oracle at Delphi. Rosemary’s prudent friend Hutch tries to dissuade her from impending doom, even prophetically appearing in her narcotically induced dream-nightmare to warn her of “Typhoon !” – a subtle  reference to the Devil as Typhon. Even from beyond the grave, good ol’ Hutch, in a strange and ironic feat of necromantic divination,  manages to communicate the awful truth to her via a clue in a book on witches and a modern spelling game. Thus, Rosemary is pulled ever deeper into Pan’s witchy sphere as she deciphers the name of Steven Marcato in the letter tiles of a game of Scrabble.

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Casting the runes to discover… “The name is an anagram.”

“The great god Pan is dead”

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If the Great God Pan is truly dead, then Is God dead?

Here we must note the appearance in the story of the April 1966 issue of TIME magazine which carried the stark ‘Is God Dead?’ cover. In the history of the god Pan a major event is considered to be recorded by the Greek historian Plutarch ( 45 AD – 127 AD). During the reign of Tiberius (A.D. 14–37), the news of Pan’s death came to one sailor on his way to Italy by way of the island of Paxi. A divine voice hailed him across the salt water, “Thamus, are you there? When you reach Palodes, take care to proclaim that the great god Pan is dead.” Which Thamus did, and the news was greeted from shore “with groans and laments.” The legend of the fateful crying out, and of the news spreading, that “The great god Pan is dead” has inspired many a poet through the ages. Christian apologists such as G. K. Chesterton have repeated and amplified the significance of the “death” of Pan, suggesting that with the “death” of Pan came the advent of theology. To this effect, Chesterton once said, “It is said truly in a sense that Pan died because Christ was born. It is almost as true in another sense that men knew that Christ was born because Pan was already dead. A void was made by the vanishing world of the whole mythology of mankind, which would have asphyxiated like a vacuum if it had not been filled with theology.”

6bb940fe474470ceb6c8fb77addff3f11f3e1c90_hqThe final chapter or scene of Rosemary’s Baby depicts Roman Castevet’s pronouncement that “God Is Dead!” Considering all this, and that the solemn question “Is God Dead?” appears on the cover of TIME as used in Rosemary’s Baby, begs the question whether history really does repeat itself, and if it is not true that “the gods of the old religion will always become the devils of the new.”

“the gods of the old religion will always become the devils of the new.”

Since the publication of Rosemary’s Baby in 1967, there has been a mounting surge in throwing off the shackles of thousands of years of patriarchal Judeo-Christian suppression, especially in the realms of sexuality and women’s bodies. The ecology movements have adopted Pan as a sign under which to rally to save Mother Earth. Pan is himself noted as a devotee of the Great Mother Goddess in Ancient Greek religion, and in classical literature he is even referred to as “Her dog” by other gods. It is a testament to Ira Levin’s creative genius – what the Romans called a “Dæmon,” the Latin word for the Ancient Greek daimōn (δαίμων: “god”, “godlike”, “power,” or “guiding spirit,” that he was able to reach deep into the zeitgeist of his age to stir up such a potent and delicious witch’s brew; one which brings us face-to-face with the ancient shadows of our psyche which have continued their assault and penetration of the consciousness of modern culture’s grappling with religion and sexuality. By crafting a dark modern legend which people still enjoy and analyze 50 years after it’s publication and release, Ira Levin has made us a little bit more aware of just what is going on “down there” in the subconscious.

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The Summer of Love is a perennial affair… Image: D’Aulaires’ Book of Greek Myths.

*One thread we decided not to follow here but offer as a point of consideration is Rosemary’s own complicity in surrendering to her situation by… 1. ignoring the advice of Hutch – a trusted, fatherly friend of upright moral standing (comfortable traditional values) to live somewhere other than in the Bramford apartments and 2. Rosemary’s own longing for motherhood which so often leads to her suppressing her own instinctual misgivings in order to achieve her own desires.

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Pan teaching his eromenos, the shepherd Daphnis, to play the pan flute, Roman copy of Greek original c. 100 BC, second century AD, found in Pompeii,

Sources:

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The Novel by Ira Levin

 

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Pan and the Nightmare by Hillman and The Cult of Pan in Ancient Greece by Borgeaud.

…and our sick little minds.

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From Matthew 25:31–46: “But when the Son of Man comes in his glory, and all the holy angels with him, then he will sit on the throne of his glory. Before him all the nations will be gathered, and he will separate them one from another, as a shepherd separates the sheep from the goats.” Goats are notorious for their rowdy behavior. While sheep may mindlessly follow or occasionally wander, goats will intentionally leap!

‘Rosemary’s Baby Album’: Legacy of a Classic Diabolical Thriller

IraLevin.org now presents ‘Rosemary’s Baby Album’ on it’s website, and it is a very special treat for Rosemary Fans!

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Screenshot courtesy of IraLevin.org

The novel ‘Rosemary’s Baby’ by renowned author and playwright Ira Levin has had a wide and abiding impact upon all things thriller, mystery, and horror since it was first published 50 years ago in March 1967. Levin himself said in 2002, “I feel guilty that ‘Rosemary’s Baby’ led to ‘The Exorcist,’ ‘The Omen.’ A whole generation has been exposed, has more belief in Satan. I don’t believe in Satan. And I feel that the strong fundamentalism we have would not be as strong if there hadn’t been so many of these books […] Of course, I didn’t send back any of the royalty checks.” 

In celebration of the 50th Anniversary of this classic diabolical occult thriller, IraLevin.org now presents ‘Rosemary’s Baby Album’ on it’s website, and it is a very special treat for Rosemary Fans! With Ira Levin’s personal archival materials and notes tastefully arranged and many exciting insights into the writer’s creative process.

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Screenshot courtesy of IraLevin.org

Note: #RosemarysBabyAlbum hashtag for easy sharing via social media.

ONLINE FEATURE “ROSEMARY’S BABY ALBUM”CELEBRATES NOVEL’S 50TH ANNIVERSARY WITH UNPRECEDENTED BEHIND-THE-SCENES LOOK AT ITS CREATION, USING AUTHOR IRA LEVIN’S ACTUAL NOTES, DRAFTS AND ARCHIVAL MATERIALS

(New York, March 20, 2018) Ira Levin’s perennial classic “Rosemary’s Baby” turned 50 in 2017, and in celebration of that milestone, IraLevin.org has released “Rosemary’s Baby Album,” a new 28-page online feature which traces the archetypal work’s development using high-resolution scans of Levin’s actual notes, drafts and related ephemera from its writing, starting with the first known setting-down of its premise on a single notepad page, in 1960.

#RosemarysBabyAlbum provides an unprecedented opportunity to peek over Levin’s shoulder, as the author that Stephen King called “the Swiss watchmaker of the suspense novel” conceives and structures his iconic tale – considering, tweaking, or outright rejecting alternate titles, character names and plot trajectories. The album also reveals some fascinating connections between real life, and the world of “Rosemary’s Baby”.

“Rosemary’s Baby Album” can be viewed online now at http://www.iralevin.org

About IraLevin.org: IraLevin.org is the official Ira Levin website, created and maintained by his estate to serve as a comprehensive source of information about his works.

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Screenshot courtesy of IraLevin.org

Levin’s worth as a literary craftsman is exemplified not only in the perpetual in-print status of his novels or the fact that his best-known play, Deathtrap, holds the record as the longest running comedy thriller on Broadway; his competence as a storyteller is also apparent in the adaptation of nearly every one of his novels (and his play Deathtrap) into popular cinematic film versions. Also to be noted are his novels ‘A Kiss Before Dying,’ ‘Sliver,’ and ‘Son of Rosemary’ (a sequel which he dedicated to Mia Farrow who portrayed Rosemary in the now classic horror film version). A few of his novels have even worked their way into our idiomatic language within popular culture – making  The Stepford Wives, The Boys From Brazil and Rosemary’s Baby into a kind of cultural shorthand for ideas represented in these compelling and believable stories.

Unknown-2 copyAnd that is a skill Ira Levin truly had and which lives on in his work: he made the unthinkable into wholly believable parables of modern existence. We step into an Ira Levin novel on firm concrete, with matter-of-fact details both mundane and familiar, yet somehow he cleverly manages to sweep the rug out from under our very feet, so that we lose our balance with an ever increasing sense of panic-dread at the strange and unforeseeable circumstances which draw inevitably tighter around the characters we encounter there. Indeed, it is due in part to the film maker’s close adhesion to the novel – nearly word-for-word – that gives Roman Polanski’s 1968 film version it’s high quality.

images-6 copy 3We may take “Stepford Wives,” “Boys from Brazil” and “Rosemary’s Babies” for granted today because these premises have been lifted from their novel (and cinematic) sources so often – and repeated in any number of various media formats – from the plethora of Devil Baby movies to TV comedy sketches – that they have become part of our collective consciousness, and have even developed into tropes of their own! But we shouldn’t forget the origins of these stories, or Ira Levin’s ingenuity at placing them so deliberately and carefully packaged on our front doorsteps that we don’t notice the dangers hidden within them until it’s too late (and, by then, you are unable to stop turning the pages)!

Article by H.B. Gardner

#RosemarysBabyAlbum

#RosemarysBaby50thAnniversary 

‘Rosemary’s Baby’ Turns 50 !

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By: H.B.G.

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Mia Farrow and John Cassavetes toast to an imminent conception with far-reaching effects.

Caution: This article contains some spoilers! If you have not read the novel or seen the film (what the Hell are you waiting for?!) you might want to save reading this article until after you have!

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In 1967 American culture was exploding on all levels. This was the year of the so-called “Summer of Love”.  The Civil Rights Movement headed by Martin Luther King Jr. was in full swing, as was the Vietnam War, the Sexual revolution, and activism for Women’s Rights. Andy Warhol was making instant movie stars in The Factory. Timothy Leary, a psychologist and researcher with the Harvard Center for Research in Personality who oversaw Harvard’s Psilocybin Project, instructed a crowd of 30, 000 hippies gathered in San Francisco’s Golden Gate Park to “Turn on, tune in, drop out.” LSD drenched Rock ‘n Roll and psychedelic art was unleashed as an endless parade of young, long haired hippies and flower children, defying all social norms, made transcendental pilgrimages – both near and far – towards a purple-hazy ideal of freedom. Young men were burning their draft cards and the youth in general were motivated towards social change while shaking off the grip of their families long-held belief systems. Things were drastically changing! Utopia was at hand!

An exotic and colorful bouquet of new cults, old religions, gurus and esoteric magic in the Age of Aquarius burst upon the scene: Moonies, Hare Krishnas, Occultism, TM, Scientology, Jim Jones, and the Process Church to name just a few. At the same time, Charles Manson was lurking in San Francisco’s Haight-Ashbury district. Just the year before there was some publicity when Anton LaVey established the Church of Satan in San Francisco, the first legally recognized Satanic organization in history. Americans took notice of all this and wondered just what in the Hell was going on? The entire world had been turned topsy-turvy, seemingly overnight.

In the midst of this chaotic, sweaty, ecstatic rebirthing of the American Dream (which would quickly burn itself out and awaken into a full-blown nightmare) a book was published that March. Ira Levin’s thrilling best-selling suspense novel ‘Rosemary’s Baby’ was born. A year later on June 12th, 1968 the faithful  film version directed by Roman Polanski was delivered to the world just 6 days after the assassination of Robert Kennedy. We feel it is not quite overstating the matter when we claim that the world has been feeling the effects of this counter-culture ‘Baby’ ever since.

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Hardcover 1967 edition

This was The Mother Of All Devil-Baby Films. It sent some people away from the theaters visibly shaken and muttering “Blasphemy!” under their breaths. It ushered in a flood of Devil and Child-of-Satan themed films and books of both epic and lowbrow proportions. Dozens of various evil incarnations of the premise have followed in the malodorous wake of ‘Rosemary’s Baby’, including a made for tv sequel (‘Look What’s Happened to Rosemary’s Baby,’ 1976) and a 2-night NBC primetime remake in 2014. Ira Levin himself wrote a sequel: ‘Son of Rosemary,’ (published 1997) which he dedicated to Mia Farrow, who so excellently portrayed Rosemary Woodhouse in the now classic film.

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A challenge to Christian faith

‘Rosemary’s Baby’ appeared at a confrontational time in American society. Remembering this may help explain the nerve that this story hit for many people who were floundering or feeling washed-up by the counter-cultural wave of the day. The most firmly established, traditional and holy things were suddenly no longer sacred. In the film, Rosemary herself says “I was brought up a Catholic, now I don’t know.” Indeed, a stark TIME magazine cover from 1967 plainly asked: Is God Dead? This smacked of sacrilege and blasphemy to the majority of church-going middle America. The 60’s were a time when more people dared to openly doubt and question, not only established religion, but everything they had been taught or told! The hippies were busy rejecting, exploring and unlearning. Everything having to do with “The Establishment” was in doubt. The popular American consciousness was awakening to it’s own sense of independent thinking regarding reality apart from traditional authoratative religious ideas about morality as well as the corruptibility of a once esteemed government.

While ‘Rosemary’s Baby’ is a slow-building, intellectual suspense – horror film with practically no blood or violence, it was the climax – a definitive casting down of established Faith in the absence of any God – which sent some believers to confession and nudged some others towards the New Age. It spoke directly to those who felt ill-fitted and hypocritical sitting dutifully in church in their Sunday best as the white Christian  centered society they grew up in collapsed around them. ‘Rosemary’s Baby’ threw down the gauntlet; it forced believers to think hard for themselves about some deep questions, the kind that matter: Is there a God? and, If so, where the Hell is He now?

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Abortion was a topic not much discussed in polite company back before the movements towards change in the 60’s and 70’s. It was practically a taboo word, only whispered by mothers gossiping about some unfortunate neighbor’s daughter. In the film ‘Rosemary’s Baby’ the word is spoken twice within a few seconds, which in itself was quite significant for the time of it’s release. Of course even this splinter of dialogue takes place in a scene within which a few women are speaking privately in a kitchen, in hushed voices and with the doors secured. We are given even deeper insight into Rosemary’s thought processes in the final pages of the novel where Rosemary, after the diabolical revelation of the baby’s paternity, considers throwing first the baby and then herself out of the seventh story window. “Choosing life,” to use a pro-life phrase, had never before had quite the same dire intimations. Abortion, Suicide and Satan are all a part of the spell conjured by Ira Levin’s novel and Roman Polanski’s faithful cinematic version of it. I have elucidated a few of these aspects of the book and film in this article: Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’

Maybe that’s all a bit heavy. Plenty of people enjoyed ‘Rosemary’s Baby’ the film as art, and rightly so. It is still widely considered to be not only Roman Polanski’s masterpiece but a watermark in cinematic history, and not only for suspense and horror. It is quite possibly the best horror film ever made. The seamless hand-held camera work, the realistic performances, the perfect casting, the elaborate sets, the 60’s fashions, and the understated horror of it all weaves an effective spell that has rarely been rivaled in cinema since it’s release in June 1968. It has been critiqued, studied, and analyzed; it was also condemned by the National Legion of Decency.

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Cover for the 50th anniversary edition

Yet, despite it’s Hellish premise, ‘Rosemary’s Baby’ is not without it’s own darkling undercurrent of black humor. Even as  Rosemary’s painful pregnancy intensifies and the stranglehold of suspicion and paranoia increases into a palpable threat, there is a snide kind of wit that permeates the film, like a chalky under taste, right up to the very denouement. New York City in the Swinging Sixties – the materialistic agnosticism of urban culture influencing the good Catholic school girl from Omaha. The strange neighbors all but hiding behind carnival devil masks. Rosemary’s husband Guy Woodhouse is an aspiring actor focused on name, fame and wealth: he’s a materialist interested in the supernatural only for whatever material benefits can be gained by it. He makes fun about seeing the Pope performing a Mass at Yankee stadium on TV: “That’s a great spot for my Yamaha commercial,” he laughs, shortly before pimping his wife out to You-Know-Who. It’s the film’s realism, along with a judicious use of subtle irony and sly wit, that makes the psychological terror all the more palpable.

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L to R: Bruno Sidar as Mr Gilmore, Patsy Kelly as Laura Louise McBurney, Charlotte Boerner as Mrs Leah Fountain, Almira Sessions as Mrs Sabatini with her cat Flash.

And we can’t help but relish Minnie and Roman Castevet and the other lurid characters surrounding Rosemary. Polanski mostly cast theater people and prolific film extras in these roles as witches, so we get an odd feeling of something not-quite-right and familiar about them at  the same time. Ruth Gordon won the Oscar for Best Supporting Actress for her portrayal as Minnie Castevet; a role she killed – leaving it impossible for anybody to match it. It is fun to think of the Castevets and some of the other extras as demons trying (a little too hard) to pass themselves off as human. We smirk at the irony  of a young, naive first-time mother’s helplessness before a coven of smiling, well-meaning old geezers who are (she thinks)  plotting against her and her baby. And, when there are no witches hovering around Rosemary, there are several authoritative men “mansplaining” things to her.

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“look at his hands!” Ruth Gordon as Minnie Castevet.

Want to know more about the witches in ‘Rosemary’s Baby’? Read our article: All of Them Witches: A ‘Who’s Who?’ in ‘Rosemary’s Baby’

Read our Interview with cast member Ernest Harada who appears in the film’s climax: An Interview with Ernest Harada: Celebrating 50 Years of ‘Rosemary’s Baby’

The deal is made with the Devil of course, but Rosemary, ignoring warnings from a dear old friend, has already sold her soul (and good sense) by falling in love with the old apartment building’s gothic charm and by begging her ambitious actor husband Guy to get them out of “the other lease” in order to take the apartment in the looming Bramford (need we mention the infamous Dakota where the exterior shots were filmed?). After moving in she does her best to redecorate the rather solemn interior with white and yellows; but as Rosemary remakes the Bramford’s interior to suit her tastes, the Bramford remakes Rosemary’s interior to suit it’s own sinister plans. That’s because Rosemary’s metamorphosis is America’s metamorphosis. Innocence is lost. Once the post WWII “high” of the 1950’s and ’60’s faded, the public  grew numb after numerous political and social upheavals, celebrity deaths and the consumer complacency which ushered in the 1970’s. Off come the pig tails, gone is the girlish smile, and a pain – “like a wire inside of me getting tighter and tighter” as Rosemary laments – settles in our core.

We can argue that things are still changing drastically today, perhaps in even more ways than they were in ’67. ‘Rosemary’s Baby’ is now 50 years old and still walks among us like a smug iconoclast at a cocktail party – sneering and scoffing at our outmoded ideas regarding religion or morality – wearing a cheap Halloween Boogey-man mask as he laughs at our nervousness at letting go of our old fears and inhibitions. And yet we wonder after the final revelation at the end of the story: is it a happy ending or a terrifying one? The answer of course is “Both.” Rosemary’s baby is alive, safe, adored, worshipped; but that in itself spells certain doom to the world we know, or at least to the world we used to know “back then.”

– H.B. Gardner

An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’

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Interviewed by H.B.G. (as S.G.)

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Ernest Harada played the Japanese photographer (named Hayato in the novel) in the final scene of Rosemary’s Baby.

In celebration of the 50th Anniversary of  ‘Rosemary’s Baby’ – the classic spellbinding thriller – Devil In The Details interviewed actor and performer Ernest Harada, who appears as a Satanic Japanese photographer in the climactic final scene of the 1968 film directed by Roman Polanski. The novel by Ira Levin was published in 1967, and the film was released the following year, making 2017 and 2018 the Golden Jubilees of one of the horror genre’s most influential works.

Born October 20, 1944, in Honolulu, Hawaii, Ernest Harada graduated from Mid-Pacific Institute, class of 1962 and studied political science at Syracuse University. He received a degree in acting in 1965 from the London Academy of Music and Dramatic Art (LAMDA), the oldest drama school in the UK.

Harada is happily retired in Honolulu. He performs occasional concerts, most recently in Germany and New York and Hawaii. We reached out to Harada to ask him about his career and professional experience. As one of the last surviving cast members of ‘Rosemary’s Baby,’ Harada had some interesting insights into life an Asian American artist in Hollywood and on Broadway, what it was like to work with Roman Polanski, and what exactly was in that black bassinet?

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Mr Ernest Harada, from his personal collection.

S.G.: Is this Mr Harada speaking?

Ernest Harada: Yes. Is this S…?

SG: Yes, thank you so much for taking my call.

EH: My pleasure.

SG: Good Morning. How are you?

EH: I am good. I am back in Honolulu and recovering and doing my physical therapy and hopefully will be back in shape again.

SG: I’m glad to hear you’re back in paradise. Honolulu sounds marvelous; it’s where my parents met many, many years ago, though I’ve never been there myself.

EH: It’s a great place. I think it’s as close to Paradise on Earth as you can get. I mean weather-wise and ultimately the people-wise. It’s a wonderful place. That’s why when I had to retire I came back home.

SG: So you are from Hawaii originally?

EH: I was born and raised here. I left here when I graduated high school at 18. I went to Syracuse University for one year and, at the University, realized I wanted to pursue acting and was given an opportunity actually by a director from the Royal Shakespere Company who suggested I should be in London studying Drama. Up to that point I had no idea I wanted to be an actor. I was there for Political Science, I mean I was going to become an international lawyer and basically represent the up-and-coming Japanese economy. My father was visiting Japan since the early fifties and he realized what a business behemoth Japan was becoming, and that they would need, once they got big enough, representation in America and that was going to be me.

So I went to Syracuse because they had an excellent school – Maxwell School of Citizenship – which basically dealt with international law. But I got involved in theatrics there and a director of the Royal Shakespere Company who happened to see ‘Romeo and Juliet’ that I was performing in, he pulled me aside and said that I should be studying in London. He assumed I was studying Drama at Syracuse, which I wasn’t. So he said I should be in London and suggested three schools. He sent me their addresses; of course I auditioned for them, and when I was accepted at all three of them: the Royal Academy, the London Academy and Central School, I decided Yes, this is really what I wanted and I moved to London and studied there for three years.

SG: Wow, that’s fascinating.

EH: Yeah, that’s how I began my choice of being an actor.

SG: I read that you had attended the London Academy of Music Dramatic Art, class of 1965 I believe.

EH: Yes.

SG: So, what was your family’s reaction? How did your father and the rest of your family react to you going off into the Arts when you had focused on international law?

EH: Well, he always thought I’d outgrow it. He never thought it was a viable occupation. Even when I was supporting myself and making money,  uhm.., it just was not a legitimate profession. But they learned to live with it.

SG: I’m glad to hear that. So you grew up in Hawaii with your family there, a family of Japanese heritage.

EH: Yes.

SG: So you were born right at the tail-end of World War II, were you not?

EH: Yes, ’44.

SG: Right. So, I was just curious, I’ve been living in Japan now for about 8 years and I’ve been coming and going from Japan for more than that, going on 15 years, so, I’m a little familiar with the culture and some of the history. I was wondering about what it was like for somebody who was an American citizen but also of Japanese heritage at the end of WWII ? Especially in Hawaii, you know with Pearl Harbor and all?

EH: Well, basically in Hawaii we were spared the kind of discrimination that they faced in the West Coast of the mainland of the continental USA. They thought about incarcerating the Japanese population here, but wiser heads prevailed. They realized that you cannot incarcerate one-third of the population – which was the Japanese population at that time – and have a viable economy. I mean the entire economy would’ve collapsed. So basically they just jailed or relocated the ringleaders – the ringleaders being anyone who was educated: people in newspapers, community leaders, religious leaders, well-educated doctors… anyone they could think… or they thought could possibly might – might – be dangerous. And in fact absolutely none of them were.

SG: Right.

EH: There was absolutely no case of espionage by anyone. And we knew that as Japanese here. I mean we were American Japanese, especially by the Nisei [note: Nisei = second generation of Japanese immigrants], there were some Isei’s that had feelings for Japan, as my grandfather being a first generation always felt very strongly Japanese, but that was his heritage. But anyone born in Hawaii was immediately – this is our loyalty – I think, more to Hawaii than to America.

Hawaii is a very unique microcosm. (thoughtful Pause) I really think Hawaii is going to be the model for the world. We get together and live together with various races and  cultures and religions. There was no majority. There still isn’t a majority. We are a community of minorities and we make it work.

SG: That’s marvelous. It really is a unique culture in the world.

EH: Yes!

SG: And especially in American culture it’s very unique.

EH: Take Barak Obama for example, he is of mixed parentage. People ask him “Why do you bring your family here for Christmas every year?” He said ‘I want my daughters to grow up knowing who they are and where they came from.’ Which means he associates being Hawaiian as much as being a black man, and I think even more so. I mean this is the culture that nurtured him. And what I have discovered – the uniqueness of the Japanese Americans coming from Hawaii and a lot of Japanese that I’ve met – I mean Japan Nationals on the mainland – said there’s such a difference in the Japanese from Hawaii and the Japanese from the (US) mainland. I said, well we were not imprisoned; we are not intimidated. We have a spontaneity; we are a more fulfilled personality. We never were caught and beaten down as so much of the Japanese Americans in California and the West Coast were. I mean a lot of them were afraid even to admit they were Japanese. Even now.

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Ernest Harada, 1977

SG: Yeah, you’re right. There is so much fear and paranoia of foreigners these days…

EH: Well, it’s persecution! They were persecuted, you know?

SG: Truly.

EH: Yes, and I visit Japan a lot.

SG: Oh, do you?

EH: Yes. I’ve been there 8 or maybe 10 times. My father had a company there and we would go and visit. In fact, we were there just maybe a couple of years ago. I took my whole family down; we came from Yamaguchi prefecture. And so we went to visit the valley from whence we came, where my grandfather emigrated from. My grandmother came from Hofu and my maternal grandparents came pretty much from the Iwakumi area; so we visited all of that. My brother and sister had never quite seen it before. And it was lovely, it was a lovely trip. I love Japan.

SG: I’m glad to hear that. (laughs)

EH: Oh, yes, My sister’s partner said, you know after having visited Japan she said, it is absolutely the most sophisticated culture on Earth. They have thought of everything down to the nth degree, and I feel she’s absolutely right. And I’m glad she appreciated that about the Japanese sensibility. Everything is thought of, to the minutest detail, which  sometimes can work towards their detriment; I think it curtails their spontaneity.

SG: Right. (laughs) True.

EH: But as a culture I mean it has created a marvel, something I’m very proud of. I’m very proud of my Japanese heritage.

SG: Yes, it really is a pleasure to live here. It’s quite comfortable and people are so polite.

EH: Oh, it’s clean, it’s efficient, and everything works! (laughs)

A Japanese view of ‘Rosemary’s Baby’

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Rosemary’s Baby has the honor of being the first horror novel to reach The New York Times Bestseller list!

SG: Oh, yeah… (laughs). Well, moving back to your professional career, you mentioned how you had gotten interested in acting while you were in school, and you were encouraged. I was wondering, from your perspective as someone of Japanese heritage – and of Asian heritage in general, but also of American Hawaiian heritage – your perspective as a performer over these years in the world of Hollywood and show business, if you have anything you’d like to share about that.

EH: Well, by the time I got to Hollywood, here I was totally capable of doing Shakespere, and if you wanted classical theater I was totally capable of doing it, and knowing how to wear costumes from the 17th century on – and basically being slammed into a work environment where you’re going to play waiters and gangsters and things that were totally unchallenging. A handful of us started an organization first called Brotherhood of Artists advocating for Asian-Pacific American actors; and later it became the Association of Asian-Pacific American Artists and I was one of it’s founders and it’s president, oh for too many years, (laughs). And our primary purpose, our sole purpose, was to advocate for better roles for the Asian artists. Also, I was one of the founding members of the East West Players, which is still going, a professional theatre company in Los Angeles. I was a founding member there because we needed someplace where we could act and stretch our muscles and become better performers.

And that was pretty much all of my career there. All the while I was active in Hollywood I was in an advocacy group, most likely heading it, and of course supporting the East West players. At a certain point I dropped out, I could no longer perform with them, I was just too busy. But it doesn’t matter, you know, it was successful and thriving and we created something that was wonderful.

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Ruth Gordon and Sidney Blackmer play hosts to Ernest Harada (at right) in Rosemary’s Baby

SG: Yes, that’s true. I had asked you before if ‘Rosemary’s Baby’ was your first film but you mentioned you were in Valley of the Dolls from the year before ‘Rosemary.’

EH: I was…, I think I opened a door; I don’t even know whether I said anything. What had happened was I had gotten to Hollywood, I was on route to New York to become a starving artist, I mean this is after Europe.

SG: Right. After your studies there.

EH: But I had a friend who was involved in the Columbia new talent program, Studio Players, and he got me involved so I immediately got an agent. One of the very first people she set me up to meet was Joe Scully who was a casting director at 20th Century Fox, and he was working on a film called Valley of the Dolls,’ and at that point they were screen testing and he liked me and I liked him and we hit it off and he said “You’re going to need your Screen Actors Guild card.” So he got them to basically write me in on screen tests. So I had like a week of screen testing with Patty duke and Barbara Parkins and Sharon Tate and when the film came around he put me in it! (laughs)

SG: Excellent!

EH: Right. I mean, basically he was just helping me to get my screen actors guild card, not that there was a specific role that was called for. And in a sense that’s also what happened with Rosemary’s Baby.’ My agency was the Bessie Loo Agency.  My agent was Angela Loo  her daughter, who began her career at the same time as mine. I got a call from my agent and she said “Oh, you have a job on Rosemary’s Baby’.” It was a bestseller in every showcase in the bookstores so I immediately rushed out, read the book twice, I called her back, I said are you sure you have the right movie? And she said “Yes, I have the contract right here in front of me!” I said well, what part do I have? She said “Well, I don’t know. I went in and tripped and fell – I was supposed to meet Roman Polanski and your picture was lying on top at his feet – and he said “Him. I want him.”” (laughs) And she said “Oh, but he’s my most expensive actor.” At that time I was her only actor (laughs) .  So I mean, if they say that’s what luck is, that’s what luck is. But, literally she tripped and fell, and my picture was on top because I had just met with her a couple days before, and she was a brand new agent and we both got our first jobs together with Roman Polanski.

SG: How lucky!

EH: And that’s how I got the job for Rosemary’s Baby’, and I walked on set and still didn’t know what the hell I was supposed to do!

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Actors Phil Leeds and Ernest Harada both appeared in the film ‘Rosemary’s Baby’ and both  appeared in a Halloween episode of Roseanne with a ‘Rosemary’s Baby’ twist!

SG: And the scene you were in was filmed in California, I believe.

EH: Yes, it was filmed on the Paramount lot.

SG: Right. Do you recall around how long it took to film that final scene that you appear in in the film?

EH: You know, I think the original contract was for a week, but I think we went ten days.

SG: Wow! Ten days!

EH: Not that I knew much about film making; I mean I was a total newcomer. But what Roman was doing with the hand-held cameras without any kind of break… I mean I had worked on Valley of the Dolls so I knew what dolly shots were, and close-ups and how they set up a shot, but what Roman was doing with Rosemary’s Baby was having the camera on somebody’s shoulder walking through these elaborate sets all in one take! And even during the scene itself when Rosemary finally comes in, rather than using a tripod or a dolly, he had the cameraman literally over her shoulder filming reactions on people.  That’s how he could get really get an unbroken feeling from the audience viewpoint and from Rosemary’s viewpoint – of reactions. It was, as I  discovered later, a trend-setting technique.

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On Roman Polanski : “It was, as I discovered later, a trend-setting kind of thing he was doing.”

SG: Yes, it’s really a unique perspective. Everything in the film is from Rosemary’s point of view or the camera is always on her face or what she’s doing. There’s just something so enchanting or enthralling about that film with the camera work and the point-of-view.

EH: Exactly. Yes. And only someone who really understands how to put a film together appreciates what the camerawork was, and that’s what took up so much of the time. But in the film it was seamless, it was flawless. I think that was his secret to making it as horrific as it turned out to be; there’s an absolute smoothness about the whole thing and a reality – a different reality.

Please visit and “Like” our Rosemary’s Baby 50th Anniversary on Facebook!

SG: So, what was your impression of the role you were given in the film?

EH: Well, I asked Roman about that finally. I said my part isn’t in the book at all. He said “If you look around you see these Japanese business men all over the place and they all have cameras – they’re like in groups of three and four and five, and they’re running all over the world – Europe or America – and they all have cameras! I wanted to put that in, so you’re it!”

SG: Wow, what a stroke of genius.

EH: Well, he is. I think he is. A bonafide, certified genius.

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Ernest Harada on the left at the climactic moment of Rosemary’s Baby.

SG: Your character is quite conspicuous in the final scene. It’s kind of an odd character to discover there in that scene of the story.

EH: Yes. (laughs). Every character in that scene is kind of odd! (laughs)

SG: True. (laughs)

EH: It’s not a usual assemblage of folk.

SG: True! This selection of character actors and theater folk was really, I think, another example of Polanski’s genius; they all appear odd yet somehow familiar at the same time.

EH: Right. I mean individually you look at them and you think “Oh, she’s a nice old lady,” but in that setting suddenly that nice old lady has another dimension. The film made what was normal extraordinary. And a lot of those people – the older people – were extras but he cast them extremely well. Even I was kind of creeped out whenever we were on the set.

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Ruth Gordon as Minnie Castevet, behind her are Natalie Masters and Elmer Modlin.

SG: What was it like meeting with and working with the cast and crew there? Do you have any interesting memories of working with the actors?

EH: By the time they filmed that scene Mia [Farrow] was already getting divorced from Frank Sinatra. So she was experiencing an emotional trauma. Between takes she’d rush to her trailer, and she had a dressing trailer right in the middle of the sound stage, so we never saw her. But I became good friends with Sydney Blackmer and Ruth Gordon. And sometimes, I mean we had a lot of lunches together, Sydney was trying to bring me in and telling me I have to get to New York. That’s of course primarily where he was, he was a great matinee idol on the Broadway stage. And Ruth, Ruth Gordon hadn’t become the big star she was then. I mean she was primarily known as a writer. But she had just been to New York and seen ‘Cabaret’ the musical so she was singing the songs and tried to teach them to me. We were having a great time. And sometimes Patsy Kelly would join us. And that was pretty much it, I mean Sydney, Ruth, Patsy Kelly and myself; we hung-out around a lot during the filming.

Want to know ALL the witches in the Castevet’s coven? Read our article: All of Them Witches: A “Who’s Who” in Rosemary’s Baby

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Sydney Blackmer as Roman Castevet / Steven Marcato with Mia Farrow as Rosemary Woodhouse

SG: That’s so great! I was born in 1970 so I recall seeing a lot of Ruth Gordon and Patsy Kelly while growing up in the ’70’s.

EH: Yeah! They’re delightful people. I mean I love actors. I’ve spent my life with them!

SG: Was there any particular direction you were given for that final scene?

EH: No, it just was “Say this” or “Do this” and it would change on different takes.  I’ve worked with other directors who just say “Do it the way you feel it; that’s why I hired you. You’re the actor.” And Roman was a little like that in that he primarily worked with the camera people. I don’t recall him giving much acting direction – to any cast members, on the set. He may have said things to actors privately, but not on the set. Everyone pretty much knew what they were going to do and he pretty much let us do what we wanted to do with it.

SG: Your character really does seem like he just stepped off the airplane and your Japanese accent is perfect. I live in Japan so I was really intrigued by your character because I wondered ‘Did they just run to the airport and pick up this guy and hire a taxi to take him to the set? I mean he’s just flawless! But you must have been familiar with a Japanese accent I think.

EH: I had certainly heard enough of it! That was not a big stretch. I was good with a lot of accents though. Later on I’d go to interviews and they’d say “We need this part and we need it in a Japanese accent.” So I’d do it and this one producer said “That’s not a Japanese accent.” Excuse me? I asked him what he thought a Japanese accent was. And he said “Well, like Richard Loo in all the World War II films.” I said, “Well I hate to inform you, I know Richard Loo, he’s from Maui, and the accent he has is basically a Chinese accent. His name is Loo, that’s ChineseBut then that was typical of the kind of stereotypical treatment we got that I personally, fought so hard against. Why can’t I speak the way I speak? I mean, you want the Queen’s English? I’ll give you that (mockingly as a perturbed producer): “Oh no! No!”

SG: In that final scene, when you were on set, did you look in the bassinet? Was there a baby or a doll prop in that bassinet? Because in the film we never see a baby.

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EH: They later, I found out, tried to do a baby in the set and they realized that it was not horrific. But no, there was no baby in the bassinet. Mia did a fabulous job!

SG: She really did! When the movie came out do you recall any reactions from family or friends as to the story or the content of the film?

EH: Basically my people were actors and people involved in film, and this is in California and Hollywood, and they realized what a great horror film it was. My family was just happy to see me working. (laughs) But then they were not movie buffs or critics in any sense of the word. But no, even when it was first released there was a sizable group who realized that it was a great, great film. The fact that there was no blood; it was Hitchcokian in that sense, it was so suspenseful. Horrifically suspenseful with no blood or anything, it just slowly built into this horrendous ending. And it’s really a very unlikely story! (laughs) The Devil’s child! And Polanski made it happen! It became real! And that was really Ira Levin and Polanski. And really the story is kind of preposterous.

SG: Yes, truly. It’s almost a little humorous; like darkly humorous, in a sense.

EH: Exactly! But they made it very real.

SG: And without all the blood and violence. These days every horror film I see relies way  too much on graphic effects and gore. Rosemary’s Baby is such a perfect film without any of that; the horror is all cerebral.

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EH: Yeah, and the other film that’s always referenced, as far as horror films, is The Exorcist! And Rosemary’s Baby doesn’t have all that slime all over the place or the heads turning 360 degrees, and bodies flying out windows… You know as an artist I realize the artistry in ‘Rosemary’s Baby.’ I mean the effects it got from so little was extraordinary. I mean I can’t think of another horror film of that kind of a caliber.

SG: Me either. Do you have any opinions on the cultural impact of Rosemary’s Baby?

EH: The cultural impact is when people say “What films were you in?” and I’ve done a number, I mean I starred with Tom Hanks and John Candy [in Volunteers, 1985]  but the one I mention is ‘Rosemary’s Baby’ and everybody instantly knows it. It’s certainly become a classic. And they say “Oh, what part did you play in ‘Rosemary’s Baby’?” and I tell them ‘The baby, of course!’ And they say “What?!”

SG: (laughs) That’s funny!

EH: Yeah, well then they say “Hey wait a minute! There wasn’t a baby!” But I’ve seen, subsequently, maybe on Youtube, them trying to put a baby together that was properly horrific. And I’m glad they didn’t because the baby that your mind creates of course is even more frightening than anything they could show you practically. Your mind creates that baby; but that was the entire film, you know?

“…they say “Oh, what part did you play in ‘Rosemary’s Baby‘?” and I tell them ‘The baby, of course!'”

SG: Right. Now, I kind of skipped over your appearances on Broadway. A few nights ago my wife and I watched ‘Pacific Overtures’ on Youtube. You seemed as comfortable  onstage as you did in front of the camera. Do you prefer one over the other?

EH: I have always loved the stage. Mainly because when you are performing onstage it’s just you and the audience, whereas with film it is always through the director’s eyes and the actor really has no control over anything. You come up with a performance but whether that performance even winds up in the final cut is another matter, much less what form it takes. I mean it’s filtered through the director. Whereas on the stage, once you’re onstage, it’s you and the audience, and I’ve always loved that. In fact I’ve used my film and television career to finance my stage work. The stage does not pay. I did a lot of stage in places like Milwaukee and La Jolla and I was losing money, going out of town to do these plays, but that’s where my heart was.

SG: You’re a true artist.

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Ernest Harada during the original 1976 Broadway cast recording of ‘Pacific Overtures’ written by Stephen Sondheim and John Weidman.

EH: Well, it’s what I loved, and I believe in pursuing what you love. Do it! And I didn’t get rich and famous but I had a very fulfilling life as an artist.

One time a writer-producer told me he was putting together a TV series, and that I and a certain well known movie star would be perfect in it together. But I was on my way to Broadway to do Pacific Overtures – a chance of a lifetime. Until then, the last show to include Asians in the cast was ‘Flower Drum Song’ 20 years earlier, and after ‘Pacific Overtures’ the only show to include Asians in the cast was ‘Miss Saigon’ twenty years later! So if ever I was going to do Broadway I had to take it. Of course I could not call myself an actor and turn down Broadway for television. And maybe that was a dumb move, I don’t know. But then I’ve never regretted doing Broadway; it’s one of the crowning achievements in my life, more so than anything I did in film.

SG: I agree. I imagine it’s a really wonderful experience.

Link: Ernest Harada performs Welcome to Kanagawa from Pacific Overtures.

EH: Well, to be on Broadway you’re on the creme de la creme; you know? I mean just many people never even get there. Film – you can take somebody off the street and make a star. With Broadway it requires work. It’s discipline. It’s the art of acting and performing. And no, there was no way I could turn it down, and wisely so. I mean twenty years later ‘Miss Saigon’ comes into town and we had to protest it because the lead role – this supposedly Asian man – was cast with Jonathan Price!

SG: Really?!

EH: It was a big hit in London. Cameron Mackintosh was as big a producer as you could possibly get at that time; he was going to bring it to New York and, it was going to be a smash hit. So we went through Actor’s Equity; they would all need to be permitted by Actor’s Equity to bring the London people over. Colleen Dewhurst was then president of Actor’s Equity and we explained our plight to her. The claim was that there were no Asian stars, according to Mackintosh. Our argument to Colleen and the Actor’s Equity board was, how can there be an Asian star when we are never even given the opportunity to play the Asian roles?

“…how can there be an Asian star when we are never even given the opportunity to play the Asian roles?”

SG: Right?!

EH: So I said, you tell me any Asian who’s played ‘The King And I’ and they couldn’t! Because it had never been played by an Asian. And I said it’s a self-fulfilling prophecy that there’s no Asian stars if we are never given the opportunity! Not even to audition! We’re not even in the consideration. This happened in films too. The last leading Asian man was Sessue Hayakawa from way back in the the 1930’s!

Anyway we stopped the show from opening for a while and that was important. Then our biggest advocate, Colleen, died. Now, 25 years later, there is some progress. They have just revived the show on Broadway and the lead character is being played by an Asian. It is gratifying, and I am very proud of what we have done to create this opportunity.

SG: Wow! That’s so great. Now, I have a Devil In the Details question which I would like to ask you, and anyone who I get the chance to interview: What do you consider evil in today’s society?

EH:  I think evil is any deliberate act of cruelty.  It is selfishness and greed. Evil is what you get when you lack empathy and altruism.  In our current society I would say that we, as a country, have focused on the wrong things.  Money and greed at the expense of everything else.  I don’t see how you cannot provide healthcare for everyone and how you cannot protect the environment that we exist in.  I don’t understand how you can dismantle environmental protection and not think of your grandchildren down the line. I don’t see how you can believe money will protect you from a  totally diseased and totally polluted world.  Evil is selfishness and greed.

SG: Very well said, Mr. Harada and thank you so much; this has been not only an honor and a privilege but a real pleasure to be able to call you and speak with you. You have been so kind and generous with your time.

EH: You are very welcome. Aloha.

SG: Aloha.

This interview took place on April 7th, 2017 Tokyo time, April 6th Honolulu time.

Want to know ALL the witches in the Castevet’s coven? Read our article: All of Them Witches: A “Who’s Who” in Rosemary’s Baby

Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’

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By: H.B.G.

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Is God Dead? Yes, this was an actual cover for TIME magazine in 1966.

Note: All passages in purple are direct quotes from the novel ‘Rosemary’s Baby’ by Ira Levin.

Rosemary’s Baby is perhaps the most positive Satanic book – and film – ever made. Certainly there will be die-hard fans of Joris-Karl Huysmans who insist that his 1891 novel Là-bas  (translated as Down There or The Damned) is the ultimate piece of Satanic literature;  however, it’s confused philosophical digressions, not to mention it’s darker and more grotesque passages, keep it far from the field of the positive. Rosemary’s Baby, both as a  novel penned by author Ira Levin and as a hit film directed by Roman Polanski, works on an entirely different level from Huysmans’ masterpiece of decadent diabolism. A level so close to our own, in fact, that we cannot help but be pulled into the story and accept that which must be considered by devout Christians to be the ultimate unacceptable thing – to purely love the spawn of Satan – the Antichrist incarnate. The other choice which presents itself in this thriller (as will be shown) is suicide – a grave matter – and a mortal sin that has been judged unpardonable in the past.

We are left wondering at the end of the story. We wonder if it is indeed a happy ending or a terrifying one. By the end of Rosemary’s Baby some people’s deeply held beliefs are called into question regarding: the Devil’s power, Is God dead? and, if you were Rosemary Woodhouse, a sense of what would you do? We must examine and consider our reaction to the final scene where Satan’s power is fully revealed in the apparent absence of any God. A child has been birthed who is destined to “overthrow the mighty and lay waste their temples! ….redeem the despised and wreak vengeance in the name of the burned and the tortured!” A true ‘Mother’s Love’ is certainly the purest kind of love to be found on Earth but what to do in this case?! We are left wondering – ‘Wouldn’t it be better if she throws the baby out the window and jumps out after it?’ as is suggested in the novel. Or, we might choose to look at it differently. After suspecting through much of the tale that the baby was in mortal danger from the coven, ‘Isn’t it marvelous that the baby is not only safe at the end but fiercely adored?’

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Virtue and Vice symbolized.

Sister Light, Sister Dark

In the story we (“we”are Rosemary – for the entire story is from her perspective) meet (Theresa) Terry Gionoffrio, a former drug addict with a sketchy past whose life has been turned around by a nice old couple, the Castevets, who in the way of the Good Samaritan (in a parable told by Jesus in the Book of Luke) have literally picked Terry up off the sidewalk, brought her home with them, and are bringing her back to full health and (in the novel) even planning on putting her through secretarial school – giving her the promise of a second chance, a new  future. But their home is the Bramford, a dark gothic apartment house on Manhattan’s upper West side with an even sketchier past than Terry’s. For over a hundred years all manner of scandals and crimes have accumulated within it’s darkly woven texture: suicide, murder, cannibalism, diabolism… But the Castevets seem kindly enough, “like real grandparents” as Terry says.

“I was starving and on dope and doing a lot of other things that I’m so ashamed of I could throw up just thinking about them. And Mr and Mrs Castevet completely rehabilitated me. They got me off the H, the dope, and got food into me and clean clothes on me, and now nothing is too good for me as far as their concerned. They give me all kinds of health food and vitamins, they even have a doctor come give me regular check-ups! It’s because their childless. I’m like the daughter they never had, you know?”

Terry says that at first she suspected the Castevets had some kind of ulterior motive, “a sex thing” he, or she, or they would want her to do. “But they’ve really been like real grandparents. Nothing like that.” It must have broken her heart when the revelation came that they actually did indeed want her for a “sex thing,” just not in the way anybody could have possibly imagined.

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Cult-ivated for great things

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Mater Dolorosa

Rosemary and Terry meet in the Bramford’s gloomy basement where, as we learn early on from our friend Hutch, that “a dead baby wrapped in newspaper had not so long ago been found. Whose baby had it been, and how had it died? Who had found it? Had the person who left it been caught and punished?” Rosemary considers researching the incident “but that would have made it more real, more dreadful than it already was. To know the spot where the baby had lain, to have perhaps to walk past it on the way to the laundry room and again on the way back to the elevator, would have been unbearable. Partial ignorance, she decided, was partial bliss.”

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Tannis anyone? Nothin’ says lovin’ like something from the coven.

A more appropriate meeting place could not be devised for these two women who each live “in partial ignorance and partial bliss.” The basement, being underground, is the womb – tomb of the “Black Bramford”. It is the location of a horrendous discovery “not so long ago”of a dead infant. Rosemary and Terry meet at the nefarious scene where a dead baby was discovered; a strange yet subtle twist involving the fates of these two women. The Bramford’s basement laundry facilities is a witches’ crossroads of devouring death; the dark steamy maw of the Dark Mother who gives birth to, and devours, her young. Were this story a Grimm’s fairy tale we could just as easily imagine the meeting of the relatively innocent pig-tailed Rosemary and the more worldly-experienced Terry taking place in some deep dark forest, at a crossroads where criminals are hanged, the unquiet dead are buried, and necromantic rituals take place in the flickering light of black candles made from the fat of unbaptized babes. They meet in the basement of the spooky, gothic witches’ mansion. The basement which is also, of course, the subconscious – where the monsters live. With it’s “steamy brick walls” it is the Bramford’s bowels, a moist womb. A gestation place for all evil conceptions. As Terry proudly exhibits her lovely, yet foul-smelling, gift from the Castevets, the umbilical threads of Fate are rewoven by the hand of Satan between these two women.

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“I’m not mad about the smell either.”

With Rosemary and Terry we are reminded of a pair of women that occur as a choice in many hero journey myths. Or, as card number six ‘VI The Lovers’ on the Marseille style Tarot card. The Dark Woman represents Vice, the Light Woman represents Virtue. Sister Dark and Sister Light – each represent a temptation. The somewhat exotic, brunette Terry – with her history of illicit sex, prostitution, and drugs; and fair, strawberry blond, girlishly pig-tailed Rosemary – the good Catholic school girl from Omaha, Nebraska. In the novel we learn (Minnie Castevet’s voice coming from the nun in the dream on the night of Terry’s suicide): “All she has to be is young, healthy and not a virgin. She doesn’t have to be a no-good drug-addict whore out of the gutter.” Very simple qualifications for the required candidate the Castevets need. Terry has been staying with the Castevets for a few months. Has Terry inquired about their taste in art? Or have they removed their paintings from the walls?

‘There aren’t many like Mr and Mrs Castevet,’ Terry said. ‘I would be dead now if it wasn’t for them. That’s an absolute fact. Dead or in jail.’

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Who’s your Baby-Daddy? In the novel, Rosemary brings Terry to her apartment to meet Guy. This photo imagines that scene which looks like it may have been filmed but edited out from the final cut.

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Tarot trump VI : The Lover(s). Some interpret the two figures flanking the male Lover as personifications of Vice & Virtue

Is suicide a sin?

Not long after meeting Terry we find her dead in the street, quite literally in the gutter you might say, right after she jumps from the Castevet’s seventh story window. We are shocked and appalled at this sudden loss of such a beautiful young woman we have only just met (in the novel we learn everyone mistakes her for the actress Anna Maria Alberghetti; in the film she resembles Victoria Vetri – who actually plays the role under the name Angela Dorian). “She was a very happy girl with no reason for self destruction” mourns Minnie. We are left to wonder as the suicide note is read silently; though Minnie Castevet tells us later that the suicide note “made it crystal clear” that they (the Castevets) hadn’t “failed her in some way”.

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Minnie, your only failure is your sense of fashion

Of course we come to learn just what Terry’s dilemma was. She was being groomed by the Castevets to become the mother of Satan’s child. Apparently the Castevets had wisely withheld this information from Terry up until and just before her suicide. Rosemary and Guy hear Minnie’s midwestern bray through the walls of their own apartment: “But it’s impossible to be a hundred percent sure!” and “If you want my opinion, we shouldn’t tell her at all; that’s my opinion!” The film hints that the suicide occurs the night after Rosemary and Guy hear the “singing and the flute and the chanting” coming through the wall from the Castevet’s neighboring apartment. The novel tells us the Castevet’s had one of their parties on the Saturday night before Rosemary meets Terry, but we are uncertain whether Terry was present. Perhaps she was, and perhaps that was when she was presented with the antique Tannis charm. On the night of the suicide Rosemary overhears the distraught voice of Minnie Castevet through her bedroom wall as she drifts into sleep. The voice seeps into her dream in the form of an angry nun from her Catholic school girl years complaining: “Sometimes I wonder how come you’re the leader of anything! If you’d’ listened to me, we wouldn’t have had to do it! We’d have been all set to go now instead of starting all over from scratch! I told you not to tell her anything in advance….. I told you she wouldn’t be open-minded! Time enough later to let her in on it.” 

Terry felt compelled to choose between willingly giving birth to Satan’s child, or suicide. Which choice is the lesser, or greater, sin? This is the question that unconsciously worms it’s way into our minds.

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“Didn’t she have a brother? She said she did. In the Navy.”

Whenever – and under whatever circumstances – she was informed of the Castevet’s diabolical plan, Terry felt compelled to choose between submitting to having sex with Satan and giving birth to his child, or suicide. We are presented with a soteriological dilemma. Which choice is the lesser, or greater, sin?  This is the question that unconsciously worms it’s way into our minds. According to the theology of the Catholic Church, death by suicide is considered a grave matter, one of the elements required for mortal sin.

A mortal sin (Latin: peccata mortalia), in Catholic theology, is a gravely wrongful act, which can lead to eternal damnation, if a person is not absolved of the sin before death (an impossibility for a successful suicide). A sin is considered to be “mortal” when its quality is such that it leads to a separation of that person from God’s saving grace.

Suicide is contrary to love for the living God. Not only is suicide seriously contrary to justice, hope, and charity, but it is forbidden by the fifth commandment: “Honour thy father and thy mother”. There is some debate among denominations and theologians, and differing opinions, as to whether suicide is, as a sin, pardonable or not.

As to why Terry didn’t just try to get out of there – we might well imagine her despair at the idea of going to seek help with her crazy story!  She would have quite assuredly imagined – knowing what she surely figured out before taking her own life (remember, Terry knew poor old Mrs Gardenia who used to live next door before slipping into a coma after a falling-out with the Castevets) – that the Castevet’s coven would take immediate black magical action against her, causing her to go blind, deaf or worse! Even if the Castevet coven resisted casting any spells against Terry (Ha! As if!) she would almost immediately have been shut away in some hideous New York mental hospital (this is 1965 remember). Or, she could choose to risk going back to the streets of New York in 1965, where she would most likely end up falling back into her old ways, and end up dying in the gutter anyway. Falling or jumping as a form of suicide holds some close connection to the idea of Satan’s Fall from Heaven. Poetic, no?

 

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He  moves in mysterious ways…

“Minnie said, ‘He chose you out of all the world, Rosemary. Out of all the women in the whole world, He chose you. He brought you and Guy to your apartment there, He made that foolish what’s-her-name, Terry, made her get all scared and silly so we had to change our plans. He arranged everything that had to be arranged, ’cause He wanted you to be the mother of His only living Son.'”

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“Look at His hands!”

We are given some valuable extra information about Rosemary’s thinking process in the final pages of the novel. After the awful revelation she is sitting with a hot cup of Lipton’s  tea and thinks…

“The thing to do was kill it. Obviously. Wait…. and grab it and throw it out the window. and jump out after it. Mother Slays Baby and Self at Bramford. Save the world from God-knows-what. From Satan-knows-what.”

Yet, she struggles with the idea whether it is even human and decides “He couldn’t be all bad, he just couldn’t. Even if he was half Satan, wasn’t he half her as well, half decent, ordinary, sensible, human being?” She considers that she could exert her own good influence over him to counteract their bad one. She even considers going to a priest. “It was a problem for the Church to handle. For the Pope and all the cardinals to deal with…”

Her motherly instincts take over when she hears the baby crying and sees that Laura-Louise is rocking the baby too fast. Roman Castevet tells her to rock him. “She stood still and looked at him. ‘You’re trying to – get me to be his mother,’ she said. In the film Sydney Blackmer, excellently cast as Roman Castevet, with a suffering look of pure pathos says “Aren’t you His mother?” In the novel, her eyes then move to the window  and she suggests that Roman should oil the squeaking wheels of the bassinet. It’s as though she is still deciding just what to do. Window? Wait?

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“She stood still and looked at him. ‘You’re trying to – get me to be his mother,’ she said. ‘Aren’t you His mother?’ Roman said.”

As she is rocking him she begins to think his eyes, which so startled and revolted her at first, are actually “pretty in a way,” and asks what his hands are like as they are covered in black mitts. She is told that he has very tiny pearly claws and they’re covered “only so He doesn’t scratch Himself, not because His hands are unattractive.” Her anger flashes at the appearance of Dr Sapirstein but she is quick to say: “‘Not you,” to the Baby. ‘It’s not your fault. I’m angry at them, because they tricked me and lied to me. Don’t look so worried; I’m not going to hurt you.'” She loosens the neck of the baby’s gown to make Him more comfortable. Tells Him He has a very cute chin. 

Indeed, it isn’t the baby’s fault. “Poor little creature.”

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“Hail Rosemary, mother of Andrew!”

Rosemary insists the baby be named Andrew John rather than Roman Castevet’s favored Adrian Steven, after his devil conjuring father and his own true name. A point she refuses even to argue about. And, “He can’t wear black all the time.” She has come to fully accept her baby, with budding horns, tail and all. Naming it, claiming it. Speaking sweetly to it as the coven gathers around the black bassinet in awe at the dark miracle before them and exclaim “Hail Andrew!” and “Hail Rosemary, mother of Andrew!” and “Hail Satan!” Rosemary Woodhouse gave birth just after midnight on June twenty-fifth. Exactly half the year round from you-know-who. She has become the first Satanic Madonna and has not even joined the coven. She calls the baby Mr Worry-face’. Roman assures her the baby knows she will not hurt him. She asks Roman “Then what does he look so worried for? The poor little thing. Look at him.” As a final touch, in an effort to erase what she sees as a “worried expression” from the baby’s face, she taps the silver ornament dangling above the baby – an inverted crucifix suspended by a black ribbon bound around the Christ’s ankles – and sets it swinging.

The genius of Rosemary’s Baby lies in it’s so successfully aligning the reader, or viewer, with the character of Rosemary that we too can’t help but condone her motherly instincts. With an intense interest in the subject Jules Bois wrote in 1895 in Le Satanisme et la Magie that the devil’s power lies in that “he suffers;” an idea expressed so well in Milton’s Paradise Lost we find ourselves wondering which side Milton was on. Rosemary sees her own baby “suffering” in the midst of a coven of aging witches – surrounded with black, gown uncomfortably tied, rocked carelessly and without a mother’s good sense, her own breast milk she’s been pumping out being fed to her baby in bottles when she had decided to breast feed, etc… In Rosemary’s Baby, book or film, we find ourselves choosing life rather than the murder of an innocent baby – whatever it’s  paternal, or infernal, origins may be.

By: H. B. Gardner

All of Them Witches: A”Who’s Who” in Rosemary’s Baby

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By: H.B.G.

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‘All of Them Witches’ by J.R.Hanslet is a fictitious book used in the novel and film ‘Rosemary’s Baby.’

 If you found this article in the hopes of finding or reading a copy of the book ‘All Of Them Witches’ by J. R. Hanslet, we are sorry to disappoint you because the book does not actually exist. Or, more properly, it does not exist outside the fictional world of ‘Rosemary’s Baby’  – the well-crafted and bestselling novel by Ira Levin, made even more famous by the closely adapted 1968 film directed by Roman Polanski and starring Mia Farrow, Ruth Gordon, John Cassavetes and Sidney Blackmer. Ira Levin himself had written to a number of inquirers who had, inadvertently, been sent on a wild goose chase for ‘All Of Them Witches’ over the yearsLevin’s response letter to such an inquiry can be viewed at Ira Levin.org – RosemarysBabyAlbum   where you may peruse Rosemary’s Baby Album. “James Hanslet” is a detective in the books of an obscure mystery writer, John Rhode, whose work Levin enjoyed. So, if you are reading this, you certainly already know Rosemary and Guy Woodhouse, and Minnie and Roman Castevet. Perhaps you even remember Dr. Sapirstein from ‘Rosemary’s Baby’. If you don’t, then please be aware that this article contains spoilers! 

We admit, it takes a special kind of obsessive fan to bother with secondary characters  in a film or book, even one as important as ‘Rosemary’s Baby.’ Most of these characters are mentioned in passing – by name only – in the novel by Ira Levin; but they are practically complete strangers to us in the film! Very few of these actors are even mentioned in the film’s credits! Some are rather well-known character actors, others are more obscure. It took a studied re-reading of the novel, a close viewing of a few choice scenes of the film, and some obsessive horror geek research on the internet, but we have managed to identify all of the witches in Minnie and Roman Castevet’s coven. It is our own fascination with the book and film that compels us to look for The Devil in the Details!

Look What Happened to Rosemary's Baby
Left to Right: Hope Summers as Mrs.Gilmore, Patricia O’Neal as Mrs.Wees, Robert Osterloh as Mr.Fountain, Ralph Bellamy as Dr.Sapirstein, Walter Baldwin (in shadow) as Mr.Wees, John Cassavetes as Guy Woodhouse, and Mia Farrow as Rosemary.

There is a kind of surreal banality to these characters; they seem just like anybody else you could meet on any given day. We feel like we met some of these people in our neighborhood where we grew up, at a family gathering, or at our parent’s church. Maybe a few of these women were in our mother’s Bible study group! It could be this sense of unfamiliar familiarity with them that so disturbs and intrigues us.

As pointed out by author Chuck Palahniuk (Fight Club, Choke) in an introduction to a 2011 edition of this diabolical classic, the horror of Rosemary’s Baby comes from the idea that “The Enemy Is Everyone.” This is a point that becomes more and more clear as the plot unfolds. One disturbing scene in the story is when, after locking herself within the apartment she shares with her husband, the very pregnant Rosemary is suddenly accosted by what we have come to suspect are a coven of witches – who also just happen to be her acquaintances and neighbors. They almost quite literally come crawling out of the woodwork! To have your home invaded by a conspiratorial cadre of Diabolists offering reassurances that they are your friends and are only there to help when you are at your most vulnerable is truly terrifying. How in the hell did they get in? she must be wondering.

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This painting of Witches by Goya, seen in the Castevet’s hallway in the film, certainly inspired the bedroom struggle scene in Rosemary’s Baby

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From left: Bruno Sidar as Mr.Gilmore, Hope Summers as Mrs.Gilmore, Patricia O’Neal as Mrs.Wees, Robert Osterloh as Mr.Fountain, Ralph Bellamy as Dr.Sapirstein, Walter Baldwin as Mr.Wees, John Cassavetes and Mia Farrow.

It was a stroke of director Roman Polanski’s genius to cast the coven members based primarily on their looks above any other considerations. The director is said to have sketched out the old Hollywood types he wanted for these roles in order for casting to do their job. Most of these character actors and actresses spent years on stage and / or are ubiquitous background faces in film and television. In this way, they somehow seem hauntingly familiar…

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All of them witches!

Mr.Micklas (novel), or Mr.Nicklas (film) is the very first resident of the Bramford we meet. Played by Elisha Cook Jr. (December 26, 1903 – May 18, 1995). We know he lives there as a kind of superintendent or manager because he not only shows the apartment to Rosemary and Guy but he appears at the scene of Terry’s suicide wearing striped pajamas under a trench coat. He presumably grants the police access to the Castevet’s apartment to inspect the scene where Terry’s suicide note was found (“stuck to the windowsill with a band-aid”).

It is doubtful however that he is a member of the coven. He never appears at any of the gatherings in the Castevet’s apartment in either the novel or the film. In the novel he has fingers missing from both hands. In the film he keeps his fingers in odd positions. We just don’t know about him. Levin and Polanski manage to unnerve us right from the start.

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Mr. Micklas in the novel by Ira Levin became Mr.Nicklas in the film, played by the ubiquitous Elisha Cook Jr.

Elisha Cook Jr. is well known as a Hollywood character actor, appearing in many films and on TV, most famously for his role in The Maltese Falcon. He appeared in a number of horror genre films like Voodoo Island 1957 with Boris Karloff, House on Haunted Hill 1959 with Vincent Price, Blacula 1972, Messiah of Evil 1979, and ‘Salem’s Lot 1979. He has, as do some other actors listed here, a Wikipedia page.

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“Why would she cover up her vacuum cleaner and her towels?”

The ubiquitous Mr Cook…

 

 

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Mrs Gardenia We never see her. We are, like the voyeuristic eye of Polanski’s lens, snooping through the dwelling place and belongings of a recently deceased 89 year old woman (“one of the first women lawyers in the state.” as Mr Nicklas informs us). She did a little gardening – herbs mostly (wink) – in her shadowy apartment. And what about that unfinished letter glimpsed on poor old Mrs.Gardenia’s desk?

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“I can no longer associate myself….”

Who or What could she no longer associate herself with?  She probably wasn’t the first (and we know she’s not the last) person in the story to mysteriously fall into a coma and die.

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L – R: Bruno Sidar as Mr Gilmore, Patsy Kelly as Laura-Louise McBurney, Charlotte Boerner as Mrs Fountain, Almira Sessions as Mrs Sabatini clutching her black cat, Flash.

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Patsy Kelly and Ruth Gordon as the Bramford’s welcome wagon.

Laura-Louise McBurney “lives up on 12” (12-F to be novel-precise) in a “small dark tannis-smelling apartment.” In the novel, the character Laura-Louise bakes cookies, reads Reader’s Digest with a magnifying glass, and is knitting a pair of “shaped-all-wrong booties” for Rosemary’s baby (for cloven hooves, we imagine ). Don’t be fooled by her friendly demeanor! She threatens to kill, “milk or no milk!”

Here is a link to a great article By Michael Koresky about Patsy Kelly’s performance as Laura-Louise, “The Witch Upstairs”:  Patsy Kelly in Rosemary’s Baby

https://www.criterion.com/current/posts/2824-the-witch-upstairs-patsy-kelly-in-rosemary-s-baby

Patsy Kelly (January 12, 1910 – September 24, 1981) was an American stage, radio, film and television actress who began her career in vaudeville as a dancer at the age of 12. She appeared in film through the ’30’s and 40’s but was shunned by Hollywood for 17 years because of her being “out of the closet” at a time when that sort of thing was just not acceptable.

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Thelma Todd & Patsy Kelly in the 1930’s

At a time when being openly gay was not socially acceptable, Kelly was open about her sexuality. On occasion she would frankly disclose, in public and with typical candor, to being a “dyke”. During the 1930s, she disclosed to Motion Picture magazine that she had been living with actress Wilma Cox for several years and had no intention of getting married. She later claimed she had an affair with Tallulah Bankhead when she worked as Bankhead’s personal assistant.

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“Take your pill, Rosemary.”

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Dr.Shand “He used to be a famous dentist.” He is introduced to us this way by Minnie Castevet at her and Roman’s New Year’s Evil party. He made the chain for the Tannis charm the Castevets give to Rosemary. Guy says Dr.Shand also happens to play the recorder (how does he know it’s not a flute or clarinet?). In the film Dr.Shand is the one driving the car when Guy and Dr.Sapirstein arrive to take Rosemary away from Dr.Hill’s office (in the novel it’s Mr.Gilmore behind the wheel).

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A sweet smile that says: “Get in, sit down and shut the hell up.”

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Dr. Shand arrives just in time for the Witching Hour on New Years Evil!      “To 1966 – the Year One!”

Phil Leeds (April 6, 1916 – August 16, 1998) was an American character actor.
Leeds was born on April 6, 1916, in New York City, the son of a post office clerk. He started his career as a standup comedian and then went on to appear in many films and sitcoms including Beaches, All In The Family, Three’s Company, Night Court, Wings, Ally McBeal, Everybody Loves Raymond, The Larry Sanders Show, and almost yearly appearances on Barney Miller; as well as making guest appearances on Car 54, Where Are You?, The Patty Duke Show, The Monkees, The Odd Couple, Happy Days, Friends, Mad About You, The Dick Van Dyke Show and The Golden Girls.

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Mr Leeds got in the habit in The History of the World Part 1

Leeds was blacklisted during the McCarthy era after pleading the fifth when examined by the House Un-American Activities Committee. The man was a part of a modern American witch-hunt!

At age 80, he appeared on an episode of Roseanne – Season 9 Episode 7: Satan, Darling (First Aired: October 29, 1996) – in which Roseanne finds herself drawn into a creepy ’90s version of Rosemary’s Baby in a crossover with the ladies from Absolutely Fabulous. Ernest Harada (see below) also reprised his role as a photographer in this episode. Leeds also memorably appeared as a friendly spirit in the 1990 film Ghost. His final role was a brief scene in Lost & Found (1999).

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Phil Leeds and Ernest Harada appear as supporting cast in Season 9 Episode 7 of RoseanneSatan, Darling

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Phil Leeds as a friendly ghost in GHOST with Patrick Swayze

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Mr.Wees is the first person to “Hail Satan!”in the climactic scene of both the novel and the film version of Rosemary’s Baby.  Mr.Wees was performed by Walter Baldwin (January 2, 1889 − January 27, 1977). Mr Baldwin was a prolific character actor whose career spanned five decades and 150 film and television roles, and numerous stage performances. He acted in films like The Devil and Daniel Webster (1941) but was probably best known for playing the father of the handicapped sailor in ‘The Best Years of Our Lives‘ (1946). He was the first actor to portray “Floyd the Barber” on The Andy Griffith Show. He also played the husband of  a housekeeper who succumbs to the evil machinations of Boris Karloff’s mad scientist in ‘The Devil Commands’ 1941.

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You can spot Walter Baldwin in this old thriller.

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Walter Baldwin was “Hank” (uncredited) in this old classic.

Walter Baldwin was featured in a lot of John Deere Day Movies from 1949-59 where he played the farmer Tom Gordon. In this series of Deere Day movies over a decade he helped to introduce many new pieces of John Deere farm equipment year-by-year.

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Walter Baldwin was the first ‘Floyd the Barber’ on the Andy Griffith show.

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Walter Baldwin

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Mrs.Helen Wees is one of those neighbors (in the gray dress) who creeps into the bedroom before Rosemary goes into labor, saying: “We’re your friends Rosemary,” in a sweet melodic voice. During the frenzied struggle in the bedroom she picks up the phone off the floor to set it back in it’s cradle beside the bed. She is the first person to see Rosemary enter the Castevet’s apartment in the film’s climactic scene. In the novel she is the first witch to say “Hail Rosemary.”

Portrayed by Patricia O’Neal (born 1911, married 1940 aged 29–died 1996?) – mother of actor Ryan O’Neal, grandmother of actress and author Tatum O’Neal. NOT to be confused with actress Patricia Neal! She appears in a couple of her son’s movies in the 1970’s. She is a woman on an airplane in the final scene of 1972’s Barbara Streisand vehicle What’s Up, Doc?

Ryan O’Neal’s character was a love interest of Mia Farrow’s character on TV’s Peyton Place… Coincidence? We know Polanski used Tony Curtis as the voice of Donald Baumgart over the telephone to elicit an anxious response from Mia Farrow. Did Farrow have a passing acquaintance with Ryan O’Neal’s mother?

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L to R: Ernest Harada, Ruth Gordon (seated). Phil Leeds as Dr. Shand and Pat O’Neal as Mrs.Wees (in blue dress suit), hover behind Mia Farrow in the film’s climax

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Charles O’Neal, a young Tatum O’Neal, and Patricia O’Neal at the 1974 Oscars. I think she swiped that lampshade from the Castevet’s.

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Mrs.Leah Fountain was portrayed by operatic actress and singer Charlotte Boerner (dates uncertain). Mrs.Fountain is the witch in a soft rose colored dress who, in a flawless theatrical move, snatches the handkerchief from Mr.Gilmore’s jacket pocket to stuff it in Rosemary’s mouth during the frenzied struggle on the bed. In the novel, Rosemary drugs Leah’s coffee and is then able to sneak out of her room to enter the Castevet’s apartment through the secret passage to find her baby.

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From Left: John Cassavetes, Mia Farrow, the mysterious Bruno Sidar as Mr.Gilmore, and Charlotte Boerner as Mrs.Fountain.

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This witch will shut you up!

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All of them witches…

The actress Charlotte Boerner was normally active – Boerning up, shall we say? – on stage, she only appeared rarely in front of the camera. She was an accomplished opera soprano in her day. The link below will give you a sample of Soprano Charlotte Boerner singing Vissi d’arte (Love and Music) from Tosca in German.

Soprano Charlotte Boerner sings Vissi d’arte (Love and Music) from Tosca in German.

http://www.78rpmcommunity.com/beta/mp3-music/albums/155/song_id/355

 

 

Charlotte Boerner… back in the day.

Her first movie was “Die Stimme der Liebe” (’34) where she played the role of the empress. She only continued her film career many years later in the USA where she impersonated several smaller parts.
Besides “Rosemary’s Baby” she was also in an episode of the serial “Family Affair: A Waltz from Vienna” (’68), George Cukor’s “Justine” (’69) with Anouk Aimée, Dirk Bogarde and Robert Forster and “Wake Me When the War Is Over” (’69) with Eva Gabor, Ken Berry and Jim Backus.

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Mr.Gilmore (Bruno Sidar) and Mrs.Leah Fountain (Charlotte Boerner) taking a rest from tackling pregnant women. Black candles in place on the mantle beside the portrait of Adrian Marcato.

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Mr.”Clare” (Clarence?) Fountain Was portrayed by actor Robert Osterloh. It’s not easy to really get a good look at his face in the movie but he’s visable in a couple of still photographs at the top of this article. When Rosemary is on the phone, just before the witches come pouring into the room, we see Bruno Sidar as Mr.Gilmore (in black suit) and Osterloh (in pinstriped jacket) sneaking past the doorway just over her shoulder. He might be in the background of the New Year’s Eve party in the same jacket. His character can be seen sitting  to the left of Laura Louise as Rosemary enters the final scene where, in the novel, he actually fears (or, hopes?) that Rosemary murdered his wife Leah.

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Robert Osterloh is credited as Mr.Fountain in the film.

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Robert Osterloh (uncredited) played Major White in this 1951 Sci-Fi classic!

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Robert Osterloh as the police detective in ‘I Bury the Living’

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Osterloh (May 31, 1918 – April 16, 2001) was active mainly in the 1950s, playing roles in films such as Illegal Entry (1949), White Heat (1949) (as a gangster killed by gang boss James Cagney), 1951: The Day The Earth Stood Still – as Major White (uncredited). One Minute to Zero (1952), Star in the Dust (1956) and I Bury the Living (1958). In the 1960s, however, he appeared in only a few films such as Young Dillinger (1965) and his last film, Coogan’s Bluff (1968). During this time he also played roles in several TV series such as Bonanza (in several episodes of 1959), and The Untouchables in a 1961 episode.

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Mr.Gilmore appears to have been portrayed by a mysterious man named Bruno Sidar, about which we have not been able to find any information. At the Castevet’s New Year’s Eve party (in the film) he makes a strange comment when handing champagne to Rosemary and Dr.Sapirstein. As he hands Rosemary a glass he says “Happy New Year;” then he turns to Dr. Sapirstein and says “Have a good (finger to lips in silence gesture) year.” Very mysterious Mr.Gilmore; what’s your story?

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Mr Gilmore (Bruno Sidar) looks on approvingly at an outburst of blasphemy.

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Mr Gilmore (Bruno Sidar) and Mrs Fountain (Charlotte Boerner) appear in the upper right of this poster. And their names don’t even appear in the credits!

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Mrs.Florence Gilmore was portrayed by character actress Hope Summers (June 7, 1896 – June 22, 1979), known for her work on CBS’s The Andy Griffith Show and Mayberry RFD, portraying Clara Edwards. You can find her Wikipedia page.

Quotes from the film: “There’s nothing to be afraid of Rosemary. Honest and truly there isn’t.”

“Rosemary, go back to bed. You know you’re not supposed to be up and around.”

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Hope Summers as Clara Edwards on CBS’s The Andy Griffith Show.   Looks exactly like when she turns to tell Rosemary to go back to bed.

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A very conspicuous character who appears in the final scene in the book and film is a young Japanese photographer. He asks “Is the mother?” when Rosemary makes her appearance just before the climax.

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Sydney Blackmer as Roman Castevet, Sebastian Brook as Argyron Stavropoulos, Hope Summers as Mrs.Gilmore, Ernest Harada as Hayato, Elmer Modlin as Young Man, Natalie Masters as Young Woman.

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Ernest Harada as Hayato the photographer

Called Hayato by Minnie Castevet in the novel, he eagerly snaps photos of the tormented Madonna and child. One wonders how this character ended up as the lucky one to photo-document the event.

Portrayed by actor, singer and Broadway performer Ernest Harada  (born October 20, 1944).  His first film was an uncredited role as Lyon’s houseboy in Valley of the Dolls (1967). He is also known for his work in such films as: The Devil and Max Devlin (1981), Blue Thunder (1983), Dreamscape (1984), The Woman in Red (1984), Volunteers (1985) Blind Date (1987), Wicked Stepmother (1989), and as a coroner in 1992’s Death Becomes Her.

 

 

Mr Harada was also part of the 1976 Original Broadway Cast Recording of ‘Pacific Overtures’ – a musical written by Stephen Sondheim and John Weidman. The show is set in Japan beginning in 1853 and follows the difficult Westernization of Japan, told from the point of view of the Japanese. Click on the link below to see a video of the Original Broadway Cast, 1976, Starring Mako (who you may recognize as Arnold Schwarzenegger’s Conan the Barbarian‘s Wizard friend). An all male cast for this song, with the fabulous Ernest Harada as the Madam, singing ‘Welcome to Kanagawa’.

Ernest Harada performs Welcome to Kanagawa

 

 

Along with other numerous appearances on TV (Mannix, Ironside, Charlie’s Angels, Magnum P.I., Knots Landing, to list a few), Mr Harada also reprised his role as a Devil-baby-photographer when he appeared on an episode of Roseanne – Season 9 Episode 7: Satan, Darling (First Aired: October 29, 1996) – in which Roseanne finds herself drawn into a creepy ’90s version of Rosemary’s Baby in a crossover with the ladies from Absolutely Fabulous. Phil Leeds who played Dr Shand in the film also appeared in that episode.

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Phil Leeds and Ernest Harada make it their business to show up at exclusive Upper West Side Satanic soirees. Roseanne – Satan, Darling.

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Ernest Harada

Click on the link below to read our Devil in the Details interview with Mr Ernest Harada!

An Interview with Ernest Harada: Celebrating 50 years of Rosemary’s Baby

The novel ends with the line: “The Japanese slipped forward with his camera, crouched, and took two, three, four pictures in quick succession.”

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Argyron Stavropolous was portrayed by Sebastian Brooks (or, Brook), known for The Gay Deceivers (1969), Beyond the Valley of the Dolls (1970), and The Jekyll and Hyde Portfolio (1971). We have found no other information about him.

His character calls to mind one of the Biblical ‘Three Kings’ who, bearing gifts, attends the birth of the New Messiah. The novel informs us that a few moments after looking silently into the bassinet he lowers himself to his knees in worshipful adoration. Later, when observing Rosemary weeping he asks “Is this the mother? Why in the name of ….?”

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The mysterious Argyron Stavropolous  was portrayed by Sebastian Brooks or Brook. Very little info about him.

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Sebastian Brook(s), Sidney Blackmer and John Cassavetes. Ernest Harada in the background.

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Michael Greer and Sebastian Brook(s) working it fiercely in The Gay Deceivers (1969).

These two characters, Hayato and Argyron Stavropolous, like Two Wise Men From the East, give the reader, or audience, a glimpse into a larger world taking place just outside the dark gothic setting of the Bramford. That is to say, Our world. These two characters represent a keen foreign interest in the event which has taken place within this New York apartment building. We are given the idea that Minnie and Roman’s coven extends far beyond the story’s small Manhattan setting, and the birth of The Devil’s child carries international implications. Both of these characters ask the same question, if Rosemary is the mother. And by strange coincidence, both Harada and Brooks appeared in Valley of the Dolls and Beyond the Valley of the Dolls respectively.

These two characters, Hayato and Argyron Stavropolous, like Two Wise Men From the East, give the reader, or audience, a glimpse into a larger world taking place just outside the dark gothic setting of the Bramford.

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Mrs.Sabatini was portrayed by veteran character actress Almira Sessions (September 16, 1888 – August 3, 1974). Almira Sessions was an American character actress of stage, screen and television. Born in Washington, D.C., her career took her through all the acting mediums of the 20th century, spanning eight decades, and led her from Washington D.C. to New York City to Hollywood. She worked into her 80s, finally retiring shortly before her death in 1974 in Los Angeles.

Mrs Sabatini is textbook witch with her black cat (named Flash according to the novel) which she takes with her wherever she goes. She is apparently the oldest member of the coven. With a name like “Sabatini” we can imagine she spent some time at the Witches’ Sabbat back in the glory days. What’s her story?

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Mrs Sabatini can be seen clutching her black cat “Flash” in the background of the Castevet’s apartment.

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Almira Sessions was a prolific actress from the early days.

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Young Man in the suit with a blue shirt in the final scene was portrayed by Elmer Modlin (1925 – 2003).

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Elmer Modlin as a Catholic priest in something we found in Spanish on YouTube.

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The “Young Couple” on the right – Elmer Modlin and Natalie Masters

Aged about 43 when Rosemary’s Baby was filmed, Elmer Modlin was an American film and television actor. He settled in Europe, working frequently in Spain. He was married to the artist Margaret Modlin. He is sometimes credited as Elmer Modling.

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Elmer Modlin also did some modeling for his artist wife.

He was Brock in the film ‘Edge of the Axe‘ (Original title: Al Filo del Hacha) a 1988 Spanish-American made-for-TV horror film about a masked maniac murdering people in a small Northern Californian suburb.

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Elmer and Margaret Modlin

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Young Woman (Natalie Masters) and Young Man (Elmer Modlin) stand behind  Minnie (Ruth Gordon) as Rosemary learns the awful truth.

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Young Woman (“Young” is a relative term in the Castevet’s coven. She must have been about 53 when filming Rosemary’s Baby) was portrayed by Natalie Masters. She is the younger tan woman in a sleeveless yellow dress in the final scene.

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Natalie Masters

Natalie Masters was born on November 23, 1915 in San Francisco, California, USA as Natalie M. Park. She was an actress. She was married to Montgomery Masters.

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Natalie Masters had a certain bewitching quality…

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Natalie Masters – publicity photo

Natalie Masters played female private eye “Candy Matson” on the radio series of the same name, which ran on the NBC west coast network from 1949 to 1951. She found reasonably constant work as a character and supporting actress on television, including a recurring role as Wilma Clemson in Betty White’s underrated vehicle A Date with the Angels (1957). Until her death at 70 on Feb. 9th, 1986, Masters had roles in, among others, The Donna Reed Show, The Millionaire, The Patty Duke Show, The Twilight Zone, The Joey Bishop Show, The Addams Family, The Lucy Show, Adam-12, Hart to Hart, Alice, and Riptide.

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So, please consider the next time you take a walk through your neighborhood, or you smile and nod to the kindly neighbor at your apartment building’s postboxes, do you really know anything about these people? What do they do in their spare time? What sort of company they keep? What they may be wearing (or not wearing) beneath their clothes? Just who are the people in your neighborhood?

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Apparently the nude witches in the dream sequence were performed by a different set of actors who were similar types.