What makes Krzysztof Komeda’s opening lullaby from Rosemary’s Baby so uniquely unsettling? Is it that Mia Farrow isn’t given any words to sing? That by giving disaffected voice to a musical statement that has no context, she’s essentially acting as a vessel? […] Every moment we choose to not believe Rosemary […] we become complicit in the set of values that, externally, continue to pollute the discourse surrounding pregnancy. Which is one of the reasons the movie’s single most upsetting betrayal comes [from] Dr. Hill, the WASP-friendly obstetrician who Rosemary was convinced to dump in favor of Dr. Saperstein. […] In one crushing gesture, Polanski implies that no man ever fully trusts women to know what’s best for themselves, and that they will always be dismissive of women’s judgment. So long as there are men in power who are still fuzzy on the definition of rape, Rosemary’s Baby will endure as a cautionary tale.
— Eric Henderson (Slant Magazine)
When the conclusion comes, it works not because it is a surprise but because it is horrifyingly inevitable. Rosemary makes her dreadful discovery, and we are wrenched because we knew what was going to happen--and couldn't help her.
Synopsis: A young couple, Rosemary and Guy, moves into an infamous New York apartment building, known by frightening legends and mysterious events, with the purpose of starting a family.