Roman Polanski's "Rosemary's Baby"

In this manner, Polanski shows the ultimate going of whiteness and recognition of sin as individuals gain the love or knowledge of adulthood.

The transition from innocence to have it off or from good to evil begins during the opening credit of rosemary's Baby and does not end until the final horrifying recognition by Rosemary that her worst fears and suspicions are true. The opening sets up the difference between innocence and picture or knowledge. Only audience members with slightly prior knowledge would understand there is sinister experience lurking under the innocence of the film's opening. Color (pink), camera (soaring flight), characterization (a infantile woman singing) and music (lullaby) setup a foundation of innocence as the film opens. As John Nesbit (2008) writes of the opening, which stocks innocence and experience or knowledge:

Rosemary's Baby begins innocently enough as a simple lullaby plays o'er the pink credits piece of music the camera pans over the New York City skyline, in the end panning downward on the Dakota Building on Manhattan's west side. O.K. in 1968, only the gothic appearance and the knowledge that this written report was based on Ira Levin's bestselling book dealing with a Satanic cult would clue a viewer in that the story would take some bizarre twists and turns.

In this sense, the contrast between innocence and experience (i.e. knowledge) pervades the entire film thematically, by

The young parallel begins to gravel established somewhat in their apartment. Late in the film, while making love during a romantic evening, cuckoo morbidly interrupts their intimacy by saying to Rosemary, "I think I hear the impinge sisters chewing" (Polanski, 1968). There is also the suspicious fact that the former tenant to rent the couples' apartment died in a coma, but she left behind mysterious unfinished notes and kept a mammoth dresser in summit of the closet door in the apartment hallway. Because she believes that she can faith her husband and those around her, Rosemary does not pickup on these details until future experiences convince her she cannot trust anyone around her.

Stephens, B. (1998). Welle's chef-d'oeuvre back in fresh print.

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characterization, and visually as well. viewers who lack the above knowledge will be lulled by the innocent opening scenes, where a young couple Guy Woodhouse (John Cassavetes) and his wife Rosemary (Mia Farrow) seem to do young couple things like make love on the floor in the first place their furniture arrives, as Rosemary. In this apartment building with its gothic dark hallways and creepy atmosphere, Rosemary sings a lullaby over the opening. During a dinner with their best friend Hutch, Rosemary begins to bring forth the experience that will lead to her horrifying recognition at the film's end. Hutch explains the building was notorious for witchcraft and Satanic rituals decades earlier. unmatchable line is underlined in a book he has, that the Trench sisters, former residents, "cooked and ate several young children including a niece" (Polanski, 1968). This betoken begins Rosemary's transition from innocence to experience.

Rosemary's gradual transition to experience is support by her discovery of Hutch's research, given to her by a friend. She discovers the decide of tannis root, which has the name "Devil's Pepper" (Polanski, 1968). She discovers that her neighbor, Roman Castavet, is the so
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