Two Satanic Polanski Films

Two Satanic Polanski Films

by Michael Robertson

While Roman Polanski’s 1999 film, The Ninth Gate, and 1968 film, Rosemary’s Baby, share Satanism in common, the films differ in that Rosemary Woodhouse (Mia Farrow) has neither interest or knowledge of the Devil, but Dean Corso (Johnny Depp) at first searches for the Devil accidentally as part of his job, as a rare book dealer, but then after he glimpses the power of evil he actively pursues finding the Devil. Both films begin in New York City: Rosemary and the film, stays in New York City in an almost prison-like atmosphere, but Dean travels throughout Europe looking for the Devil, and he unlike Rosemary is not alone: he encounters many people who also share his satanic passion. In both films there is a character who warns the protagonist that danger lies ahead.

"What are you looking for Mr. Corso? Some Books are not to be opened with impunity" (The Ninth Gate).

After Victor Fargas (Jack Taylor) warns Dean, he of course proceeds to open all of the dangerous books.) Hutch (Maurice Evans) also warns Rosemary about moving into the Bramford, and then he gives her a book giving her the anagram that reveals Roman Casevet as Adrian Marcato's son. 

Rosemary Woodhouse (Mia Farrow) solves the anagram ("Rosemary's Baby 1968").

Hutch also gives Rosemary an anagram, and these letters hide a secret: Roman Castevet is Adrian Marcato's son, so books and words are dual symbols of danger and knowledge in both films. The elements of these films, the Devil and prophetic books, could easily veer into absurdity, but the Polanski’s trademark tone of cynical realism is effective in both films at balancing the realistic evil with the satanic evil. Perhaps the difference of thirty-one years affects the films judgment of people, but in Rosemary’s Baby the Satan worshippers are part of an almost familial religious cult, but in The Ninth Gate they are more like a club of cynical and literary dilettante. Whatever method Polanski takes he achieves the same goals: the audience and the protagonists feel the danger of being alone among zealots and cynics on the road to Hell. Polanski closes that road to Hell elegantly: though he shows the Devil and momentarily in Rosemary’s Baby, in both films he never dwells on the visual representation of the Devil. The audience feels the danger of the Devil, so they do not need to see the Devil: Polanski uses the Devil in each viewers mind to haunt them rather than use a crude visual representation. There are few filmmakers who can scare an audience while at the same time provoke them to think, but Polanski is one of them. 

Works Cited

The Ninth Gate. Dir Roman Polanski. Perf Johnny Depp, Lena Olin, Frank Langella, and James 

        Russo. Artisan, 1999. DVD

“Rosemary’s Baby 1968.” Web log Post. Dreams What Le Cinema Is for. Le Cinema Dreams, 30 

         Sept. 2011. Web. 29 Mar. 2013.