"“What have you done to its eyes?” How does a movie become a classic? Is it timing? Was it the dream-team collaboration of Paramount, Polanski, and Robert Evans? Was it producer William Castle, the mastermind who purchased the Ira Levin novel with plans to make it himself? Was it Mia Farrow, who had been painted with the brush of scandal after marrying Frank Sinatra? Did the devil himself have a hand in it? Whatever the reasons, my fascination with this film has never waned. There’s an enjoyment in watching Rosemary’s Baby that is similar to another gothic horror film, The Shining. It’s like listening to an album you love. Seeing the repetition of familiar scenes and faces. Shaking your head at Rosemary’s innocence as she tries to convince people that her neighbors might just be in a cult with Satan! Another highlight is the production design and cinematography. Not a frame is out of place, and it’s beautiful to look at. It captures a kind of sixties avant-garde vibe. I get the feeling Warhol would have liked this film. There are all sorts of great exterior location shots of New York, and the Dakota building on Seventy-Second Street adds the right spookiness. Does anyone remember or talk about what an amazing actress Mia Farrow is? Watch Broadway Danny Rose, and then watch Rosemary’s Baby. There’s some range there! Farrow as Rosemary has a beautiful, waifish glamour, enhanced by short dresses that make her seem more fragile and doll-like. John Cassavetes playing the “actor.” I love that he’s an “actor.” I love that his name is Guy! He makes a great prince of darkness. With his dark eyes and leering smile, well, you know he’s guilty of something the minute you see him. Then we have Ruth Gordon, who almost steals the film. Her caftan-wearing, mousse-making devil worshipper is the perfect amount of comic relief. I also love Charles Grodin as the fink doctor who squeals on Rosemary. Ralph Bellamy: terrifying! Every woman’s nightmare! Maybe that’s why I love it: Rosemary’s Baby plays on every woman’s fears. The man I married is different. Oh wait—maybe he’s sold his soul to the devil!"

"Finally, we’re going to go with a film that is so culturally relevant that as soon as I say it you’ll be able to quote at least one line from it. We’re going to go with Dirty Dancing. Because, come on, nobody puts Baby in a corner, right? Of course it’s been acted out, it’s been referenced in numerous films. It was in Crazy, Stupid, Love. This is the move that Ryan Gosling does to get the girls, right? And he and Emma Stone reenact this scene. So, you want to talk about a film that just had an amazing soundtrack, the performances were great, and it speaks to the confusion of teenagers growing up, but not in a, I feel like, a “loner” teenager way. There’s been a lot of teenage films where they feel like a loner. This is someone who liked her family, and she was a little irritated with her older sister as siblings tend to be, but she liked her dad and her mom, and when push came to shove at various points, she ran to her dad to help. There was something striking about how all of that worked together in a film that just made you feel good and want to dance and want to take someone to see, and then, how many years later, that film still holds up. And if you don’t believe me, go watch it. It still works."