The more we look into the past, the more we understand the present, and the less we fear the future. After all, humanity is nothing if not predictable. So, it stands to reason that a film lover such as myself would seek refuge in old classics to learn more about the society then. That way, one can better understand society now.

As a woman on a planet where men have the audacity to feel entitled to decide over my body and my personal choices, looking into the past to gain some insight into the future seems like a smart choice. And what better way to begin that journey than a revisit of a horror classic that taps into the frail standing of women in society: Rosemary’s Baby (1968). The whole film revolves around the rape of a woman and posterior gaslighting from her husband, neighbours, and even doctors.

The feature has gained a prequel this past 2024, Apartment 7A (2024). It is an exploration of the death of a secondary character from the original movie. Telling her story up until the point of her demise.

The aim of this article is to explore their differences, similarities, and how each of the works reflects the society at their time of release. Whether you are interested on how their perspectives defer, or you merely want to know which instalment you might enjoy better, you’ll find your answers here.

Context

Rosemary’s Baby follows a woman and her husband as they move in to their new apartment. Their neighbours are weird, but the husband has zero spine, so he changes his tune about them pretty quickly after seeing an opportunity to improve his acting career through them.

Rosemary (Mia Farrow), the protagonist, is not so sure about them. Nevertheless, she barely complains about their lack respect for others boundaries. Then again, she also seems to think that getting raped by her husband while she’s passed out is not a divorcing matter. In that sense, her whole experience bears a strong resemblance to Speak No Evil (2022). Both depicting what can happen when you are incapable of setting boundaries.

Rosemary’s nightmarish experience does nothing but escalate during her pregnancy, leading to a chilling conclusion. This journey is the main commonality between the classic and Apartment 7A. Both films follow a woman’s fight against the forces of evil in a society that barely considers them anything other than a commodity.

As for this modern prequel, it tells the story of Terry (Julia Garner). Or Terri, depending on which of the films you are watching. Either way, they are both the same person: a young woman who’s adopted by the strange neighbours and now lives in the building. In the original instalment, she is there for a total of one conversation and a minute-long showcase of the result of her swan dive into the pavement. It is obvious that the neighbours had had something to do with it, but the real events are never known, that is, until Apartment 7A.

Both stories are linked and completely separate at the same time. This provides a great experience for anyone who enjoyed either of them and would like to explore this fictional universe further.

Motherhood’s faces

One of the reasons the prequel is great is that it shows the same nightmare from a completely different perspective. Rosemary considers having a baby a gift, a blessing, while Terry’s nightmare begins the minute her pregnancy is confirmed.

Despite the neighbour’s evil plan being the same for both women, only one of them hates the idea from the very beginning. Rosemary is a traditional housewife, but Terry wants to work, she wants fame and success. Ironically, she’s got the same goals as Rosemary’s husband, and yet she becomes a victim, and not enabler of evil, like him.

Forcing a woman to become a baby machine is inhumane no matter how you look at it. However, both women have very different experiences due to how they have been brought up. A key difference that makes Apartment 7A resonate a lot more with modern audiences.

Most women nowadays know that there is more to them than just perpetuating the species. As such, Terry’s fight to be her own person is much more relatable than Rosemary’s obsession for being constantly nice, quiet, and obedient.

The (miserable) man in your life

The existence of both films also provides deeper insight into common male figures, devil excluded. Both Rosemary’s husband Guy (John Cassavetes) and Terry’s producer Alan (Jim Sturgess) are corrupted by greed. They are selfish. Self-absorbed to the point of not thinking twice about drugging a woman to take advantage of her.

Nowadays, a husband doing what Guy does to Rosemary is just another headline. It almost gets lost in the endless amount of news about gender violence. Not to mention that producers taking advantage of their stars is still incredibly common despite the #MeToo movement. Or the obvious controversy that has followed Roman Polanski for decades.

The only difference is that, in the 60s, gender violence was not portrayed as the pandemic that it is. It was considered a one-off situation, or a woman’s shameful secret to keep. Most people with access to an education are not so naive now.

Thus, Terry’s reaction to her abuse isn’t surprise but indifference. Artists were aware of the abuses that took place in the industry, only back then they hushed most of it. Terry’s reaction in the 2024 film implies a refreshing change in the industry’s attitude towards abuse. One that doesn’t hide it any more, but portrays it admiting how common it is.

That is not to say all men as slimy bastards like Guy or Alan. Not all men are monsters that will abuse and use women for their own benefit. However, the patriarchy allows those who are to come out unscathed from their disgusting actions. Both films have very different approaches, but they are both very clear on the denouncement of this unwarranted power.

Creepy, or just Italian?

One massive change that takes place in-between instalments is Minnie’s personality. Sadly, this change is not for the better. Ruth Gordon won an Oscar in 1969 for her performance as Minnie Castevet. Minnie seems to be just an old, nosy lady who has nothing better to do that pry on Rosemary’s life, but is later revealed that she is part of the satanic cult that wants to bring the Antichrist into the world.

Gordon’s portrayal of Minnie makes her look harmless until the very end. Her power seemingly coming only from her ability to abuse others’ hospitality and good manners. However, in Apartment 7A, Minnie (Dianne Wiest) is unnerving from the very beginning. She is a lot simpler and more predictible. Most old women in horror are either possessed, witches, or cult leaders; and all of them are psychos with weak to non-existent reasons for their actions. Wiest’s Minnie falls into the third category and shows nothing that would make her stand out on a police line-up of cult leaders. A huge step back from Gordon’s wonderful portrayal.

Losing your religion

Both Rosemary’s Baby and Apartment 7A are surprisingly indifferent towards religion. For films about satanic cults, that is. Sure, the Devil is key to the plot, after all, he is the one impregnating random women. However, the Church itself has little to no infuence here.

As expected, the Church representatives only cower and moan about how late it is and how everything is lost. In these features, they don’t even bother with a morality speech, making them even less useful than usual.

In fact, the only morality talk comes from the one of the cult leaders, Minnie’s husband Roman (Kevin McNally) in Apartment 7A. It is more of a monologue than anything else, and he does have a point about how western cultures tend to demonise any religion that is not Christian. However, can you really preach about morality after drugging and raping a girl? Doubtful, which is the main reason this attempt, despite its good intentions, is completely nonsensical and pointless.

Me and the devil

The figure of the Devil is a lot more prominent in Apartment 7A. While Rosemary only encounters him in that feverish nightmare that turns out to be very much real, Terry is plagued by him. She encounters him at every turn, which is curious since it is Rosemary who feels pain during the first few months of her pregnancy.

Other than some light stalking, Terry has a pretty harmless pregnancy, at least for the most part. This would all coincide with the random theory created by yours truly about Terry being the intended mother of the Antichrist and Rosemary serving as a mere replacement. More on this theory here!

Conclusion

Rosemary’s Baby is a horror classic that absolutely deserves its status. It has managed to remain relevant despite the old values of the 60s society, and it portrays themes that are still very much on everyone’ mouths and minds. Additionally, its aesthetic and storytelling are still an inspiration for many horror films today, so even if you are not fond of the story, you will be able to appreciate its artistry.

As for Apartment 7A, it brings a fresh view on the issues brought up by Rosemary’s Baby. Its position is not as innocent, which makes it a lot more relatable for today’s audiences, but it also falls into tons of horror clichés that seem completely unnecessary for the story to develop. You won’t be missing much if you don’t watch it, but it if you liked the first instalment, you might want to give it a chance.

Advice to take from these movies:

• Never trust your neighbours.
• Don’t let anyone gaslight you into something you don’t want.
• Monsters come in all shapes and sizes.

What’s your take? Have you watched one or both of them? Would you add anything to the comparison? Don’t hesitate to let me know your opinion on them in the comments section below, or leave a message in my contact page! For more reviews and cinema-related articles, check out the rest of my blog! 😀

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