While people have accused Polanski of being a crypto-Satanist of sorts despite his glaring nihilistic sympathies, Rosemary's Baby is certainly a rare film where the viewer finds it hard to root for the all-too-sweet Catholic girl protagonist when the Satanic antagonists are so much more charming, worldly, elegant, and mild-mannered. In fact, Ethan Mordden would go so far to argue in his classic text Medium Cool: The Movies of the 1960s (1990), “Even worse, because she is powerless, is the heroine of Roman Polanski's ROSEMARY'S BABY (19680), who drives the public into crazes with her dithering and wondering. All praise to Mia Farrow for fulfilling the director's intentions—for he obviously does not want us to identify, even sympathize with, Rosemary, one of the film's very few characters who is not a full-fledged ghoul. Farrow winces, whines, and withers, but she can't stand up and say no [...] Polanski is rooting for the devil. A year before the infamous Rolling Stones concert at Altamont and the climax of rock-as-demonism, the director says, this is what the times favor; this is where we have landed. We like the darkness. We sing the monster.”
Not surprisingly, in 2003 Judaic source writer Ira Levin would complain in regard to his belief that the film and his source novel inspired religious fanaticism, “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?” Of course, Levin's remark reeks of the short of repugnantly smug Jewish leftist anti-Christian arrogance that has turned academia, various art movements, and ‘Western’ culture in general into what might be best described as a putrid rotting dead horse that needs to be, at the very least, buried deep in mountains of manure. While the film makes brief reference to Nietzsche in a scene where titular female protagonist looks at a magazine with a cover that reads, “Is God Dead?,” the German philosopher did not delight in the prospect as he was afraid that it would lead to collective nihilism and ultimately the death of the Occident.
Not long after moving in, Rosemary is excited to befriend a gorgeous goombah babe named Terry Gionoffrio (Victoria Vetri under the pseudonym ‘Angela Dorian’ in a small role where she humorously complains that people think she looks like Victoria Vetri), only to find her new gal pal not long after with her blood and brains splattered across concrete as a result of a dubious suicide that involved her falling seven floors from a Bramford apartment window. Terry was an ex-junky that was taken in by Rosemary’s exceedingly eccentric elderly neighbors Minnie (Ruth Gordon) and Roman Castevets (Sidney Blackmer) who supposedly treated her as the “child they never had.” Of course, as the viewer eventually speculates, Terry was originally the Castevet’s choice for the carrier of Satan’s half-human spawn, but now that Rosemary has moved in they have a much better choice for Satan's female cattle. After all, Terry’s drug and STD ridden body was surely not fit to produce the ungodly spawn of the Prince of Darkness. Somewhat strangely, Rosemary is not too disturbed when Minnie—a perniciously pushy little pipsqueak bitch that openly admits that she never takes no for an answer—gives her a supposed good luck charm containing a dubious herb named ‘tannis root’ that Terry was wearing when she died horrifically under questionable circumstances. Despite being repulsed by the putrid smell of tannis root, Rosemary is a good little follower and agrees to wear the antique necklace, at least until she realizes that it is really a satanic good luck charm of sorts that really contains a evil fungus called ‘Devil's Pepper.’
Like Rosemary, Guy wants to have children, albeit for the totally wrong reasons. Of course, as the film reveals, Rosemary could not have picked a worst time to have her first child. While Rosemary believes that her first pregnancy has been planned by her and Guy, Roman and Minnie have already hatched a pernicious well thought out plan to have her procreate with Beelzebub. When Guy lands a respectable acting role as a result of the original actor going blind under mysterious circumstances, he becomes inordinately overjoyed and absolutely delights Rosemary by telling her that he wants to have a baby. Unbeknownst to Rosemary, Guy has made a pact with Castevets to allow Satan to fuck and impregnate her in return for a successful acting career. Indeed, Guy is such a pathetic narcissist that he made a deal to become Satan’s cuckold in return for the shallowest of careers. There is no doubt that Guy does not truly love Rosemary, who seems to be completely blind to this lack of love, at least at first. As his tasteless choice of trade and phony charismatic personality hint, Guy loves himself and only himself and he certainly has no qualms about making a quasi-Faustian pact that involves sacrificing his wife's fresh womb to be a demonic baby incubator the Devil himself to advance his acting career. In fact, the morning after he has Rosemary drugged and raped by Satan, he lies to her and states that he fucked her in her sleep, even jokingly describing it as, “Kinda fun in a necrophile sort of way.”
To make sure that Rosemary was properly knocked out so that Satan could penetrate her Catholic cunt without even the slightest bit of resistance, Guy forced her to eat chocolate mousse that was drugged by Minnie even though she complained it had a “chalky under taste.” While Rosemary remembers being defiled by something inhuman, she ultimately rights off the satanic rape as merely a bad dream even though her body is covered in claw marks as if someone roughly violated her during sex. Needless to say, Rosemary's incessant refusal to ever say “no” to the satanic conspirators becomes increasingly aggravating to the point where the viewer eventually finds it nearly impossible to sympathize with her plight. Indeed, not unlike the stupid rich WASP college student that buys into all the propaganda of largely Jewish cultural Marxists, feminists, LGBT agitators, and other scum, Rosemary hardly deserves pity as she is a feeble-minded individual that is a mindless traitor to both herself and her ancestral faith.
While Rosemary makes a desperate attempt to convince another Jewish obstetrician named Dr. Hill (Charles Grodin) into helping her give birth lest her child be stolen by satanic conspirators, the good doctor naturally does not believe her rather wild and fantastic story and thus betrays her by informing Guy and Sapirstein about her whereabouts. Surely one of the most sinister Judaic characters in cinema history, Sapirstein even dares to blackmail Rosemary by threatening to have her committed to a mental institution if she continues to complain about a satanic conspiracy against her. In short, Rosemary—a genuinely sweet and sensitive girl that could make for a truly devout Christian were she not married to a scumbag and mixed up with such malevolent characters—is no match for any of the Satanists in terms of sheer will power, intellect, and moral bankruptcy. In the end, Rosemary is horrified to discover that her baby, which she was told was dead, has the eyes of Satan, yet Roman manages to coerce her into being the demonic being’s mother in what ultimately proves to be a wickedly warped twist ending where Satan is glorious and a sweet and sensitive young Catholic girl learns to love her satanic bastard progeny that was sired via ritualistic phantasmagoric rape. Of course, this scenario ultimately not much different from the one depicted in Judd Apatow's Knocked Up (2007) where singularly obnoxious Judaic lard ass Seth Rogen portrays a Hebraic slacker that proudly engages in Rassenschande with a blonde Shiksa portrayed by Katherine Heigl.
While there is ample evidence to argue that Rosemary's Baby is a sort of dark crypto-comedy at the expense of Christian true believers, there is denying that it has a singular dark and ominous essence that has yet to be rivaled by any other film. Undoubtedly, it is one of those oh-so rare films that, although I come back to it every couple years, I cannot exactly say that I am a true fan even though I believe that is one of the most subversive, immaculate, and artistically merited that has ever come out of Hollywood. While Polanski once stated, “I no more believed in Satan as evil incarnate than I believed in a personal god; the whole idea conflicted with my rational view of the world,” his sins, life of artistic and monetary success yet strange misfortune, and films certainly seem to contradict this. Indeed, one could also argue that working in Hollywood caused Polanski to lose his soul, or as David Thomson noted in his trusty film reference book The New Biographical Dictionary of Film regarding the auteur's inexplicable decline as a cinematic artist with an unmistakable style, “Once upon a time, it would have seemed impossible for Polanski to stagnate. Yet it has happened. DEATH AND THE MAIDEN and THE NINTH GATE did not seem to belong to him, whereas, once, he had put his stamp on anything and everything. This liberty has not enriched him. There has been no talk of a return to America; and no hint of that music not having to be faced. In Paris, Polanski seems disconsolate, a thumb-twiddler. And while time passes, the mood for his best films is nearly forgotten.” Don't get me wrong, I enjoyed Macbeth (1971) and to even some extent The Pianist (2002), but the somewhat flawed The Tenant (1976) aka Le Locataire seems to be the director's last display of unadulterated artistic integrity. As for Rosemary's Baby, it might be adapted from the novel of an obscenely overrated mainstream horror novelist, but it is pure Polanski in a darkly comedic misanthropic sort of fashion that, for better or worse, reminds viewers why people used to oftentimes oftentimes associated Jews and Judaism with Satanism. In other words, I am not surprised that the film was directed by an inordinately artistically gift holocaust survivor.