ROSEMARY'S BABY (Through the Looking Glass Series) $6-$9 January 27, 2007

$9
$6 Students, Seniors, Members
$2 service fee for online purchases



(1968/color/136 min.) Scr: Roman Polanski, based on the novel by Ira Levin; dir: Roman Polanski; w/ Mia Farrow, John Cassavetes, Ruth Gordon.

A young woman believes herself impregnated by the Devil (in the guise of her husband, a struggling actor), but is her fear of a witches' coven grounded in reality or a figment of her imagination? Like the sexually repressed heroine of Polanski's Repulsion (1965), Rosemary inhabits a psychic apartment complete with an incessantly ticking clock, the faraway sound of piano scales, and nightmare assailants-all signs of an alternate reality that can be sensed but not seen. As Time Out noted, "Although it manages to be frightening, there is little gore or explicit violence. Instead, what disturbs is the blurring of reality and nightmare, and the way Farrow is slowly transformed from a healthy, happily married wife to a haunted, desperately confused shadow of her former self."

Through the Looking Glass (and Down the Rabbit Hole...) January 19, 2007–February 24, 2007 "The world is much deeper but also more transparent than we think.... And the magic of film consists in the possibility to express any phenomenon you want. That's why I like it so much. Sometimes you may think that I am out of touch with reality, but in fact I am a part of reality, that's all."—David Lynch Rene Magritte's enigmatic paintings, with their deadpan humor and emphasis on monumental objects, were created during a century that saw the birth of both cinema and psychoanalysis and, in the words of LACMA's senior curator of modern art, Stephanie Barron, continue "to appeal to modern audiences hungry for the puzzling conjunctions of the everyday and the fantastic." Though the concept of parallel realities existed in the Victorian era, it was cinema that could induce a dreamlike state in the viewer and depict the visual landscape of the unconscious. Lewis Carroll's "looking glass" is perhaps our most famous metaphor for the irrational, but it is also an ancient symbol with a variety of meanings: vanity, duplicity, madness, schizophrenia, and hallucination among them. Not surprisingly, many of the films in this series are thrillers, and many depict characters whose obsessions become pathological or self-destructive. For filmmakers like David Lynch, Luis Buñuel, Ingmar Bergman, and Jacques Rivette, the "looking glass" is the cinema itself, and the silver screen is the mirror through which we, the audience, pass. At its most mythic, death is the unknown land that lies on the other side of the looking glass: in Orphée and Vertigo, the characters journey into the mirror to steal a loved one back from Death itself. Alternatively, films such as Alice in Wonderland and The Wizard of Oz depict imaginary landscapes peopled by delightful and menacing creatures. And in virtually all the films in the series, the audience, like the characters, must ask itself: what is real, and what is fantasy?

Official Website: http://www.lacma.org/programs/FilmListing.aspx#bdp