Apartment 7A
“Apartment 7A” is a prequel, of sorts, to “Rosemary’s Baby,” still one of the most chilling films ever made about losing agency over your own body. The 1968 horror classic takes place in the fictional Bramford, a rambling apartment building on Manhattan’s Upper West Side that seems to have been colonized by a coven of devil worshipers. Early in that film, Guy and Rosemary Woodhouse (John Cassavetes and Mia Farrow), a young couple new to the building, meet a troubled woman in the laundry room. Her name is Terry Gionoffrio. “Apartment 7A” is her story.
In the prequel, Terry (played by the reliably good Julia Garner) is a mousy Nebraskan who moved to New York with stars in her eyes. She’s a dancer who’s dying to see her name in lights above a Broadway marquee, just like millions of young people before her. When we meet her, she’s getting her first big break, which unfortunately for her translates to an actual break — of her ankle, that is, onstage. The accident both sidelines her dancing for a while and earns her a reputation around town as “the girl who fell.”
A few months later, driven by a strong desire to land a role, she returns to the audition scene. Unfortunately, she stumbles during her audition for a glamorous new production by Broadway producer Alan Marchand (Jim Sturgess). In a final attempt to seize an opportunity, she visits the Bramford, where Marchand resides. However, her encounter with him does not unfold as she had hoped. Instead, she meets Roman and Minnie Castevet (Kevin McNally and Dianne Wiest), an eccentric yet kind older couple who happen to have a vacant spare apartment available for her to use until she can regain her footing.
At this juncture, one can anticipate the general trajectory of the story. This is especially true for those familiar with “Rosemary’s Baby,” as the two films share striking similarities, which ultimately detracts from the uniqueness of this one. It is likely that most viewers of “Apartment 7A” will recognize the plot of the earlier film. As characters from that story are introduced, their fates become predictable, and the screenplay, penned by Natalie Erika James, Christian White, and Skylar James, offers few unexpected developments.
The primary issue with “Apartment 7A” is that, while Natalie Erika James directs it competently, it ultimately falls short. It has its moments of spookiness, but what sets apart truly engaging prequels is their ability to provide fresh insights into their original stories, enhancing or complicating them in meaningful ways. Unfortunately, “Apartment 7A” comes across as a predictable rehash.
The central concept also feels unoriginal. “Rosemary’s Baby” is often associated with themes of Satanism and the devil’s offspring, but its brilliance lies beyond that aspect, which can seem a bit cliché by the end. The film’s enduring impact stems from its core idea: the inherent fear of existing in a young, fertile woman’s body. Others often feel entitled to control and comment on her experience, especially during pregnancy, dismissing her feelings as overly “emotional.” Throughout much of the film, Rosemary grapples with uncertainty—wondering if her fears are real or merely figments of her imagination. Is there a conspiracy against her, or is it just the influence of hormones? Is she simply another example of a woman labeled as hysterical?
The fundamental questions driving “Apartment 7A” remain similar, but the film incorporates additional elements relevant to the era, particularly concerning women’s aspirations and the topic of abortion. Terry endures the irritating antics of the intrusive Castevets, odd occurrences, unsettling noises, and more, all in her quest for success. As a young woman navigating the entertainment industry, she has encountered these challenges before.
However, the film lacks fresh insights and fails to offer much in terms of surprises or enjoyment: it feels like “Rosemary’s Baby,” but centered on a single woman focused on her career.
For More Movies Like Apartment 7A (2024) Watch on Fmovies
Comments
Post a Comment