If the notion of a "prequel to a cinematic classic unraveling the birth of the Antichrist" echoes familiar territory you've traversed this year, rest assured, you're not haunted by supernatural forces. Back in April, 'The First Omen' eerily unraveled a macabre tapestry of events preceding 'The Omen.' Now, 'Apartment 7A' endeavors to embark on a similar odyssey for 'Rosemary's Baby,' albeit with fewer jarring jolts than its predecessor. However, it remains a meticulously crafted prequel, grounded in an alluring and thought-provoking perspective.
Inspired by Ira Levin's seminal 1967 novel and Roman Polanski's chilling 1968 film adaptation, 'Apartment 7A' is a collaborative effort from writer-director Natalie Erika James, who also helmed the haunting 'Relic' in 2020, a tale weaving through three generations of women grappling with an eerie entity in their ancestral home. This time, the spotlight shifts to another ominous abode intimately known to 'Rosemary's Baby' enthusiasts: the Bramford, a once-glorious New York City apartment complex whose creaking walls harbor a coven of ancient Satanic witches.
The film's production design meticulously attends to every detail, immersing viewers in an authentic yet uniquely reimagined setting that nods to Polanski's vision without being a carbon copy. Familiar elements linger, such as the paper-thin walls that amplify whispers and the haunting melodies of "Für Elise" seeping through the cracks.
Into this towering edifice of shadowy timber, amber-hued lighting, and birdcage elevators stumbles Terry Gionoffrio, a fleeting figure who briefly intersects with 'Rosemary's Baby's' narrative within its opening quarter-hour. 'Apartment 7A' rewinds the clock a year or so, casting us back to 1965, where Terry embarks on a promising dance career, only to be felled by a devastating injury. Julia Garner ('Ozark,' upcoming 'The Fantastic Four: First Steps') imbues Terry with a vulnerability that resonates deeply. Her frustration is palpable as she grapples with financial struggles, audition rejections, an unsettling reliance on painkillers, and the crushing realization that her cherished aspirations are slipping from her grasp.
In this vulnerable state, her decision to accept a free abode from the enigmatic Minnie and Roman Castavet (Dianne Wiest and Kevin McNally, both capable but not quite the iconic figures of Ruth Gordon and Sidney Blackmer from the original) after a chance encounter seems almost inevitable. The Castavets, it transpires, have a penchant for assisting troubled young women, their altruism cloaked in ulterior motives. They also count among their acquaintances a Bramford resident (Jim Sturgess) who's penned a musical Terry dreams of starring in.
We're acutely aware of the perilous path Terry's treading—her fate is the catalyst that propels Rosemary Woodhouse into Satan's sinister designs. Yet, James and Garner skillfully infuse Terry's dire situation with emotional nuance, crafting a narrative drenched in ambition, gaslighting, emotional abuse, sexual assault, body horror, profound loneliness, and the terrifying sensation of not feeling safe in one's sanctuary. Unlike Rosemary, a cheerful housewife yearning for motherhood, Terry is single, penniless, jobless, and devoid of a support system beyond her compassionate best friend.
While 'Apartment 7A' peppers its narrative with nods to 'Rosemary's Baby'—from Terry's impulsive haircut to the vodka blush cocktails and a memorable silver necklace—it introduces a pivotal deviation that separates Terry's ordeal from Rosemary's, adding an intriguing layer of complexity.
Moreover, there's a subtle yet profound distinction that sets 'Apartment 7A' apart. One of the most chilling aspects of 'Rosemary's Baby' lies in its gradual expansion of paranoia, enveloping not just the protagonist but the entire world she inhabits. 'Apartment 7A,' however, feels more intimate, a tale of a young woman who, in her quest for stardom, fell prey to the illusion that strangers could be benevolent—only to discover the exorbitant cost of resurrecting her shattered dreams.
In a final, poignant parallel, both 'Apartment 7A' and 'The First Omen' are helmed by women, a refreshing shift from the male gaze that often dominates horror narratives, particularly those that exploit women's bodies in gruesome ways. 'Apartment 7A' streams on Paramount+ and will be available for digital purchase on September 27, offering a chilling yet thought-provoking prequel to a horror classic.
