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Rosemary's Baby (1968)
D. Roman Polanski
The
National Catholic Office for Motion Pictures reviled Polanski's
dark horror classic for mocking religion and making "perverted
use" of Christian beliefs.
Polish director Roman Polanski's first American feature
film and his second, scary horror film (following his first disturbing
film in English titled Repulsion (1965) ) - was about a young
newlywed couple who moved into a large, rambling old apartment building
in Central Park West, where the title character Rosemary Woodhouse (Mia
Farrow) experienced a nightmarish dream of making love to a Beast. Becoming
paranoid and hysterical, she believed herself impregnated so that her
baby could be used by an evil cult in their rituals. The creepy film
ended with the devil's flesh-and-blood baby being cared for by the mother!
The film was one of the first with the theme of Satanism
and the occult, before the onslaught of films such as The
Exorcist (1973) , The Omen (1976) , and Demon
Seed (1977) .
The National Catholic Office for Motion Pictures reviled
the film, condemning it for "the perverted use which the film
made of fundamental Christian beliefs, especially surrounding the
birth of Christ, and its mockery of religious persons and practices" -
these criticisms were due in part to sequences depicting Rosemary's
guilt over her lapsed Catholicism, anti-religious references to the
Pope made by Roman Castevet ("You don't need to have respect
for him because he pretends that he's holy"), the portrayal
of Rosemary's pregnancy as a sexually-transmitted disease, and the
film's view of Satanism as the birth of the Anti-Christ.
The incredible irony of the film was that the plot
would be similarly played out a year later - Polanski's pregnant
actress/wife Sharon Tate would be terrorized and murdered by the
strange cult of Charles Manson followers in her Benedict Canyon home.
A real-life tragedy also occurred when the Bramford apartment building
(actually the Dakota apartments - the actual locale in the film)
was where Mark Chapman shot John Lennon in 1980.
Its most memorable sequence was the aforementioned
surrealistic dream sequence. "Dizzy," woozy and disoriented
after eating some tainted chocolate mousse (laced with sleeping powder),
Rosemary hallucinated a Black Mass, imagining herself on a mattress
drifting on the ocean, and then as a passenger on a presidential
yacht. Undressed, shivering and naked, and then abruptly wearing
a bathing suit, various images assaulted her: the Birth of Man paintings
on the Sistine Chapel ceiling, a typhoon at sea, and a naked descent
into the hold of the ship, where a fire burned and Rosemary was lying
on a mattress. She was surrounded by many chanting, overweight, elderly
naked figures (of the Satanists' coven), including husband Guy
(John Cassavetes) and
neighbors Roman (Sidney Blackmer) and Minnie (Ruth Gordon) Castevet.
A bloody-red liquid was painted with rune designs on
Rosemary's bare chest. A person resembling Mrs. John F. Kennedy (Patricia
Ann Conway) who wore a white diaphanous gown descended a staircase
and suggested tying her legs down in case of convulsions. Attendants
spread her legs apart and bound them. In her dream-like sleep, Guy
began making love to her, but then his appearance changed into a
grotesque beast-like figure resembling the Devil, with yellowish
eyes and clawed, scaly hands. He stroked the length of her body with
his hairy claw. While being 'raped' during this horrific ritualistic
copulation scene, as everyone watched her having intercourse with
the Beast, she realized:
"This
is no dream, this is really happening."
After a nightmarish dream of making love to a Beast,
the paranoid, haunted, and hysterical bride believed herself impregnated
so that her baby could be used in evil cult rituals.
The next morning, Rosemary questioned mysterious scratches
she found on the side of her body. She was appalled that Guy admitted
making love to her while she was passed out - supposedly from mixing
alcohol - "It was kind of fun in a necrophile sort of way." She
remembered something quite different from Guy's recollection - a
demonic, inhuman rape:
Rosemary: "I dreamed someone was raping me,
I think from someone inhuman."
Guy: "Thanks a lot. Whatsa matter?"
Rosemary: "Nothing."
Guy: "I didn't want to miss the night."
Rosemary: "We could have done it this morning or tonight. Last
night wasn't the only split-second."
Guy: "I was a little bit loaded myself, you know."
In the final equally momentous scene, Rosemary
discovered her Anti-Christ child in a black-draped crib. Late one
night, Rosemary had snuck into the Castevet's apartment through the
closet passageway - with a kitchen knife upraised in her hand. There,
she found a coven of witches (including Guy), surrounding a black-draped
baby cradle to pay their respects - it was a macabre presentation
of the Adoration of the 'Satanic' Magi, with visitors coming to view
the babe from all parts of the globe. A framed portrait of Adrian
Marcato hung above the fireplace.
She approached the black bassinet
expecting to see her own human child. In a frightened, angry tone,
she asked about her baby cradled there with an inverted cross hanging
above - fully expecting the child to have "Guy's eyes." She
slowly walked over to the cradle, saw her child in the bassinet
- and her eyes widen in terror: "What have you done to it? What
have you done to its eyes ?" And then she was told the truth
- she realized that she was impregnated by the Devil and the baby
was the offspring of Satan and Rose-Mary (a variant on the name Mary
in the Biblical story). Her baby's eyes were NOT human.
Although Rosemary rejected the devil-worshipping coven
of witches, she accepted the reality of the situation and showed
an instinctive mothering role and maternal instinct toward the baby
in the final scene - she gently rocked the upset child to sleep.

Scratches on Rosemary's Back The Next Morning








"What have you done to its eyes?"


"You maniacs!"




Maternal-Nurturing Response to Satanic child
Midnight Cowboy (1969)
D. John Schlesinger
The
only X-rated Best-Picture winner, this gritty movie discomfited
some viewers with its frank, non-judgmental depiction of homosexuality.
John Schlesinger's film was a major milestone although controversial at its time for its gay-related content and subject of male prostitution. Its title "midnight cowboy" referred to nocturnal cowboys in the big city - those who were hustlers. The ground-breaking film was the first (and only) X-rated (for adult-oriented, not porno) mainstream film (later reduced to R) to be voted Best Picture, with an A-list stars, at a time when the ratings system was first introduced.
This Oscar-winning film, an exceptional, provocative,
and gritty character portrait, was made on location in New York to
portray seediness, corruption, and big-city anonymity, and was based
on James Leo Herlihy's 1965 novel. It was unusual for its rating
to be so high, since the unflinching film did not contain significant
profanity, graphically-brutal violence, or frontal nudity, although
it did portray some partial nudity and simulations of sex.
It told an adult-themed story about a naive, swaggering, transplanted (and emasculated) dishwasher/stud - a displaced small-town "cowboyish" Texan named Joe Buck (Jon Voight) who struggled and aspired in the sordid 42nd Street area of NY to become a successful hustler or gigolo - while posing as a "macho midnight cowboy," although he eventually resorted to homosexual street hustling to survive. Upon his arrival in the big city, he vainly posed shirtless in front of his hotel room's mirror, and pasted up a beefcake poster of Paul Newman from Hud and a picture of a topless woman.
His first 'trick' was fast-talking, brassy society
girl Cass (Best Supporting Actress nominee Sylvia Miles) who out-hustled
Joe for a cab-ride fee. In a comedic sex scene in which they humorously
activated channels with the TV remote control beneath their bodies
- the metaphoric climax came with the closeup view of the winning
results of a slot machine jackpot - spewed-out coins.
Joe's first homosexual client was a religiously fanatical
and homosexual Jesus-freak Christian named Mr. O'Daniel (John McGiver).
During the encounter, Joe flashbacked to his disturbed and abused
boyhood when he was baptized in a river (recalled as terrifying).
He also recalled an incident when town rednecks vic
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