‘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’

 

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.

If you enjoyed this article please follow our Devil May Care page on Facebook and our Rosemary’s Baby 50th Anniversary page on Facebook

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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’ 2017 – 2018 Fantasy Remake & Dream Cast

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By: H.B.G.

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‘Rosemary’s Baby’ (1968) the film, is perfect and requires no changes. Nearly fifty years later, it remains a classic which lacks nothing and still basically holds up as a story and as a film today. Ira Levin‘s story is so perfect it could be adapted into a Grimm’s fairytale version that takes place in a medieval German village and still hold up just as well. We usually shudder at the news every time Hollywood dares to tread upon unholy ground and remake a diabolical horror classic. The 2014 NBC TV drama version starring Zoe Saldana was largely forgettable.

However, if ‘Rosemary’s Baby’ were to be remade as a feature film today (2017), we have some ideas for a fantasy production which would adapt the story to the current climate and offer opportunities for some fine talent to exhibit itself. Not enough older actors are given screen time these days which is a deep shame as they have such skill and talent. Hollywood could certainly do worse than take our advice.

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First, to adapt the film for today, Rosemary would have been Christian homeschooled (creationism not evolution) on a small Wisconsin or Iowa farm by a conservative, right-wing, Charismatic Christian family who fully expect the coming of “the Rapture” and the AntiChrist. These people take the Bible literally as the unerring Word of God. This family votes based solely upon the anti-abortion, pro-life and anti-gay movements. Rosemary enjoys playing girl’s volley ball, and doesn’t date. She moves away from the small town amongst the corn fields and cows to live for a few years in The Big City (need not be New York) and finds her ideas shifting with the current culture. She meets and falls in love with Guy, a handsome young man without religious ideals who is scraping by as an actor but desperately dreams of making it big.

Most of the story remains the same with a few tweaks here and there. For the notorious “dream sequence” Rosemary could see herself sailing away from her family farm through a sea of corn. Instead of the Pope offering his ring for her to kiss at the end of her nightmare, it could be a TV evangelist counting wads of cash, assuring her she is forgiven.

Check out our related article: All of Them Witches: A “Who’s Who” in Rosemary’s Baby

Fantasy Cast:

unknown-1 Rosemary Woodhouse – 

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Mia Wasikowska (current age 27) With a name like Mia how could we not consider her? Famous for Tim Burton’s ‘Alice in Wonderland,’ she has that somewhat fragile look but can show strength. or Chloë Grace Moretz (current age 20) famous for ‘Kick-Ass’ and ‘Let Me In’ (2010). Either of these ladies would also make a suitable Terry.

images-12  Guy Woodhouse –

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Zac Efron (current age 29) This guy could effectively play the desperately charming  actor hungry for fame and fortune; and perhaps bring his own special twist to the role.

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Unknown-14  Minnie Castevet: 

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Tracey Ullman (current age 57) Just think about it! Based on our highly esteemed portrayal by Ruth Gordon in the original film we doubt you could find better. Admittedly, if she were to play Minnie Castevet there may need to be some aging make-up involved but that’s no problem for Tracey Ullman, is it?ψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψψ

m8droba-ec003   Roman Castevet 

aka Steven Marcato:

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Jack Nicholson (current age 80) If he’s willing and able we would have it no other way! Jack was considered for the role of Guy in the original film but was considered too sinister looking by director Polanski. Imagine Jack doing this:

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Or this…

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If Jack can’t or won’t come out of retirement, then next we’d ask…

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Malcom McDowell (current age 74), or perhaps John Malkovitch (current age 63). It could happen.

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Doctor Sapirstein – The Doctor from Hell:

'A Most Wanted Man' Red Carpet - The 9th Rome Film Festival

Willem Dafoe (current age 61) Now see the picture below and imagine Dafoe as Rosemary’s obstetrician. Uh huh, say no more. Yet, John Malkovitch would be great for this role too. Hmmmmm….

Rosemary's Baby (1968) Blu-ray Screenshot

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Laura-Louise McBurney – The Witch upstairs –  

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Laura-Louise as played by Patsy Kelly in the 1968 original.

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Kathleen Turner (current age 63) Yes! It has to be Serial Mom!

unknown-13Kathleen Turner as Laura-Louise and Tracey Ullman as Minnie Castevet. Delicious!ψψψψψψψψψψψψψψψψψψΨΨΨΨΨΨΨΨΨΨΨΨΨΨΨΨψψψψψψψψψψψψψψψ

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“Hutch” – Rosemary’s friend. This character presents some problems today that wouldn’t have been so obvious in the 60’s. An older gentleman friend from the apartment building Rosemary used to live in after first moving to the Big City. If we keep this character an older gentleman then… Bill Murray (current age 66).

But why must Hutch be an older guy? Why not make the character Rosemary’s older girlfriend who befriended her upon moving to the Big City, and who changed Rosemary’s mind about gay people because she herself is a lesbian? Perhaps a writer or counselor who’s also studied something about Witchcraft…

640_winonaryder_gettyWinona Ryder current age 45, or Octavia Spencer (47) as Ms. Hutch.

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1968 Playmate of the Year Victoria Vetri, aka Angela Dorian, played Terry in the Polanski film.

   Terry Gionofrio – Suicidal house guest

For the role of the somewhat rehabilitated drug addict Terry, we select whichever of the two actresses we selected to play Rosemary who doesn’t get to play Rosemary; Mia Wasikowska (current age 27) or Chloë Grace Moretz (current age 20). Dye hair dark.

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Evan Peters (current age 30) of American Horror Story fame. He might also make a good Guy Woodhouse, in which case Zac Efron would be our good but disbelieving Dr Hill.

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Look What Happened to Rosemary's Baby

L to R: Mrs Gilmore, Mrs Wees, Mr Fountain, Dr Sapirstein, Mr Wees, Guy and Rosemary.

Check out our article on the Castevet Coven:

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

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The Coven:

Anyone from our list who doesn’t make the final cut, plus these three performers who appeared as principal players in the original film and must now be supporting players in our fantasy remake…

Mia-Farrow-2014   Mia Farrow “Rosemary Woodhouse” in the original film (currently 72) could be Mrs Gilmore in our fantasy remake: “There’s nothing to be afraid of Rosemary. Honest and truly there isn’t.”

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Photo edit: Victoria Vetri aka Angela Dorian in July 2018.

Victoria Vetri (aka Angela Dorian) “Terry Gionofrio” in the original film can now be Mrs Wees. “We’re your friends Rosemary.”

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Mrs Wees hovers behind Rosemary in the blue dress suit.

Current age 72 and serving time, but with a release planned in the not-too-distant future. It is also our wish to see  Victoria Vetri and Mia Farrow paired up again, if only even for  a brief scene,  perhaps in the American Horror Story series. Oh please! Please! Please make it happen! (2018) EDIT: Victoria is now free and available for limited access in the LA area.

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Actually, Mrs Gilmore is saying: “There’s nothing to be afraid of Rosemary; honest and truly there isn’t.” Mrs Wees (off camera) says: “We’re your friends , Rosemary.”

Unknown-15   Charles Grodin aka “Dr. Hill” in the original film, (now 80) as Mr Wees. He’ll be the first to “Hail Satan!” in the climactic scene.

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images-2 Or… as Dr Shand?

And….

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Ernest Harada (73) appeared as the  photographer in the original film and is also in retirement, but if he could be coaxed out of it to perhaps take on another character… like that of Mr Nicklas who shows Rosemary and Guy the apartment, played by Elisha Cook in the original.

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Check out our interview with a charming original cast member :        An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’

We need a few more witches….

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Angelica Huston

Anjelica Huston (current age 66) shall be our cat-toting Mrs Sabatini for our dream remake.

 

 

 

 

Edit: 6/21/2019 – Or if Daria Nicolodi (current age 69) is available… we’d love to see her back onscreen! As a veteran of Giallo and Horror – and with talent and inimitable presence – Daria Nicolodi remains a film fan’s favorite.

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Nastassja Kinski

 

Nastassja Kinski (current age 56) shall be Mrs Fountain. Maybe Willem Dafoe as Mr. Fountain if Malkovitch plays Dr Sapirstein.

 

images-35   images-1-2               Christopher Walken (now 74) Can be the mysterious Mr Gilmore. We just want to see him creeping around.

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Well, our list is painfully caucasian, we know. That’s due to our limited knowledge of talent. After all, we mostly watch vintage diabolical horror films, which is largely a white dominated sub-genre. Surely there are other ideas for great actors in a revival of this classic horror thriller, but we’ve already spent enough time on this bit of dream-fancy fluff. Hope you enjoyed it. Who do you think should play in a ‘Rosemary’s Baby‘ remake?

Read our article:

‘Rosemary’s Baby’ Turns 50 !

 

A Japanese view of ‘Rosemary’s Baby’

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By: H.B.G.

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ローズマリーの赤ちゃん = Rozumaree no aka-chan

When we “Westerners” from the Judeo-Christian background view the classic horror-thriller film ‘Rosemary’s Baby’ we are given to consider the position of evil in our society. Japanese people, on the other hand, find a fascination with the American fashion and style sense of the late 1960’s.

The Japanese perspective of this classic film ( Rosemary no akachan ローズマリーの赤ちゃん ) is perhaps unique in the world. There is little sense of “horror” such as a person from an American or European culture may feel. The Japanese are largely Atheistic, secular and without any devout religious fervor of any kind whatsoever. At the end of ‘Rosemary’s Baby’ there is a sense of “So what? Glad the baby’s ok.”

images-2 This cartoon is a warning not to watch ‘Rosemary’s Baby’ if you have the “maternity blues.” But it praises Mia Farrow’s cuteness and fashion styles.

The Japanese have an incredible eye for fashion. They are also certainly not slouches when it comes to illustration. While it’s unlikely that we will be treated to a Japanese  manga or animated version of ‘Rosemary’s Baby,’ (or ‘Suspiria’ – yes, there has been some genuine talk of the later!), we have found some interesting examples of illustrations by Japanese artists who were inspired by Rosemary’s Baby.

This one is a favorite. The artist has a homepage here.

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What we have here is a kind of film and cast summary. From upper left and moving counter-clockwise the general translation is:

(That’s an illustration of Roman Polanski) The film’s handsome director can be seen in the DVD extras. He did mischief with an underage girl and now cannot enter the USA.”

“Mia was married to Frank Sinatra, who did not want her to finish the film. Mia was told she would get an academy award and be as famous as Audrey Hepburn if she completed the film, so she did. I don’t know what happened to her marriage.”

Red writing: “Rosemary is surrounded by servants of the Devil. Minnie Castevet: “Snips and snails and puppy dog’s tails! Drink it fresh!” Talkative people surround her. Laura-Louise says “Hi nice to meet you.””

Rosemary is saying: “Robert Redford and Jack Nicholson were considered to play my husband… but this guy sold his soul to the devil and got the part.” Big pink words “Give me back my baby!”

Guy Woodhouse in the brown suit is saying: “I’m in a Yamaha commercial!”

Black stroller: “At the end the baby’s face wasn’t shown.”

Dr Sapirstein says: “Listen only to me. Drink Tannis root juice. I’m a very famous Doctor.”

(Dr Shand, a minor character) “”Hi!” His smile is very charming as Rosemary is forced into the car.”

Upper right corner: “Hutch is Rosemary’s only friend and he discovers the diabolical truth and is killed for it. The name Hutch reminds the artist of a Japanese bee cartoon character (Hutch sounds like “Hachi” – Japanese for bee). Hutch asks “What is Tannis root?””

 

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Good likenesses

General translation (clockwise): This is a horror film but it can serve as a fashion role model. If you focus on the fashion your fear will be lessened. Rosemary is having the devil’s baby and she loses weight as she gets sicker, but she still has such cute 60’s fashion sense. Every scene she is so fashionable! Rosemary says: I went to Vidal Sassoon for a cute short haircut but my husband hates it! Around Minnie Castevet: My annoying old neighbor worships evil but even she is crazy fashionable! Red outfit: This red 2-piece outfit is my favorite in the film. The soft lines, the color and the black one strap patent shoes hit every girl’s style acupuncture points!

The artist’s blog is Here.

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Some Japanese really paid attention to the fashion style of Rosemary’s Baby

19029557_169451390259403_8351639112924692402_n     Ree Rosee illustration room is where to find this artist.

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If Rosemary’s Baby were a picture book, this could be the final illustration…

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Unfortunately, we could not identify the artist.

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‘Rosemary’s Baby’ Japanese souvenir book

sim  Vintage souvenir picture folios

‘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

Women From Hell: Cinema’s Greatest Ladies from Hades

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By: H.B.G.

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The Devil Is A Woman – Hollywood seems to have known this for some time. Perhaps it is our Western Judeo-Christian heritage with it’s misogynistic imprinting that has left us with a pre-formed suspicion of the Woman-with-the-Serpent.

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Lilith (1892) by John Collier in Southport Atkinson Art Gallery. The Tree of Knowledge ever bears forbidden fruit.

Seductress, Temptress, Witch, Murderess, Madwoman, Child-Snatcher… what causes this particular archetype to rise with such horrific force – like a primitive shadow from the collective unconscious – into our cinematic plays of shadow and light? Women have often been among the most numerous and the most devoted of the Devil’s servants. Though we would’ve enjoyed seeing Marlene Dietrich celebrate a Black Mass in a devilish thriller directed by Hitchcock, that remains a lost fantasy. It has really only been since the 1960’s that we’ve seen some celluloid Femme Fatales with a true sulphuric sense.

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Hollywood has always known: The Devil Is A Woman (1935)

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Marlene would’ve made a marvelous Madame de Montespan

We have constructed a list (in vaguely chronological order and by no means exhaustive) of Cinematic Diabolical Dames deserving of recognition for the characters they brought to wicked life. They can both delight and disturb us, and they often have some of the best lines in films. These women are really in touch with their dark sides. Let’s celebrate Our Ladies In Hades.

Note: We were unsure whether to include the Possessed to our list as, while they may be human, they are not entirely themselves, so to speak. Therefore we decided not to include the notoriously infamous  Regan MacNeil / Pazuzu character from ‘The Exorcist,’ but we did include the less widely known Sister Jeanne from ‘The Devils.’ ‘Carrie’ White’s mother could be added because her extreme Christian religiosity makes her act evil… but let’s just accept that she is a psycho. We’ll try not to get complicated. Enjoy!

As an actress, Barbara Steele deserves special mention because of her bewitching presence amongst Horror Cinema’s tortured and lost souls. Her dark beauty still provides a template for gothic divas today. We certainly include her as the vampire witch princess Katia Vajda/Princess Asa Vajda from the influential ‘Black Sunday’ aka ‘Mask of Satan’ (1960) directed by Mario Bava, which is saturated with Gothic atmosphere and creepy effects which are still, well… effective!

In Curse of the Crimson Altar’ aka ‘The Crimson Cult’ (1968), which also features Christopher Lee and Boris Karloff, Barbara Steele plays Lavinia Morley who leads a witchcraft cult. She also appeared with Vincent Price in ‘The Pit and the Pendulum.’ We could go on listing her devilish films and her appearances in Dark Shadows but we hope you will discover her magic for yourself if you haven’t already had the pleasure.

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Barbara Steele in ‘Black Sunday’

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Barbara Steele in ‘Curse of the Crimson Altar’ (1968)

Sister Jeanne of the Angels in Ken Russell’s THE DEVILS as played by Vanessa Redgrave      An excellent performance in an excellent film. Sister Jeanne is a hunchbacked  Ursuline nun with a beautiful face in 17th century France. We watch in horror as the good nun and her repressed sisters – tormented by both fear and desire – become possessed by some really sinister Devils, namely the Church and State.

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The Evil One is always tempting us… Vanessa Redgrave discovers some dirty habits in Ken Russell’s ‘THE DEVILS’

Mrs. Blaylock from ‘THE OMEN’ (Billie Whitelaw – original [1976] & Mia Farrow – remake [2006])  When Mrs Blaylock arrives to be the nanny for young Damian Thorn we feel certain there is something a little bit off about her, though nothing obvious at first. Is she human? Is she a demon sent from Hell? What is certain is her devotion to her young charge. Those feral eyes that appear through a sheer layer of gossamer nightgown as Katherine Thorn attempts to dress herself in the hospital, like a shark steadily approaching a drowning swimmer… Heaven help us!

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Billie Whitelaw as Mrs Blaylock

Although we don’t care much for flawed remakes or sequels, we must give the Devil Her due. Mia Farrow accepted the stunt casting for The Omen 2006 reboot which, in a deft marketing ploy, opened in America on 6-6-’06. We were present for the event at a packed theater in Orlando when, at the opening of the film just as the opening credits were starting to roll, the celluloid burned in the projector – causing a sizzling psychedelic suppuration to spill across the movie screen. One nervous young woman of color exclaimed that this film was evil and possessed by the Devil’s power and quickly exited the theater with an amused and peeved date following her out. They never returned. It was a clever move to have Mme Farrow play the Antichrist’s guardian as she is so well known for ‘Rosemary’s Baby’. Her sweet portrayal of Mrs Blaylock truly makes the remake darkly-delightfully watchable.

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Mia Farrow in The Omen reboot.

Mrs. Ann Thorn in ‘DAMIEN: OMEN II ‘     Lee Grant is believable as a devoted stepmother to two young men. Her reactions to the drama around her feel genuine so we must admit she shocked the hell out of us the first time we saw this film. Her final treacherous move just before delivering her lines – which are legendary in Satanic Cinema – (“Here’s your daggers!! ….I’ve always belonged to Him!”) left more than one pair of jaws agape. Nobody saw this ending coming until it was too late.

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Lee Grant as Ann Thorn prepares to skewer and barbecue.

Charlotte Rampling as Margaret Krusemark in ‘ANGEL HEART’    Sophisticated,  tasteful  and dignified, Margaret Krusemark is one classy dame, but her unusual profession and her taste in jewelry and home decor let us know that she is, in no uncertain terms, into more than just star-gazing and black magic. Tis pity she has a criminal connection with old heart-throb Johnny Favorite, though a special kind of Valentine will see them reunited.

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“I don’t think you’d like what I see in your future.”

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Mickey Rourke and Charlotte Rampling star in Angel Heart

Hellraiser’ & ‘Hellbound: Hellraiser II’   Clare Higgins as Julia Cotton & Female Cenobite    There is no mistaking Julia Cotton for a sweet hausfrau. This icy woman is frigid with her dull husband but fiery-hot and passionate with his brother Frank! In the first film she is the Wicked Stepmother, in Hellbound she emerges as The Evil Queen. No doubt she is on the highway to Hell. Her desires and cruelty should mark her high (or should we say Low?) on our list, ranking her one of the true Queens of the Damned! A woman who knows what she wants and will stop at nothing to get it!

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“Now everybody’s happy.”

While we are in Hell(raiser) we may as well pause to genuflect and offer an orison to the Female Cenobite. This creature is unique in Horror cinema. Though other female cenobites have followed since the first two films in the series, she causes us to cringe with her taste for flesh and pain. Two separate actresses portrayed the female cenobite in the first two films. In the first Hellraiser the Female Cenobite was played by Grace Kirby who also happens to be Clive Barker’s cousin. In Hellbound, the role is played by Barbie Wilde who has authored some fiction which you who are reading this should check out. The Hellraiser themed short story collection Hellbound Hearts (2009) contains a backstory she wrote for her Female Cenobite character titled Sister Cilice which we highly recommend.

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Barbie Wilde in Hellbound

You may also enjoy reading ‘The Venus Complex’ by Barbie Wilde

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“Perhaps you’re teasing us. Are you teasing us?”

‘The Ninth Gate’    Emmanuelle Seigner as “The Girl”, or as we prefer to call her The Mysterious Familiar Demoness. Part Succubus, part guardian daemon, this mysterious creature is ever unperturbed, has a great sense of timing, and is almost playful with Johnny Depp’s character… as a cat is with a mouse. She is fierce in the film’s ….umm, fiery climax.

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Ms Seigner is married to director Roman Polanski who directed The Ninth Gate and is famed for his contemporary Satanic masterpiece ‘Rosemary’s Baby’.

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‘Rosemary’s Baby’ How can we NOT mention lovable old Minnie Castevet ?- With a whiff of Tannis root perfume this crass character has a sense of style unsurpassed in Satanic Cinema. This nosey neighbor will creep you out even as she attempts to creep into your heart. Ruth Gordon‘s portrayal of a hip geriatric witch from Manhattan’s Upper West Side won her a well-deserved Oscar for Best Supporting Actress, winning perhaps the highest recognition of our sister Satanistas in Cinema – ever! Don’t be fooled by this harmless looking old lady!

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And the 2014 ‘Rosemary’s Baby’ TV remake with Carole Bouquet as Margeaux Castevet . Wiser heads must have prevailed at the studio – knowing the impossibility of even attempting to match Ruth Gordon’s flawless portrayal as Minnie Castevet – they instead took a more continental direction for the character with the sleek and sophisticated Carole Bouquet. We are certainly in praise of the older woman when speaking of the ladies Castevet.Unknown-17

 

 

 

 

 

 

 

 

Unknown-18Mrs Ulman from ‘House of the Devil’  played by Mary Woronov    Creeps us out of all proportion to her time onscreen. Effectively evil in an understated way that is rarely accomplished in cinema these days. Hers is a throwback to those good old Omen days; as if Mrs Blaylock had survived and relocated to America in the 80’s. Mary Woronov has led a fascinating acting career through Warhol’s Factory, Punk, off-Broadway theater and numerous appearances in Cult and Horror and genre films and TV.

In Rob Zombie’s ‘The Lords of Salem’  (2013)     We get several witches worth their cinematic salt! Besides Sherri Moon Zombie as Heidi La Rock / Adelaide Hawthorne, we also get to savor Judy Geeson as Lacy Doyle, Meg Foster as Margaret Morgan, Patricia Quinn as Megan, and Dee Wallace as Sonny. A veritable coven of conniving women who usher an unsuspecting Heidi through a metaphysical mental metamorphosis to create a perfect vessel of demonic vengeance. We don’t view Heidi as demonically possessed, though she may certainly be classified as demonically obsessed.

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Sherri Moon Zombie as Heidi in The Lords of Salem

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You get your witches’ worth in this Rob Zombie flick! The Three Witches: L to R: Patricia Quinn, Judy Geeson and Dee Wallace.

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Meg Foster is perfect as Margaret Morgan

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The Assumption of Maria is Satanized into the Descent of Heidi

This great iconic image reminds us of one of our favorite paintings…

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‘Diana of Ephesus and the slaves’ (1893 – 1898),  by the severely under-appreciated Italian symbolist painter Giulio Aristide Sartorio.  Was Rob Zombie inspired by this painting?

Did you know?

The cult statues of the many-breasted Ephesian Artemis / Diana were often rigged as fountains in Her ancient temples. These fountains would spew forth milk from the nipples at the climax of the celebrations. These temples were vandalized and desecrated by Christian zealots centuries ago but some images remain. The Goddesses have been demonized since that time, but fortunately She is in recovery.

We could go on and on with this list, and perhaps we will add others as time permits. We can certainly include more. If you think of some we have missed that really deserve to be added in here please let us know.

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