As a devoted cinephile who has seen her fair share of horror films and is no stranger to the enigmatic world of Roman Polanski’s masterpieces, I must say that “Apartment 7A” was an intriguing and daring reinterpretation of the classic “Rosemary’s Baby.
Apartment 7A faced an uphill battle from the start, given that a prequel to “Rosemary’s Baby” seemed like a questionable venture from the get-go. Yet, its promising beginning, under the direction of Natalie Erika James, is surprisingly engaging. The film not only showcases James’ unique perspective on the story, but also cleverly incorporates elements from the original “Rosemary’s Baby,” aiming to innovate. Moreover, the production appears well-funded, with authentic period sets and costumes. However, the initial assurance displayed in the first half of Apartment 7A makes the confusing decisions in the latter part all the more puzzling. It seems as though the movie is torn between its ambitions and its essence.
Primetime Emmy Award-winner Julia Garner stars as Terry Gionoffrio in Apartment 7A, playing a character that Rosemary’s Baby viewers know well due to the handful of moments she has in the original movie. Her introduction in Apartment 7A is a lot like how she arrives in Roman Polanski’s movie (where she was played by Angela Dorian); she’s unassuming, casual, a working woman with a life and things to do. When her career as a professional dancer is totally derailed by an accident, it sends her down a desperate path, one where she falls prey to vices while also trying to crawl back up. One of the more powerful moments of the movie that encapsulates this is when Garner is faced with a condescending request from a major Broadway producer (Jim Sturgess), only to stand her ground and refuse his invitation to humiliate herself for his amusement. It becomes clear that this moment is the entire throughline of the movie.
In the case of “Apartment 7A”, a challenge it faces similar to other prequels is the knowledge viewers bring from the original film. This includes details like which characters meet untimely ends, those with hidden agendas, and the significance of certain locations and individuals. The movie acknowledges this issue head-on, as it’s evident that many viewers are aware of these plot points. For instance, when Terry becomes friends with Roman and Minnie Castevet (played by Kevin McNally and Dianne Wiest), we can see through the friendly elderly demeanor that they might not be who they seem. When they offer Terry the apartment title, our prior knowledge hints at what may await her in this seemingly ordinary dwelling.
In the series “Apartment 7A”, McNally and Wiest bring captivating performances that rival even those of Garner herself. While Kevin McNally may be primarily recognized for his role in the “Pirates of the Caribbean” series, his uncanny resemblance to Sidney Blackmer’s appearance and behavior from the original “Rosemary’s Baby” is truly astonishing. On the other hand, Wiest’s interpretation of Minnie Castevet is unique, yet it doesn’t stray too far from the larger-than-life character portrayed by Ruth Gordon in the original movie, which earned her an Oscar.
In essence, Rosemary’s Baby is widely renowned, and trying to equal its concepts could feel like scaling Everest. One distinctive scene in Apartment 7A mirrors this by deeply portraying the lead character, similar to the original. Instead of a boat and open sea for Rosemary’s early hallucination, Terry, played by Julia Garner, has a major musical performance. This scene is intriguing not just from a character perspective but also visually, as her drug-induced stupor transitions into an elaborate costume change and dance sequence, featuring large sets and unexpected twists. The climax of this scene is one of the most frightening moments in the movie, maintaining the eerie production design while subtly incorporating a touch of satanic elements.
One advantage that sets Apartment 7A apart as a prequel is its avoidance of common pitfalls. It steers clear of heavy-handed moments explaining why certain events occurred in Rosemary’s Baby, and it doesn’t disrupt the original narrative to such an extent that it becomes confusing. Instead, it delivers a fresh and innovative interpretation of the material, with some recurring themes and imagery, and a chilling moment featuring demonic hands, all while maintaining a sense of originality.
Approximately an hour into the film, there’s a shift, and the unsettling transformation of “Apartment 7A” into a sinister world becomes somewhat awkwardly executed. It’s noteworthy that “Apartment 7A” is approximately 45 minutes shorter than “Rosemary’s Baby.” The original film subtly develops its sense of paranoia, gradually escalating to an intense climax. However, “Apartment 7A” lacks the time for such a gradual build-up. Consequently, the intricate and suspenseful pacing found in Polanski’s work is compressed into a shorter span, often without the subtlety that was originally present. Unlike Rosemary, who uncovers the plot surrounding her with depth and logic, Terry’s journey in this film feels more like a checklist of events, rather than an organic unfolding of suspicion. This results in a portion of the movie where the tension seems to dissipate, replaced by a series of actions instead of a sustained sense of unease. Fortunately, the climax of the film redeems this with a poignant scene centered around its main character.
Similar to Rosemary’s Baby, a recurring topic in Apartment 7A is the profound issue of women’s reproductive rights, delving beyond mere superficial interpretations. It’s not merely about an individual battling for personal freedom, but about a woman persistently obstructed at every juncture by supposedly affluent and influential figures who claim to “know best.” The film centers around a woman whose autonomy over her body and choices has been stripped away; despite her attempts to navigate life, she is acutely aware of the obstacles lurking at every turn that thwart her desires. This applies not only to Julia Garner’s character, Terry, but also most of the young women in the movie. A poignant scene involves Dianne Wiest seemingly reminiscing fondly about a previous tenant of their apartment, referring to her as a “gifted young woman” with a hint of admiration in her voice, only to toss her remaining possessions into the trash without hesitation moments later. It may not be subtle, but in today’s world, perhaps it doesn’t need to be.
As a passionate admirer, I can’t help but lament the fact that Natalie Erika James’s masterpiece, “Apartment 7A,” isn’t gracing our local cinemas as it deserves. This film, brimming with innovative concepts and backed by substantial financial resources, is more than just a casual streaming release. Contrary to some recent productions like the upcoming “Pet Sematary: Bloodlines” of 2023, it’s not a case of studios clinging onto film rights. Instead, it appears that the studio had faith in James’s bold vision, a conviction primarily rooted in the film’s impressive production value.
Rating: 3.5 out of 5
Apartment 7A lands on Paramount+ on September 27th.
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2024-09-21 01:11