Of New York History and New Hollywood Horror...

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga0aa1gh5c1QXIN9iQIsZOvSiTfHBznDie3PU3XTw0ywJu2Mmv196jexj33piC22oqrfuqiYnyNl6iTfG8tso1uZqDmSkR8BZRqsQP6i9KoxY0xUma2WsPe1DSWUU4BXm4mYhPpLWVp-Y/s1600/dakota_nighttime2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga0aa1gh5c1QXIN9iQIsZOvSiTfHBznDie3PU3XTw0ywJu2Mmv196jexj33piC22oqrfuqiYnyNl6iTfG8tso1uZqDmSkR8BZRqsQP6i9KoxY0xUma2WsPe1DSWUU4BXm4mYhPpLWVp-Y/s1600/dakota_nighttime2.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: #660000;"><span id="goog_365158183"></span><span id="goog_365158184"></span></span></span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: #660000;">EDWARD CLARK'S "FOLLY"</span> </span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">The address, One West 72nd Street, may not register with <span style="font-size: small;">many who live outside the city of New York, but the name of the building a<span style="font-size: small;">t the corner of 72nd Street and Central Park West is more familiar.  The Dakota, a famed luxury co-op on the <span style="font-size: small;">Upper West Side, has been home to many high profile luminaries, served as<span style="font-size: small;"> the setting for one of Roman Polanski's best known films, and was the site of a<span style="font-size: small;">n</span> infamous murder in 1980<span style="font-size: small;">.</span></span></span></span></span></span></span><br /><br /><a name='more'></a><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Posh apartment houses designed expressly for the well-heeled were rare in New York in 1880, when construction of the Dakota began. Apartment housing at that time and place was mainly associated with tenements and lower class living, but in the late 1860s the <a href="http://www.nyhistory.org/community/first-apartment-building"><span style="color: red;">Stuyvesant</span></a> building opened. It attracted the reasonably well-to-do in droves and soon more such residences were in the works.</span></span></span></span></span></span></span><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipDCy4g6JWMMwMiTgVMyyEOQ1KSIxoT0o3XT2w_iOSXraMSWa6zb80NGoSQQRoDIdU6w0y3fuMmYakiVjc-tW72hjZ1P8op8_iratc7wixfwypywbsS0yE-F-2jg4Y6MX5_FVCpKSBdKk/s1600/Dakota_by_Richard_Britell2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipDCy4g6JWMMwMiTgVMyyEOQ1KSIxoT0o3XT2w_iOSXraMSWa6zb80NGoSQQRoDIdU6w0y3fuMmYakiVjc-tW72hjZ1P8op8_iratc7wixfwypywbsS0yE-F-2jg4Y6MX5_FVCpKSBdKk/s400/Dakota_by_Richard_Britell2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">The Dakota by Richard Britell</span></td></tr></tbody></table><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">The lot on which the Dakota would stand was in an area that was then largely undeveloped - both far north and west of what was considered the city's boundaries. And though the building would face Central Park, that region of the park had yet to be landscaped or developed. In fact, the street that was to become Central Park West was still but a dirt road. Astonishingly, all 65 of the Dakota's 4- to 20-room apartments were rented by the time its doors opened in late 1884; from that day until the stock market crash of 1929, there was not even one vacancy in the building.</span></span></span></span></span></span></span><br /><div style="text-align: right;"></div><br /><div style="text-align: left;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEkXAZpIe3oSEEHTlsUw03YJf-z2TaRqidn5c2u4MNomRaf8AjB3XEwwc-lepp5ZHNWK-F3cl_FCVh6_5xQbA1JVVTjJeYrLRl6PIKDy0gbiFqRTDZX-78EQhWo4Q521hc7Pgq3-u95w4/s1600/dakota_railing_detail.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEkXAZpIe3oSEEHTlsUw03YJf-z2TaRqidn5c2u4MNomRaf8AjB3XEwwc-lepp5ZHNWK-F3cl_FCVh6_5xQbA1JVVTjJeYrLRl6PIKDy0gbiFqRTDZX-78EQhWo4Q521hc7Pgq3-u95w4/s320/dakota_railing_detail.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Dakota railing detail</span></td></tr></tbody></table><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Edward Clark, an attorney who made a great fortune as partner to Isaac M. Singer in the Singer Sewing Machine Company, conceived and built the Dakota. He hired architect Henry Hardenburgh (the Waldorf-Astoria, the Plaza Hotel), then early in his career at age 32, to design the building. The project would establish Hardenburgh's reputation. Massive and extravagant, the Dakota's e<span style="font-size: small;">xterior<span style="font-size: small;"> </span>was an</span> eclectic interpretation of German Renaissance style while the interior reflected French architectural influences then popular in New York. In his 1970 illustrated novel <i>Time and Again</i>, </span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><a href="http://www.goodreads.com/author/show/6944.Jack_Finney"><span style="color: red;">Jack Finney</span></a></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="color: red;"> <span style="color: black;">wrote of the Dakota's "pale yellow<span style="font-size: small;"> brick handsomely trimmed in chocolate-colored stone," of its roof "li<span style="font-size: small;">ke a miniature town<span style="font-size: small;">...<span style="font-size: small;">of gables, turrets, pyramids, towers, peaks" shingled in copper-trimmed slate and "peppered with uncountable windows, dormer and flush, square, round, and rectangular." Sadly, Edward C<span style="font-size: small;">lark would not live to see the completion of the Dakota<span style="font-size: small;"> and his own sumptuous apartment in the building would be bestowed upon<span style="font-size: small;"><span style="font-size: small;"> his 12-year-old grandson and heir. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlKSuc8OrLhy4AvnX05a9ks_it4d6iFF2eSyLoBikx996s3CZb5hJLiZzLgXx6Rmsk1d1u0Ax_IomW_CgwBU2YGg0_nzAOOkKi1LzjPEz8QJPROR1P8q7KtRw9wHsvMgF3wvH-T0QY3do/s1600/Bernstein%2527s+Piano.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlKSuc8OrLhy4AvnX05a9ks_it4d6iFF2eSyLoBikx996s3CZb5hJLiZzLgXx6Rmsk1d1u0Ax_IomW_CgwBU2YGg0_nzAOOkKi1LzjPEz8QJPROR1P8q7KtRw9wHsvMgF3wvH-T0QY3do/s1600/Bernstein%2527s+Piano.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Leonard Bernstein's piano in his Dakota apartment</span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0o4djfHfufSJh7zr1hoh3tFGu7g9NenANkDjsstdo07h0YiWZhKWIBSLNG0bMp2PXXic47l_IsTTZwb0t0auepBhiZCNkJ71TYZ8gyKnAeSgb-WewrGLfmtBrnCUg5gQhe2kaSHGct_g/s1600/Robert+Ryan+at+the+Dakota+1969.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0o4djfHfufSJh7zr1hoh3tFGu7g9NenANkDjsstdo07h0YiWZhKWIBSLNG0bMp2PXXic47l_IsTTZwb0t0auepBhiZCNkJ71TYZ8gyKnAeSgb-WewrGLfmtBrnCUg5gQhe2kaSHGct_g/s320/Robert+Ryan+at+the+Dakota+1969.jpg" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Robert Ryan in his home at the Dakota (later</span><br /><span style="font-family: "Trebuchet MS",sans-serif;">purchased by John Lennon and Yoko Ono) </span></td></tr></tbody></table><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Once the Great Depression took hold following the market crash, several of the Dakota's large apartments were broken up into smaller ones and years later, in 1961, the building became a <a href="http://www.nytimes.com/2013/04/07/realestate/the-idea-behind-the-co-op-building.html"><span style="color: red;">co-operative</span></a>.  Over its long history, the residence served as home to many notables of  stage, screen and other lively and literary arts. The first actor to move into the Dakota came in the late '30s; he was William Henry Pratt, better known as Boris Karloff. Others would include Lillian Gish, Judy Garland, Lauren Bacall (with and without Jason Robards, Jr.), Judy Holliday, Jose Ferrer and Rosemary Clooney, Teresa Wright, Robert Ryan, Zero Mostel, Jack Palance, Gwen Verdon, Zachary Scott and Patrick O'Neal. Composer/conductor Leonard Bernstein lived at the Dakota, as did dancer Rudolf Nureyev, playwright William Inge, director John Frankenheimer, <a href="http://www.classicfilmtvcafe.com/2010/12/ted-ashleywarner-brothersand-new.html"><span style="color: red;">Warner Bros. exec Ted Ashley</span></a>, CBS News legend Edward R. Murrow, singer Roberta Flack, feminist/writer Betty Friedan and interior decorator Syrie Maugham, one-time wife of author W. Somerset. John Lennon, founding member of the Beatles and beloved cultural icon, is perhaps the most widely known of all the Dakota's famed residents.</span></span></span></span></span></span></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vOIS1rxClW94f85JwDq2JR3GPEJiVD4wbXgcKbhCnTMGx4rMVZ_lkCe52YX-Q3CsZGe_j52SLSsiQsthMOp6l2X3q93M9ycy4ASnBcp8HjOqQZQt7FKPiuS9GJx04h5AcPK1jrVOvHY/s1600/john_sean_dakota.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vOIS1rxClW94f85JwDq2JR3GPEJiVD4wbXgcKbhCnTMGx4rMVZ_lkCe52YX-Q3CsZGe_j52SLSsiQsthMOp6l2X3q93M9ycy4ASnBcp8HjOqQZQt7FKPiuS9GJx04h5AcPK1jrVOvHY/s320/john_sean_dakota.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">John and Sean Lennon in their Dakota kitchen</span></td></tr></tbody></table><br /><div style="text-align: center;"><div style="text-align: left;"><span style="font-family: Verdana, sans-serif;">As with many structures of gothic appearance, the Dakota weathered rumors of supernatural incidents and ghost stories. Movie critic and Dakota resident Rex Reed recalled that a doorman warned him early on to expect to see Boris Karloff's ghost. Strange and unexplained events were witnessed below ground, in the basement and, for a brief period, a so-called "Phantom of the Dakota" vandalized the building and spooked its inhabitants. But it was only with the release of Roman Polanski's <i>Rosemary's Baby</i> (1968), set and partially shot at the Dakota, that the building's reputation for quirkiness and opulence took on a decidedly dark facet. With the deadly 1980 shooting of John Lennon at the building's front gate, the incomprehensible and horrifying became real.</span> </div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFovWMtn0aKaKW52EABAdmeCOqOzR_YWszXwwKvUm8WwcmXHDfd_moy0usbfS4KB8uqCgfLdXDGu2IxEZex0Jrs5vu4Hs49i9sei-J7ipwFadRoidRAZjwh4-1XgMtfECCjUzx5QN1YFE/s1600/Lauren+Bacall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFovWMtn0aKaKW52EABAdmeCOqOzR_YWszXwwKvUm8WwcmXHDfd_moy0usbfS4KB8uqCgfLdXDGu2IxEZex0Jrs5vu4Hs49i9sei-J7ipwFadRoidRAZjwh4-1XgMtfECCjUzx5QN1YFE/s320/Lauren+Bacall.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Long-time Dakota resident Lauren Bacall at home in 2011</span></td></tr></tbody></table><div style="text-align: left;"></div><br /><div style="text-align: left;"><span style="color: #660000;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ROSEMARY'S BAB<span style="font-size: small;">Y</span> </span></span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span> </span></span></span></span></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlK43rxxt3i6t8F5NOeXuGjFW0b5yTNqiP4MIjjUKcJ6AN5txZrtrzy8ADmyyucabman24-F9vpzDxQ8jeobN73wIJvIspfUfjztfDp2FYv4LM4ZboChkduuK0ggAVigzvTYpx5xNDGL8/s1600/rosemary_new.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlK43rxxt3i6t8F5NOeXuGjFW0b5yTNqiP4MIjjUKcJ6AN5txZrtrzy8ADmyyucabman24-F9vpzDxQ8jeobN73wIJvIspfUfjztfDp2FYv4LM4ZboChkduuK0ggAVigzvTYpx5xNDGL8/s320/rosemary_new.jpg" width="260" /></a></div><br /><span style="font-size: small;"><span style="font-family: Verdana, sans-serif;">When Roman Polanski walked into the office of newly appointed Paramount Pictur<span style="font-size: small;">es production head Bob <span style="font-size: small;">Evans for the first time in 1967, he thought he was there to discuss directing <i>Downhill Racer</i>, the project Evans touted when he asked for the meeting. Instead, Evans quickly admitted that, knowing Polanski loved to ski, he'd used the project, the story of a U.S. Olympic team skier, as a lure. What Evans really wanted to talk with Polanski about was directing a film adaptation of <a href="http://www.iralevin.org/"><span style="color: red;">Ira Levin</span></a>'s soon-to-be-published horror thriller, <i>Rosemary's Baby</i>. Evans gave him the printer's galley proofs to take home and look over. In a sitting, Polanski read through Levin's chilling tale of a contemporary Manhattan couple who move into a fabled apartment building - with<span style="font-size: small;"> terrifying<span style="font-size: small;"></span> consequences. He quickly agreed to direct.</span></span></span></span></span><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUkJgm6zBBlMZr2seTo_xnQPgsjH7stbX6pr2xfPB2PC7NalIypmbgXz7BPuOe08U4HMgPdPkLlcnHH2NadCPCdTWkFoZHQeGw6nVeSdksZsNqpTa2uirhJYc_JG_MGI6BKXc7jWnbnLg/s1600/evans_polanski.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUkJgm6zBBlMZr2seTo_xnQPgsjH7stbX6pr2xfPB2PC7NalIypmbgXz7BPuOe08U4HMgPdPkLlcnHH2NadCPCdTWkFoZHQeGw6nVeSdksZsNqpTa2uirhJYc_JG_MGI6BKXc7jWnbnLg/s320/evans_polanski.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Bob Evans and Roman Polanski</span></td></tr></tbody></table><span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Why was Evans <span style="font-size: small;">intent upon hiring</span> Polanski <span style="font-size: small;">to direct</span> <i>Rosemary's Baby</i>? William Castle, producer/director of low-budget horror movies, had optioned the screen rights for the book<span style="font-size: small;">. Castle, who had an exclusive contract with the studio, hoped to direct the film himself</span></span></span></span></span></span>.<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"> But<span style="font-size: small;"> Evans wasn't interested in making the grade "B" genre fare Castle turned out, pictures like <i>The Tingler </i>(1959), <i>13 Ghosts </i>(1960) and <i>Strait-Jacket </i>(1964). Evans, destined to become a legendary figure in the New Hollywood era, saw <i>Rosemary's Baby</i> as a director's film and his interest was piqued by the Polish director of what he called "three <i>really</i> offbeat thrillers," <i>Knife in the Water </i>(1962), <i>Repulsion </i>(1965) and <i>Cul-de-sac </i>(1966). <i>Knife in the Water</i>, a<span style="font-size: small;"> taut psychological</span> drama that marked Polanski's feature film debut, brought an Oscar nomination for Best Foreign Language Film and international acclaim. <i><span style="font-size: small;">Repulsion </span></i><span style="font-size: small;">starred Catherine Deneuve and <i>Cul-de-sac </i>starred her sister, <a href="http://eves-reel-life.blogspot.com/2013/03/a-birthday-tribute-to-francoise-dorleac.html"><span style="color: red;">Francoise Dorleac</span></a>; both were moody, surreal films that won international a<span style="font-size: small;">wards. Evans believed Polanski's iconoclastic vision might conjure something special and unusual out of Lev<span style="font-size: small;">in's sly, dark fiction<span style="font-size: small;"> and was able to convince Castle to confine himself to the role of producer. Polanski thought Levin's book a "well-constructed thriller," cinematic in nature, and immediately began work on the script, writing from da<span style="font-size: small;">wn</span> to dark for days on end.</span></span></span></span></span></span></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBaVn2eJqcRISHjn2q1UmqjvwTLcgcyx4ovqf3e_gNfUOHQeSSFhTpAkDlVB1o4o2od0xibpD11V1zQh1wPDP00f9sBmpZbbZeNO11D_YI2nG9Y6zBgNVp8Ac-ksFxW7KJg4xzlBBou7o/s1600/Ira_Levin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBaVn2eJqcRISHjn2q1UmqjvwTLcgcyx4ovqf3e_gNfUOHQeSSFhTpAkDlVB1o4o2od0xibpD11V1zQh1wPDP00f9sBmpZbbZeNO11D_YI2nG9Y6zBgNVp8Ac-ksFxW7KJg4xzlBBou7o/s320/Ira_Levin.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Ira Levin</span></td></tr></tbody></table><br /><span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">In the meantime, <i>Rosemary's Baby </i>was published and became a #1 best-seller. The <i>National Observer </i>called the book "the best chiller to come down the gooseflesh trail in many a moonless night." Even the <i>New York Times </i>review was a rave and anticipation for the film adaptation ran high<span style="font-size: small;">.</span></span></span></span></span></span></span></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxkoIVewWthh1Pp27g-i3-jSW2eXZtxH05OInyPqSTtM9KnD1F0_AkPv_YpcnpJC_QCaqpO1jhCUV8epxqw6evzWkLj5Gm0E3KiNVf1-37t_88JpeLki_ALmHTSBY8eL21ctzabHa3kBs/s1600/weld_redford.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxkoIVewWthh1Pp27g-i3-jSW2eXZtxH05OInyPqSTtM9KnD1F0_AkPv_YpcnpJC_QCaqpO1jhCUV8epxqw6evzWkLj5Gm0E3KiNVf1-37t_88JpeLki_ALmHTSBY8eL21ctzabHa3kBs/s400/weld_redford.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Tuesday Weld and Robert Redford</span></td></tr></tbody></table><br /><span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Polanski originally planned to cast the lead roles with actors who possessed the All-American good looks and energy depicted in Levin's book, and favored Tuesday Weld for Rosemary and Robert Redfor<span style="font-size: small;">d as her husband, Guy. When Bob Evans suggested Mia Farrow, the director at first thought her too waif-like and ethereal for the title role. But after meeting and discussing the role with her he hired her without so much as a screen test. Robert Redford became unavailable and Warren Beatty turned down the role of Guy, so Polanski turned to John Cassavetes, an intense, charismatic actor who was also making a name for himself as an independent filmmaker.<span style="font-size: small;"> The hand-picked supporting cast included Hollywood troupers Ralph Bellamy, Patsy Kelly and Elisha Cook, Jr., as well as stage and screen veterans Maurice Evans, Sidney Blackmer and Ruth Gordon. Uncredited in the role Polanski characterized as "the real star of the picture,"  the Bramford apartment building, was the Dakota. Exteriors were shot on-site and <a href="http://www.imdb.com/name/nm0843129/?ref_=fn_al_nm_1"><span style="color: red;">Richard Sylbert</span></a>, Polanski's production designer, scrupulously recreated the Dakota's interiors (off-limits to movie-makers) in Hollywood. <i><span style="font-size: small;">Rosemary's Baby </span></i><span style="font-size: small;">would begin and end with <span style="font-size: small;">aerial views of the imposing structure.</span></span></span></span></span></span></span></span></span></span></span></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM22K5PRntLkmzjSj1nUt0JW8KQ45ssjKuXshryClPYe1qEWf2rXC0KRrYjwvpv5h4sFpfNUknrb4m55muyDrfxj3bl4pIqcCUuLJa5o-CVkXNjmgOQvs95dUtyQL4kSuWeGOFAkRZnHg/s1600/Dakota_sketch_by_Sylbert.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM22K5PRntLkmzjSj1nUt0JW8KQ45ssjKuXshryClPYe1qEWf2rXC0KRrYjwvpv5h4sFpfNUknrb4m55muyDrfxj3bl4pIqcCUuLJa5o-CVkXNjmgOQvs95dUtyQL4kSuWeGOFAkRZnHg/s400/Dakota_sketch_by_Sylbert.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">"Bramford"/Dakota interior sketch by Richard Sylbert</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><br /><span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-size: small;">Production was underway for only a week when Charles Bluhdorn, Paramount's new owner, began to have second thoughts about Polanski, whose<span style="font-size: small;"> focus on artistic values and fine details he viewed as unreasonable perfectionism. </span>One day while on the studio lot Polanski ran into filmmaking legend<span style="font-size: small;"> Otto Preminger<span style="font-size: small;">. Dejected, he told the <span style="font-size: small;">older director there was talk he was going to be replaced on <i>Rosemary's Baby</i>. </span></span></span>Preminger asked if the studio was happy with the rushes and when Polanski told him it was, he said: "Roman, remember this: You can go over budget as much as you like<span style="font-size: small;">, provided the rushes are good. They only replace a director when the dailies are lousy." What Bob Evans saw in Polanski's dailies was an "ominous sense of fright" <span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">- and it thrilled him; he <span style="font-size: small;">told Paramount, "If he goes, I go." Both stayed.</span></span></span></span></span></span></span></span></span><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTvFWhe5M4BgufMTVknCiXeUzKl595mSt_WfEKfsF15CmV05RRY-41stsDFluhzkADJFJstMVqbJo_wP6UrY18VA5pbu3YNwHJ8FC035atm_PfX12q0TdzsViwy1ceJY12-JdXwsdvTI/s1600/mia_roman.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTvFWhe5M4BgufMTVknCiXeUzKl595mSt_WfEKfsF15CmV05RRY-41stsDFluhzkADJFJstMVqbJo_wP6UrY18VA5pbu3YNwHJ8FC035atm_PfX12q0TdzsViwy1ceJY12-JdXwsdvTI/s320/mia_roman.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Mia Farrow and Roman Polanski on the set</span></td></tr></tbody></table><div style="text-align: left;"></div><span style="font-size: small;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">P</span>olanski was determined to recreate <span style="font-size: small;"><span style="font-size: small;">the exact time<span style="font-size: small;"> frame in which the <span style="font-size: small;">story was set, mid-1965 to mid-1966, just two years before the film was made. Trends had shifted in<span style="font-size: small;"> </span>that brief period;<span style="font-size: small;"> </span>by 1968<span style="font-size: small;"> style<span style="font-size: small;">s</span> had begun to swing from the influence of all-things-English ushered in with "the British Invasion" to a more <a href="http://www.silverscreenmodiste.com/2013/05/bohemian-style-in-film-art.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+SilverScreenModiste+%28Silver+Screen+Modiste%29"><span style="color: red;">bohemian</span></a> sensibility reflecting the "flower power<span style="font-size: small;">"/"hippie" phenomenon. His insistence on authentic detail drove costume designer Anthea Sylbert<span style="font-size: small;">'s meticulous replication of mid-'60s fashion. She captured the look of the moment with Rosemary's Mod-era </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: Verdana,sans-serif;">shifts, mini-dresses <span style="font-size: small;">and attire like a red chiffon pants suit<span style="font-size: small;"> to be worn on<span style="font-size: small;"> <span style="font-size: small;">a romantic evening at home. </span>Other <span style="font-size: small;">time-specific</span> touches include Rosemary's decision to <span style="font-size: small;">have her pageboy tresses snipped into a <span style="font-size: small;">short Vidal Sassoon cut, Rosemary relaxing on the sofa with Sammy Davis, Jr.'s book <span style="font-size: small;"><i>Yes, I <span style="font-size: small;">Can </span></i><span style="font-size: small;">(a 1965 best-seller), a glimpse on TV of the Pope's October 1965 visit to New York<span style="font-size: small;">, and <i>Time</i><i><span style="font-size: small;"> </span></i><span style="font-size: small;"><span style="font-size: small;">magazine's </span></span><span style="font-size: small;">famous "Is God Dead?" issue <span style="font-size: small;">(April 8, 1966) conspicuous among the reading material in her doctor's w<span style="font-size: small;">aiting room.</span></span></span></span></span></span></span></span></span></span></span></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_b7lmbdLf5-WrwYygiJ6viVRPzhGdysWyMkWXYCpeuN4TQU3H7tfNdQjhnRPBGMvvyymDbzjKG_OdrY7rOaVKYeKnO4lwbIw_AsWNVOJSHeoRX2_ITIVlH4M-IMMSepJPt-F80pWHROc/s1600/Sylbert2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_b7lmbdLf5-WrwYygiJ6viVRPzhGdysWyMkWXYCpeuN4TQU3H7tfNdQjhnRPBGMvvyymDbzjKG_OdrY7rOaVKYeKnO4lwbIw_AsWNVOJSHeoRX2_ITIVlH4M-IMMSepJPt-F80pWHROc/s1600/Sylbert2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Costumes by Anthea Sylbert</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"></div><br /><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Pola<span style="font-size: small;">nski later said t</span>he story line of <i>Rosemary's Baby</i> had posed one problem for him<span style="font-size: small;"><span style="font-size: small;">, </span></span>it conflicted with his own worldview. He didn't believe in Satan. So he decided, "for credibility's sake," to add an element of ambiguity suggesting the possibility that Rosemary's imagination was the source of her fears. With careful camera placement<span style="font-size: small;"> and the use of special lenses,<span style="font-size: small;"> </span></span>Polanski presented the st<span style="font-size: small;">o<span style="font-size: small;">ry</span></span> through Rosemary's eyes. D<span style="font-size: small;">rawn into Rosemary's point of view, the audience<span style="font-size: small;"> <span style="font-size: small;">easily relates to her confusion, feelings of vulnerabi<span style="font-size: small;">lity and increasing <span style="font-size: small;">fright</span>. Like Rosemary, the v<span style="font-size: small;">iewer is</span> aware of lurking danger but wavers<span style="font-size: small;"> between believing what she begins to suspect is happening or accepting the rational explanations offered by others.</span></span></span></span></span></span></span></span></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI3HHEM3YQcQOz7-CeVKQvp97-epy0g5wgqCwtv0IlFDeIVpp5xMAN9WJSQ-CplmOVW7F1QaJMNW7FIk2zfEd-3NahBXnu0VMFnLuGBtAxxeGvvWqxX5195TjLQybeh2OPa1WgJzP5yNw/s1600/bellamy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI3HHEM3YQcQOz7-CeVKQvp97-epy0g5wgqCwtv0IlFDeIVpp5xMAN9WJSQ-CplmOVW7F1QaJMNW7FIk2zfEd-3NahBXnu0VMFnLuGBtAxxeGvvWqxX5195TjLQybeh2OPa1WgJzP5yNw/s400/bellamy.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Mia Farrow and Ralph Bellamy (Dr. Saperstein)</span></td></tr></tbody></table><br /><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">While Rosemary remains constant as a naive and mostly defenseless <span style="font-size: small;">young wife, those who inhabit her shrinking world are more enigmatic - from her ambitious actor husband and intrusive neighbors to her wise and kindly old doctor. Ironically, <span style="font-size: small;">some of the characters who are revealed to be most wicked are also the most comically grotesque. I</span></span></span></span></span></span></span></span></span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">n keeping with Polanski's bran<span style="font-size: small;">d of humor, <span style="font-size: small;">t</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">he film is laced with darkly comic moments:</span></span><br /><ul><li><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Rosemary and Guy dine at the home of her friend Hutch (Maurice Evans). As Hutch carves a lamb at table<span style="font-size: small;">, he relates the gh<span style="font-size: small;">oulish history of the Bramford - which included a pair of sisters <span style="font-size: small;">who, it <span style="font-size: small;">was later charged, devoured children...</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></li></ul><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK9VZgCD0UWSkegMWI5MtJXAQc0PVOVzlOQe-YEcO-JSh_36V2W-b7PXHdi_6X3zjuqiVldSiit-qjqJQvErLuzOqaptOj7XJlf4-KcejvLW4a8jUdQuk_Y86R2cZoVfHVkkg1m2-9pd8/s1600/meeting.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK9VZgCD0UWSkegMWI5MtJXAQc0PVOVzlOQe-YEcO-JSh_36V2W-b7PXHdi_6X3zjuqiVldSiit-qjqJQvErLuzOqaptOj7XJlf4-KcejvLW4a8jUdQuk_Y86R2cZoVfHVkkg1m2-9pd8/s320/meeting.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Rosemary and Guy meet The Castavets</span></td></tr></tbody></table><ul><li><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">The aftermath of a shocking suicide introduces the Castevets, Minnie (Ruth Gordon) and Roman (Sidney Blackmer), a pair of elderly oddballs who arrive on scene decked out as if fresh from the vaudeville stage<span style="font-size: small;"><span style="font-size: small;">.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></li></ul><ul><li><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Rosemary sees her baby for the first time and, uncomprehending, shrieks, "What have you done to its eyes?" Roman Castevet crows happily, "He has his<span style="font-size: small;"> father's eyes!"</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></li></ul><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">W</span>ith<span style="font-size: small;">out resorting to<span style="font-size: small;"> genre gimmickry</span></span>, Polanski crafted a tight, stylish <span style="font-size: small;">p</span>sychological thriller. And a blockbuster. The last auteur-directed shocker to create such a box office sensation had been<span style="font-size: small;"> Alfred</span> Hitchcock's <i><span style="font-size: small;">Psycho</span></i><span style="font-size: small;"> in 1960. <i><span style="font-size: small;">Rosemary's Baby</span></i><span style="font-size: small;">'s success</span><i><span style="font-size: small;"> </span></i><span style="font-size: small;">would go on to inspire the wave of lavish A-budget horror films to come, notably William Friedkin's <i>The Exorcist</i> (1973) and Richard Donner's <i>The Omen </i>(1976). It would b<span style="font-size: small;">ring an Acad<span style="font-size: small;">emy Award to Ruth Gordon for her supporting performance and a nomination to Roman Polanski for his adapted screenplay.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /><br /><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Considered a genre-transcending classic today, <i>Rosemary's Baby</i> remains a landmark of modern horror, as capable of jangling <span style="font-size: small;">nerves<span style="font-size: small;"> </span>and inducing chills as it was in its infancy 45 years ago.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/NoXLXMbOgiU" width="560"></iframe><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><i> </i></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div style="text-align: center;"><br /></div><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><i>Rosemary's Baby </i>is available on Blu-Ray and DVD from the Criterion Collection. This special edition contains many <span style="font-size: small;">extras, including: a documentary featuring Pola<span style="font-size: small;">nski, Mia Farrow and Bob Evans; an interview with Ira Levin; a documentary on the life and work of composer Krzysztof Ko<span style="font-size: small;">meda (who died 10 months after the film was released) and other special features.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /><br /><div style="text-align: center;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">~ </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><u>Notes</u>:</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><i>Life at the Dakota </i>by Stephen Birmingham, Syracuse University Press (1979/1996) </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><i>Roman by Polanksi</i>, William Morrow & Co. (1984)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><i>The Kid Stays in the Picture</i><span style="font-size: small;"> by Robert Evans, Hyperion (1994)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>

Bob Evans Roman Polanski Rosemary's Baby The Dakota The Lady Eve (author) William Castle Of New York History and New Hollywood Horror...

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