“Rosemary’s Baby” is one of the few horror “classics” that never seems to lose any of its luster. It is as smart and funny (and scary) now as it was when it opened during the summer of 1968
On Feb. 4, the excellent critic and Hollywood historian Mark Harris — whose “Pictures at a Revolution” was the best film book I read last year — will be hosting a “Critic’s Choice” screening of Roman Polanski’s classic at the Avon Theatre Film Center in Stamford.
The movie was the American debut of the Polish writer-director and he brought to it the same adventurous spirit (and respect for the audience’s intelligence) that was characteristic of the low-budget Polish and British films that made his reputation (gems such as “Knife in the Water” and “Repulsion”).
Over the weekend, I watched an advance screener of the 2008 documentary, “Roman Polanski: Wanted and Desire” that will be released on DVD by Image Entertainment tomorrow.
The documentary by Marina Zenovich is primarily a harrowing account of the “unlawful sexual intercourse” charges brought against Polanski in 1977 that ultimately resulted in the filmmaker fleeing the country and making his home in Paris (where his subsequent career has included an Oscar for directing the 2002 drama, “The Pianist”).
Zenovich makes a strong case against the (now deceased) judge presiding over the case, who first assured Polanski that he would be free after 90 days of psychiatric observation (and probation) and who then turned around and threatened to throw the book at him.
The documentary also features a considerable amount of background material on Polanski’s life and career, including a good interview with Mia Farrow about the excitement of working on “Rosemary’s Baby” (she says it remains the most creative filmmaking venture of her life). Polanski got everyone so energized on his first American film that the cast and crew worked harder and took more chances than they would have for a standard Hollywood production. Farrow talks about acting as camera operator during some of the sequence showing her character’s nightmarish encounter with the devil.
Farrow tells the interviewer she remains amazed that Polanski had her charging into unsupervised Fifth Avenue street traffic for one key sequence in the movie.
Polanski also guided Farrow through a bravura single-take, five-minute telephone booth sequence (above) that remains one of the actress’s finest moments on screen.
The documentary is must watching for Polanski fans and the evening with Mark Harris next week in Stamford should be very special.
(The “Critics Choice” showing of “Rosemary’s Baby” will be at 7 p.m. on Feb. 4. The theater is at 272 Bedford Street in downtown Stamford. For more information call 967-3660.)
