13 Devilish Facts About Rosemary’s Baby

Paramount Home Video
Paramount Home Video

In the late 1960s, a B-movie producer, a filmmaker untested in America, and a TV star untested on the big screen got together to make a horror movie. They produced a classic.

Rosemary’s Baby is a kind of godmother to all of the Satan-themed horror films that followed it, from The Exorcist to The Omen to The Exorcism of Emily Rose. It’s scary yet elegant, eerie yet oddly romantic, horrifying yet beautiful in its design. It’s the product of a meticulous director who went over his shooting schedule, a young star who persevered even in the midst of a divorce, and a cast and crew who may have ultimately suffered a curse for their part in it.

As the film nears its 50th anniversary, here are 13 facts about Rosemary’s Baby.

1. WILLIAM CASTLE ORIGINALLY WANTED TO DIRECT IT.

Even before Ira Levin’s novel hit bookstores, Rosemary’s Baby became a hot property in Hollywood. The galleys of the novel caught the eye of director/producer William Castle, best known for B-movie horror films like The Tingler and House On Haunted Hill. Castle, eager to make a prestigious film, snapped up the rights to the book, and sought a deal with Paramount Pictures to get the film made. Producer Robert Evans also saw potential in the novel and agreed to adapt it for the screen, but insisted that Castle only work on the film as a producer. Castle, who’d hoped to direct the film himself, reluctantly agreed.

“It was too good for Bill Castle,” Evans later said

Evans ultimately decided on Roman Polanski, who made his American debut with the film, to direct Rosemary’s Baby.

2. ROMAN POLANSKI MADE ONE VERY SIGNIFICANT STORYTELLING DECISION.

Roman Polanski and Sharon State attend the premiere of 'Rosemary's Baby.'
William Milsom/Evening Standard/Getty Images

When Evans offered him the film, Polanski was immediately engaged by Levin’s novel, and decided to write the screenplay himself. He had little difficultly, but as an agnostic, there was one particular aspect he wanted to remain intact onscreen: ambiguity. He set out to tell a story where, in theory, you could perceive everything that happened to Rosemary as something she was imagining.

“Being an agnostic, however, 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,” Polanski later said. “For credibility's sake, I decided that there would have to be a loophole: the possibility that Rosemary's supernatural experiences were figments of her imagination. The entire story, as seen through her eyes, could have been a chain of only superficially sinister coincidences, a product of her feverish fancies ... That is why a thread of deliberate ambiguity runs throughout the film.”

3. IRA LEVIN MADE DRAWINGS OF THE BRAMFORD APARTMENTS.

Prior to shooting Rosemary’s Baby, Polanski gathered the cast for rehearsals on soundstages, complete with taped-off layouts of each apartment (the interiors were all shot on constructed sets) to give the actors an idea of how their movements would work within the eventual sets. Helping that process along was Levin himself, who provided detailed layouts of the apartments.

4. POLANSKI MADE SKETCHES TO CHOOSE THE SUPPORTING CAST.

Ruth Gordon in 'Rosemary's Baby.'
Paramount Home Video

When it came time to choose the supporting cast, Polanski did something a little unorthodox: He drew them. Feeling that each resident of the Bramford needed a very particular look, he felt that it would actually be easier if he simply showed those looks to the Paramount casting director. So, he made sketches of each Bramford resident and turned them over to the studios. That’s how actors like Ruth Gordon and Sidney Blackmer made their way into the film.

5. ROBERT REDFORD WAS THE FIRST CHOICE FOR GUY WOODHOUSE. 

In casting Rosemary’s Baby, Evans and Polanski didn’t always agree from the start, so several different incarnations of the cast were possible. They did, however, agree that Robert Redford would be perfect for the role of Guy Woodhouse, Rosemary’s ambitious actor husband. Unfortunately, Paramount and Redford were locked in a contractual dispute at the time, so he wasn’t available. So the studio went searching, and other choices included Robert Wagner, Richard Chamberlain, James Fox, Laurence Harvey, and Jack Nicholson (who actually tested for the role). Ultimately, Polanski decided on John Cassavetes, a talented filmmaker he was already familiar with.

6. MIA FARROW WAS NOT POLANSKI’S FIRST CHOICE FOR ROSEMARY.

Mia Farrow on the set of 'Rosemary's Baby.'
Harry Benson/Express/Hulton Archive/Getty Images

For the role of Rosemary Woodhouse, Polanski set out to find an “All-American” actress. His choice was Tuesday Weld, then known for her work in films like The Cincinnati Kid. Evans and Castle had a different idea: Mia Farrow, then best-known for the TV series Peyton Place. After auditioning a few actresses, Polanski ended up agreeing that Farrow was right for the role.

“Mia was a little left-of-center. That’s the reason we wanted her,” Evans said. “She wasn’t just another pretty face.

“She had another dimension. And what she didn’t have, Roman got out of her.”

7. POLANSKI CLASHED WITH THE STUDIO DURING PRODUCTION.

Rosemary’s Baby was Polanski’s first American film, and his attention to detail ultimately created some problems with Paramount. According to Evans, the director fell behind his shooting schedule very quickly, to the point that Castle was calling and warning him that problems were ahead. Evans and Castle, according to Polanski, stood by their director, and it also didn’t hurt that the footage coming back from the film was impressive. In Polanski’s recollection, it took a fellow director—the great Otto Preminger (Laura, Anatomy of a Murder)—to convince him he had nothing to worry about. In a chance meeting on the Paramount lot, Polanski explained his schedule problems to the legend. Preminger asked him about the “rushes,” the raw footage screened for studio executives. When Polanski explained that Paramount seemed to love his footage, Preminger put him at ease.

“‘So what do you care?’ he says,” Polanski recalled. “‘They never fired anyone because of schedule, because of lagging behind, but if they don’t like the rushes, you’re out very soon.’ So, that was the case. They really liked the material very much.”

8. POLANSKI AND JOHN CASSAVETES CLASHED DURING PRODUCTION, TOO. 

John Cassavetes and Mia Farrow in 'Rosemary's Baby.'
Harry Benson/Express/Getty Images

John Cassavetes is still remembered as a titan of independent film, known for his freewheeling, improvisational productions like A Woman Under the Influence. Polanski is a different kind of director, known for his precision. Though Cassavetes was only working as an actor on Rosemary’s Baby, their respective filmmaking styles still clashed. According to Farrow, Cassavetes longed to improvise and let the moment carry him through the scene, while Polanski would be annoyed if an actor lifted a glass mere inches from where he imagined it to be. Though Polanski and Cassavetes knew each other, and apparently liked each other, prior to filming, their working relationship became a bit strained.

“John Cassavetes was not my best experience, I must say,” Polanski recalled.

9. FARROW REALLY WALKED OUT INTO NEW YORK TRAFFIC.

According to Farrow, Polanski’s directing style often involved him acting out the scenes himself to show the actors what he wanted, and this apparently had the effect of convincing Farrow to do a few outrageous things. For example, she ate raw liver on camera through several takes, even though she was a strict vegetarian. The most extreme instance of this, though, came during the sequence when Rosemary is attempting to flee the Bramford and walks out into traffic in an effort to quickly cross the street. This was not a carefully orchestrated sequence in which streets were blocked off and stunt drivers were employed. According to Farrow, she really did just simply walk out into a New York street and hoped the oncoming cars would stop. This was Polanski’s idea, and he assured Farrow that “Nobody will hit a pregnant woman.” He was right, and the scene was shot several times, with one caveat: Polanski himself had to operate the camera, because no one else dared to.

10. FRANK SINATRA FILED FOR DIVORCE FROM FARROW DURING PRODUCTION.

The wedding of Frank Sinatra and Mia Farrow.
Keystone/Getty Images

At the time of Rosemary’s Baby’s production, Farrow was famous for two things: starring in Peyton Place and being married to legendary singer Frank Sinatra. When Farrow got the script for Rosemary’s Baby, she asked Sinatra to read it, and after he finished he turned to her and said “I can’t see you in it.” Farrow agreed to do the film anyway, but as Polanski’s shooting schedule stretched out it began to conflict with a planned role in Sinatra’s own film, The Detective. Farrow hoped she could make the schedules work and do both films, flying coast-to-coast in the process, but ultimately Rosemary won out, and Sinatra issued a demand that she choose between the movie or her husband. When she decided to finish Rosemary’s Baby, he sent his lawyer to the set to deliver divorce papers. Farrow signed them in “a blur of tears,” then continued shooting.

The incident created such tension that Sinatra and Evans didn’t speak for several years, to the point that Evans would call restaurants and ask if Sinatra was dining there before he decided to go. According to Farrow, she and Sinatra remained friends until his death in 1998.

11. WILLIAM CASTLE THOUGHT THE FILM WAS CURSED.

According to Farrow, actor Sidney Blackmer (who played coven leader Roman Castevet) once said on set “No good will come of all this ‘Hail Satan’ business,” and apparently he wasn’t the only one who thought so. William Castle later became convinced the film was cursed. Shortly after production he suffered gallstones to such a severe extent that he required surgery. As he recovered from that illness, Rosemary’s Baby composer Krzysztof Komeda suffered an accidental fall that led to a coma and, eventually, his death. Then, in the summer of 1969, actress Sharon Tate—Polanski’s wife—was infamously murdered by the Manson Family. For Castle, it all added up.

"The story of Rosemary's Baby was happening in real life. Witches, all of them, were casting their spell, and I was becoming one of the principal players,” he later recalled.

12. CASTLE MADE A CAMEO.

Castle initially wanted to direct Rosemary’s Baby himself, and had to settle for a producer’s role instead. He did also get to act a little in the film. When Rosemary goes to the phone booth to call Dr. Hill’s office, a man with a cigar comes up and waits outside. Because the paranoia level in the film is so intense at this point, the viewer initially wonders if the man is part of the conspiracy against Rosemary. Ultimately, he’s a man just waiting to use the phone. The man is Castle.

13. THERE ARE TWO DIFFERENT SEQUELS.

Rosemary’s Baby was an instant hit, and the Satanism woven into its plot ultimately started a craze that led to other hits like The Omen and The Exorcist. So, naturally, a sequel was in the cards. In 1976 a made-for-TV movie titled Look What’s Happened to Rosemary’s Baby aired on ABC during the Halloween season. It stars Patty Duke as Rosemary, was directed by Rosemary’s Baby co-editor Sam O’Steen, and even features the return of Ruth Gordon as Minnie Castevet.

In 1997, Levin himself produced a sequel, a novel titled Son of Rosemary. The film was also remade as an NBC miniseries in 2014, starring Zoe Saldana as Rosemary.

10 Forgotten Rankin/Bass Christmas Specials

A scene from Rudolph's Shiny New Year (1976).
A scene from Rudolph's Shiny New Year (1976).
Rankin/Bass Productions

If you're prone to picturing your favorite Christmas characters as stop-motion puppets, you can thank Rankin/Bass. The production company founded by Arthur Rankin Jr. and Jules Bass found success in transforming holiday songs and myths into fully-developed television specials in the 1960s, '70s, and '80s. Their most popular specials, like Rudolph the Red-Nosed Reindeer and Frosty the Snowman, are still staples of holiday programming decades after they first aired.

But not every holiday film that played under the Rankin/Bass banner was an instant success. After adapting the most beloved Christmas stories, the company broadened its definition of holiday material, with varying degrees of success. Some films were forgettable, and others were so strange and unsettling that young viewers forced themselves to forget. Here are some Rankin/Bass specials that may be missing from holiday television marathons this year.

1. Rudolph’s Shiny New Year (1976)

Scene from Rudolph's Shiny New Year.
Rankin/Bass Productions

After the stressful events of his 1964 Christmas special, Rudolph deserved a vacation. In Rudolph's Shiny New Year (1976), the red-nosed reindeer barely has a day to rest before being sent on his next adventure. When Santa Claus and his reindeer return home to the North Pole after delivering presents on Christmas, they learn that Happy the Baby New Year is missing. It’s up to Rudolph to bring him home before midnight on New Year’s Eve or else the calendar will be stuck at December 31. And because it wouldn’t be a Rankin/Bass cartoon without a terrifying villain, a vulture named Eon the Terrible is racing to catch Happy first so he can live forever. Thankfully, Rudolph has a caveman, a Medieval knight, and Benjamin Franklin on his side.

2. The Little Drummer Boy, Book II (1976)

Scene from The Little Drummer Boy, Book II.
Rankin/Bass Productions

The Little Drummer Boy from 1968 ends with the birth of Jesus Christ, a.k.a. the events of Christmas. This meant that Rankin/Bass’s most overtly religious Christmas special wasn’t an obvious choice for a follow-up, but the studio still released one in 1976. The Little Drummer Boy, Book II is inspired by "Silver Bells"—a song whose lyrics have nothing to do with the first Christmas at Bethlehem. In the sequel, the drummer boy Aaron and the wise man Melchior join forces to protect silver bells made for baby Jesus from the Roman soldiers plotting to steal them.

3. Nestor, the Long-Eared Christmas Donkey (1977)

Scene from Nestor, the Long-Eared Christmas Donkey.
Rankin/Bass Productions

By the late 1970s, it was apparent that Rankin/Bass was running out of Christmas myths to expand into television specials. Nestor, the Long-Eared Christmas Donkey, their 1977 stop motion film, tells the story of an outcast donkey who experiences a series of traumatic events during the Roman Empire. After being bullied by other animals, left for dead by his owner, and suffering the loss of his mother, Nestor becomes a hero by carrying a pregnant Mary to Bethlehem, where she gives birth to Jesus. Needless to say, Nestor, the Long-Eared Donkey didn’t have the same cultural impact as Rudolph the Red-Nosed Reindeer.

4. The First Christmas: The Story of the First Christmas Snow (1975)

Scene from The First Christmas.
Rankin/Bass Productions

It may have a happy ending, but The First Christmas (1975) is the bleakest movie on this list. An orphaned shepherd named Lucas is taken in by a group of nuns after he’s blinded by lightning. When snow falls during the abbey’s Christmas pageant, Lucas miraculously regains his eyesight and sees snow for the first time. The story swaps Rankin/Bass's signature humor and fantasy for heavy-handed sentimentality, which may be why it didn’t land as well with kids as the company’s other holiday specials. One highlight is a voice performance by Angela Lansbury as the narrator.

5. Jack Frost (1979)

Scene from Jack Frost.
Rankin/Bass Productions

So this film from 1979 is technically a Groundhog Day special, but its connection to winter means it’s usually lumped in with the rest of Rankin/Bass’s Christmas programming. A groundhog named Pardon-Me-Pete (voiced by Buddy Hackett) narrates the story of Jack Frost. After Jack Frost falls in love with a woman on Earth, Father Winter agrees to make him human, with the catch that Jack will turn back into a sprite if he fails to obtain a house, a horse, a bag of gold, and a wife by the first sign of spring. The special is notable for its weird characters, including a villain with a clockwork horse and henchmen. And—spoiler alert!—because Jack doesn’t get the girl at the end, it’s one of the few Rankin/Bass films that doesn’t have a happy ending.

6. Rudolph and Frosty's Christmas in July (1979)

Scene from Rudolph and Frosty's Christmas in July.
Rankin/Bass Productions

In 1979, Rankin/Bass gave two of its most iconic Christmas characters—Frosty the Snowman and Rudolph the Red-Nosed Reindeer—their own movie. The studio was so confident in the product that Rudolph and Frosty's Christmas in July even had a brief theatrical release overseas. But the film has failed to take the place of the original specials in the public consciousness—maybe because seeing snow snakes terrorize Rudolph and watching an evil wizard transform into a tree were too much for younger viewers to handle.

7. Pinocchio's Christmas (1980)

Scene from Pinocchio's Christmas.
Rankin/Bass Productions

The story of Pinocchio may not be the first thing that comes to mind when you think of Christmas, but that didn’t stop Rankin/Bass from turning the classic Italian fairytale into a holiday special. Pinocchio's Christmas (1980) features many of the same themes and characters as The Adventures of Pinocchio—only this version of the tale centers around the puppet’s first Christmas. Santa Claus even makes a cameo appearance.

8. The Stingiest Man in Town (1978)

Scene from The Stingiest Man in Town.
Rankin/Bass Productions

Charles Dickens’s A Christmas Carol is one of the most widely adapted stories of all time, so of course it shows up in Rankin/Bass’s filmography. An insect named B.A.H. Humbug narrates this musical retelling from 1978, with Walter Matthau starring as Ebeneezer Scrooge. The Stingiest Man in Town joins Frosty the Snowman as one of the few Rankin/Bass Christmas productions made with traditional 2D animation instead of stop-motion.

9. The Leprechauns' Christmas Gold (1981)

Scene from The Leprechaun's Christmas Gold.
Rankin/Bass Productions

Rankin/Bass’s streak of mashing up Christmas with other holidays reached peak weirdness in 1981. That’s when the studio released The Leprechauns' Christmas Gold—a story that follows a young Irish sailor who helps a clan of leprechauns protect their gold from an evil banshee named Old Mag the Hag. By trying to create a special that could air around Christmas and St. Patrick’s Day, the filmmakers ended up with something that made little sense at any time of year.

10. The Life and Adventures of Santa Claus (1985)

Scene from The Life and Adventures of Santa Claus.
Rankin/Bass Productions

In 1970, Rankin/Bass explored how Kris Kringle became Santa Claus with Santa Claus Is Comin’ to Town. Fifteen years later, the studio produced a film that provided an alternate origin story for the character, based on L. Frank Baum's 1902 children's book of the same name. This second special wasn’t as well-received as the first. It starts with an antler-sporting sorcerer called the Great Ak finding an abandoned baby in the forest. The child is taken in and raised by wood nymphs, eventually growing up to become a jolly man who delivers toys to children—all while fighting monsters called Awgwas on the side. It ends with a council of mythical beings granting Santa Claus immortality. What was arguably Rankin/Bass’s most unusual Christmas special was also the last to use stop-motion animation.

2020 Golden Globes: The Full List of Nominees

Andrew Scott stars in Fleabag.
Andrew Scott stars in Fleabag.
Steve Schofield/Amazon Studios

Awards season is officially upon us and we're all rushing out to the movie theater—or, more frequently, our own couches—to load up on some of the year's biggest movie and television titles.

Now that the 2020 Golden Globe nominations have been announced, it's clear that Netflix's investment in original content like Martin Scorsese's The Irishman and Noah Baumbach's Marriage Story, which scored the most nominations with six, was a wise decision.

On the television side, streaming emerged victorious as well; The Crown landed a total of four nominations while Phoebe Waller-Bridge's Amazon hit Fleabag earned three, including one for "Hot Priest" Andrew Scott, who was a notable Emmy snub. Amazingly, Game of Thrones was nominated for just a single award: a Best Actor in a Drama Series nomination for Kit Harington.

Below is the full list of nominees for the 77th annual Golden Globe Awards, which will take place on January 5, 2020.

Best Motion Picture, Drama

1917
The Irishman
Joker
Marriage Story
The Two Popes

Best Motion Picture—Musical or Comedy

Once Upon a Time in Hollywood
Jojo Rabbit
Knives Out
Rocketman
Dolemite Is My Name

Best Motion Picture—Foreign Language

The Farewell
Pain and Glory
Portrait of a Lady on Fire
Parasite
Les Misérables

Best Director, Motion Picture

Bong Joon Ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time … in Hollywood

Best Screenplay—Motion Picture

Noah Baumbach, Marriage Story
Bong Joon-ho and Han Jin-won, Parasite
Anthony McCarten, The Two Popes
Quentin Tarantino, Once Upon a Time in Hollywood
Steven Zaillian, The Irishman

Best Original Score, Motion Picture

Alexandre Desplat, Little Women
Hildur Gudnadottir, Joker
Randy Newman, Marriage Story
Thomas Newman, 1917
Daniel Pemberton, Motherless Brooklyn

Best Original Song—Motion Picture

Beautiful Ghosts, Cats
I'm Gonna Love Me Again, Rocketman
Into the Unknown, Frozen II
Spirit, The Lion King
Stand Up, Harriet

Best Actor in a Supporting Role in Any Motion Picture

Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood

Best Actress in a Supporting Role in Any Motion Picture

Kathy Bates, Richard Jewell
Annette Bening, The Report
Laura Dern, Marriage Story
Jennifer Lopez, Hustlers
Margot Robbie, Bombshell

Best Actor in a Motion Picture—Musical or Comedy

Daniel Craig, Knives Out
Roman Griffin Davis, Jojo Rabbit
Leonardo DiCaprio, Once Upon a Time in Hollywood
Taron Egerton, Rocketman
Eddie Murphy, Dolemite Is My Name

Best Motion Picture—Animated

Frozen II
How to Train Your Dragon: The Hidden World
Missing Link
Toy Story 4
Lion King

Best Actor in a Motion Picture—Drama

Christian Bale, Ford v Ferrari
Antonio Banderas, Pain and Glory
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Best Actress in a Motion Picture—Drama

Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Best Actress in a Motion Picture—Musical or Comedy

Awkwafina, The Farewell
Ana de Armas, Knives Out
Cate Blanchett, Where'd You Go, Bernadette
Beanie Feldstein, Booksmart
Emma Thompson, Late Night

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television

Christopher Abbott, Catch-22
Sacha Baron Cohen, The Spy
Russell Crowe, The Loudest Voice
Jared Harris, Chernobyl
Sam Rockwell, Fosse/Verdon

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television

Kaitlyn Dever, Unbelievable
Joey King, The Act
Helen Mirren, Catherine the Great
Merritt Wever, Unbelievable
Michelle Williams, Fosse/Verdon

Best Television Limited Series or Motion Picture Made for Television

Catch-22, Hulu
Chernobyl, HBO
Fosse/Verdon, FX
The Loudest Voice, Showtime
Unbelievable, Netflix

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Patricia Arquette, The Act
Helena Bonham Carter, The Crown
Toni Collette, Unbelievable
Meryl Streep, Big Little Lies
Emily Watson, Chernobyl

Best Performance by an Actor in a Television Series, Drama

Brian Cox, Succession
Kit Harington, Game of Thrones
Rami Malek, Mr. Robot
Tobias Menzies, The Crown
Billy Porter, Pose

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Alan Arkin, The Kominsky Method
Kieran Culkin, Succession
Andrew Scott, Fleabag
Stellan Skarsgård, Chernobyl
Henry Winkler, Barry

Best Television Series—Drama

Big Little Lies, HBO
The Crown, Netflix
Killing Eve, AMC
The Morning Show, Apple TV+
Succession, HBO

Best Performance by an Actress in a Television Series, Drama

Jennifer Aniston, The Morning Show
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Nicole Kidman, Big Little Lies
Reese Witherspoon, The Morning Show

Best Television Series—Musical or Comedy

Barry, HBO
Fleabag, Amazon
The Kominsky Method, Netflix
The Marvelous Mrs. Maisel, Amazon
The Politician, Netflix

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