A prequel can either be an inspired exploration of a beloved story’s past or a foolish attempt to rehash familiar ground. Unfortunately, ‘Apartment 7A’ falls into the latter category. Centered around Terry Gionoffrio, a minor character from the 1968 masterpiece ‘Rosemary’s Baby,’ this prequel suffers from a fundamental flaw: Terry’s fate is already explicitly revealed in the first act of the original film. This inherent predictability hangs over the entire narrative, leaving viewers who are familiar with the original film feeling like they’re simply watching a retread of familiar events.
Moreover, ‘Apartment 7A’ fails to grasp the essence of what made ‘Rosemary’s Baby’ so terrifying. The original film, considered a landmark in American horror cinema, is not simply a jump scare-filled thriller. Its true horror resides in the subtle, pervasive unease it creates, lingering in the smiles of seemingly innocent neighbors, the shadows of the apartment building, and the veiled truths behind the characters’ actions. The film masterfully avoids blatant displays of horror, instead opting for a nuanced, darkly humorous approach that makes the true evil of its villains all the more startling.
‘Apartment 7A,’ on the other hand, is heavy-handed in its approach. It utilizes static shots and sharp cuts, sacrificing the dreamlike atmosphere of its predecessor for a more literal and absurd style. The film’s reliance on explicit visuals and a lack of ‘Rosemary’s Baby’s’ macabre humor ultimately undermine its attempt to evoke fear and suspense.
The film opens with Terry, a dancer with aspirations of Broadway stardom. A devastating ankle injury shatters her dreams, leading her down a path of despair and drug addiction. She is eventually taken in by Minnie and Roman Castevet, a seemingly kind elderly couple. Their offer to let her stay in an apartment next door to theirs seems like a stroke of luck, but soon Terry’s suspicions grow as she experiences unexplained bruises and disturbing visions following a night with their Broadway producer neighbor, Alan.
While ‘Apartment 7A’ attempts to introduce its own elements, it ultimately feels like a pale imitation of its predecessor. The film’s predictable plot, which mirrors the major beats of ‘Rosemary’s Baby,’ further diminishes its originality. The decision to overemphasize the malevolence of the characters, especially Minnie, backfires, as Dianne Wiest’s portrayal pales in comparison to Ruth Gordon’s nuanced performance in the original. The film’s attempts to imitate Gordon’s accent and voice only serve as distracting reminders of the original film’s brilliance.
However, Julia Garner’s performance as Terry is a standout. Garner brings a raw desperation and bluntness to the role, offering a fresh perspective on the character. She embodies Terry’s struggles convincingly, delivering a performance that stands out from Mia Farrow’s iconic portrayal of Rosemary.
Despite its shortcomings, ‘Apartment 7A’ does explore some intriguing themes. It delves into the exploitation of women’s professional dreams by those in positions of power. However, the film’s upfront approach diminishes the impact of its message. The ending, while competently executed, feels weightless due to the lack of emotional investment in the supporting characters. The film’s failure to replicate the captivating performances and nuanced storytelling of its predecessor ultimately leaves it feeling hollow and uninspired.
‘Apartment 7A’ may be a visually stylish and occasionally scary prequel, but its lack of originality and its inability to capture the haunting essence of ‘Rosemary’s Baby’ leaves it feeling like a missed opportunity. It fails to offer a compelling alternative to its predecessor and instead serves as a reminder of the original film’s enduring power and the delicate balance required to successfully expand a beloved universe.
