UTG’s 31 Days Of Halloween: ‘Rosemary’s Baby’

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Of all the holidays celebrated worldwide, no single day is more loved by the UTG staff than Halloween. With the arrival of October, the time has finally come to begin rolling out a plethora of features and special announcements we have prepared in celebration of our favorite day, including the one you’re about to read.

31 Days Of Halloween is a recurring daily feature that will run throughout the month of October. The hope and goal of this column is to supply every UTG reader with a daily horror (or Halloween themed) movie recommendation that is guaranteed to amplify your All Hallows’ Eve festivities. We’ll be watching every film the day it’s featured, and we hope you’ll follow along at home. If you have a suggestion, contact us and we may include your favorite scarefest in an upcoming column!

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Day 25: Rosemary’s Baby (1968)

“He has his father’s eyes.”

1968’s Rosemary’s Baby is a classic for so many reasons. Surreal cinematography, eerie audio production, and the best element of the film in my eyes, creating a fear of what is not directly seen. Rosemary’s Baby still sits high on today’s Satanist pedestal.

In the story we meet Rosemary Woodhouse, whose husband, Guy, a failed actor, sells his wife’s womb to the devil, as a portal for the Antichrist. The film is spent delving into the mysterious workings of the satanic cult, all while Rosemary fights what is real, and what is surreal, as she represses inducing insanity on the strange events surrounding her life and pregnancy.

What is most interesting about the film is not necessarily the story from A to B, but on a much larger scale, writing this in 2013, asking, “what can we learn from this about the role of women in horror?” Typically either the victim, or a witch gone mad for revenge, women are generally type-casted into roles. For Rosemary’s Baby, it is not Rosemary, or the cult that is necessarily subconsciously focused, but instead, her womb. A black hole, or portal if you will, the womb is but a harbor for the Devil’s son. A lot of feminist essayists deduce that the vagina is one of the few things capable of engulfing, or endosymbiotically dominating the male reproductive system, and as seen in Rosemary’s Baby, her womb is one of the few things that can hold the devil.

A vessel for the seed of Satan, Rosemary’s womb now plays a larger role than most of the cast. A cold-harbor of cells and genetic information, the satanic juices flow within her to bring upon the end of God. The motive to move the satanic seed, the tannis root, is a conjuring from the word “tanith,” which translates to “serpent lady,” or “the god of fertility” in Greek mythology. What better to strike the seed of the devil into a fragile woman than a serpent? For we know that Lucifer works in slithering ways.

While covered in Christian analogies, the way the story is presented is another high note for the film. Never quite understanding motives, emotions, or actions, is something to me that far out-scares the general “ABCs” of horror films. Never fully understanding the origins of this particular satanic cult, never understanding how Guy gets himself involved, Rosemary’s Baby creates an illusion of the unknown, which will chill viewers when they experience the film.

There is a reason people are still writing about this film over forty years later, if you haven’t do yourself a favor and check it out.

Editorial written by: Andrew CarusoFollow him on Twitter

Drew Caruso

Drew Caruso is a Bostonian who, when not writing about music and film, spends his time getting lost in New England, reading books, talking about science whether people want to listen or not, and more. To see the thoughts of a scientist by day and a writer by night, follow him on Twitter.
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