Something’s going bump in Mia Farrow’s bump!

The ex-Mrs Allen Konigsberg is Rosemary, who believes the creepy old folk living next door are conspiring with her ambitious hubby to bring forth the Antichrist, and she’s the unwitting surrogate.

Sweaty-palmed paranoia and nervous giggles abound in Roman Polanski’s classic shocker, Rosemary’s Baby.

This black comedy, horror film and maternal drama, and kick-started Hollywood’s love affair with the Prince of Darkness that would continue with The Exorcist, The Omen, The Amityville Horror and an unholy amount of rip-offs.

Director Polanski, hitherto best known for psychosexual European thrillers Repulsion and Cul-de-sac, was lured to the States by uber-producer Robert (The Godfather) Evans who recognized the diminutive Pole’s genius for making the mundane menacing would work wonders with Ira Levin’s bestselling source novel.

Polanski was hugely faithful to the book, not only sticking close to the plot, but also using its descriptions of apartments and costumes as a blueprint for the film’s look.

Retaining what worked best in his Euroflicks, the director also let the characters drive Rosemary’s Baby, and this makes the film so memorable.

Eschewing head-spinning special effects, the movie elicits terror through snatches of ominous sounding conversation and well-developed subplots including a mysterious illness that overwhelms Rosemary when she falls pregnant.

Mia Farrow was third choice behind Tuesday Weld and Jane Fonda (who had already committed to Barbarella), but her sympathetic and terrified performance is perfect.

Capturing the fear of a first time pregnancy Farrow is a tremulous heroine, and she is increasingly bewildered and isolated from those around her.

A cop-out ending could have ruined all the good work, but a nightmarish final scene sees Polanski stay the course admirably.

A cop-out ending of sorts occurred in 1976 with the little-seen sequel Look What Happened to Rosemary’s Baby, but this film remains a near flawless masterpiece.

Special mention also to Ruth Gordon who won an Oscar as unctuous Mrs Castevet, the pushy neighbour taking too keen an interest in Rosemary’s pregnancy, and indie guru John Cassavetes as Rosemary’s failed actor husband whose fortunes take an upswing when his wife becomes in the "family way".

But, for those thinking renting out your wife’s womb to the Lord of the Flies is a gross betrayal, remember the words of Homer Simpson – "it’s a uter-US Marge, not a uter-YOU!"

Rob Daniel