An analysis of the title sequence of Roman Polanski's 'Rosemary's Baby'

1. Title and
opening
sequence
analysis of
‘Rosemary’s
Baby’
(1968)

2. One of the first things on screen is the movie title ‘Rosemary’s Baby’. The title colour is pink, which has
connotations with sweetness and femininity. As well as this, the title font is a handwritten script,
further representative of these characteristics. The pink misleads the audience, as it is suggestive of
‘Rosemary’s Baby’ being female, which is far from reality. The movies plot centres around
manipulating both Rosemary and the audience, and so this deception plays well into the movie’s story
line.

3. The song played is a lullaby, which is supposed to be soothing and calming, yet is actually creepy and
unsettling. Soft undertones of piano, strings and wind instruments provide the basis for a comforting
and relaxing piece which is juxtaposed by the irregular high pitched piano which echoes throughout
the song. This therefore results in the opposite of a relaxing and calming effect, and instead makes the
audience uneasy. Furthermore, Mia Farrow’s soft vocals over the instrumental enhance the sense of
femininity and sweetness surrounding the sequence, although they also add to the sense of unease
created by the non diegetic soundtrack.

4. The use of one continuous long shot to film the title sequence helps to establish the location. The shot
pans across New York City, showing rooftops of buildings, painting it as grisly, lonely and dull. The
shot is also effective at casting New York as being giant and alienating. The pan also helps to show a
contrast between the different buildings in the city, ranging from grimy looking tower blocks to
grand looking mansions. This is representative of the range of different people living and working in
the city, both from higher and lower classes, and shows that anyone can succumb to its alienating
nature.

5. Iconography is demonstrated when the pan-and-glide shot across the skyline finally settles on the
prestigious Dakota Building (renamed ‘The Bramford’ in the movie). The Dakota has connotations
with wealth, as it is known to be the home of New York’s aristocracy, often attracting actors, singers
and writers. This illustrates the new home of the protagonist as being affluent and opulent, yet
another deception as, when the characters enter the property in the following scene, this is found to
be untrue.

6. Conclusion:
In conclusion, Polanski executes the use of
various techniques, such as camera shots, mise
en scene, and iconography, to create a successful
and unique title sequence. He also uses these to
set up a key theme of manipulation and
deception from the very start of the film.