Horror at the Oscars: Ruth Gordon’s Best Supporting Actress Win for ‘Rosemary’s Baby’

With over a century’s worth of cinematic witches, Ruth Gordon’s turn in Rosemary’s Baby as Minnie Castevet broke the mold. To be fair, the reveal that the disarming, matronly Manhattanite serves Satan comes as a late-game twist, but even then, Minnie doesn’t revert to an archetypical witch form. Minnie Castevet remains as effervescent, stylish, and unflappable as she is from the start, even as Rosemary’s Baby ends on its iconic shocking final shot. 

That is by design, of course. The very notion that the Devil’s most loyal followers aren’t physical monsters or social outcasts but everyday people who sold their souls for money and status is the audacious foundation for Rosemary Woodhouse’s (Mia Farrow) harrowing plight, after all. While writer/director Roman Polanski, adapting Ira Levin’s bestselling novel, effectively lays the groundwork to ensure this reveal achieves its seismic intended impact, much of the credit belongs to Ruth Gordon as Rosemary’s overbearing but warm new neighbor.

It’s easy to overlook Minnie’s significant role in heralding the Antichrist through her continued manipulations of Rosemary when Gordon is such an unstoppable force of nature. Whereas horror often relegates Satan’s servants to darkness, both in design and spirit, Minnie Castevet is a bright flash of lightness. The petite, elderly woman is pure energy and rapid fire wit, with an icy contempt lingering just beneath a polished, bubbly surface. There’s a deceptiveness to Gordon’s sing-song line delivery that makes Minnie’s dialogue stand out. You can practically hear Minnie beaming with feisty pride with quotes like, “He chose you, honey! From all the women in the world to be the mother of his only living son!” Gordon’s Broadway background and prolific career, combined with her comedic chops, effortlessly carved out Minnie’s spot as one of horror’s most memorable all-time villains.

Not even the Academy could deny the actor’s incredible and subversive work on Rosemary’s Baby, earning Gordon her first Oscar win for Best Supporting Actress in 1969. For context, Gordon, born in 1896, was 72 years old when she collected her gold statue and had already amassed four Academy Award nominations in her career for her screenwriting and acting. For additional context, Gordon beat out fierce competition from Estelle Parsons (Rachel, Rachel), Lynn Carlin (Faces), Sondra Locke (The Heart is a Lonely Hunter), and Kay Medford (Funny Girl).

Gordon’s charming acceptance speech cuts right to the heart of this unique win: “I can’t tell you how encouragin’ a thing like this is. The first film that I was ever in was in 1915, and here we are, and it’s 1969. Actually, I don’t know why it took me so long; though I don’t think, you know, that I’m backward. Anyway. Thank you, Bill. Thank you, Bob. Thank you, Roman. And thank you, Mia. And thank all of you who voted for me. And all of you who didn’t, please excuse me.”

Horror doesn’t often receive notice from the Academy and similar awards organizations, though the genre’s technical achievements have an easier time getting recognition than award categories that are already overstuffed with prestigious critical darlings and award contenders. It does make the rare wins all the more noticeable and meaningful, further highlighting the all-encompassing nature of horror. It’s a genre that lets a prolific, tenured Broadway actress and award-winning screenwriter embody a vibrant Satanic neighbor in a way that only she could, earning her a long overdue, late-career win at 72 years old in a crowded, highly competitive field. 

The truth is that horror thrives with or without award recognition, but it is validating when it happens. Ruth Gordon’s Best Supporting Actress win in 1969 is the cherry on top of an incredible career-defining performance, the type that changed the genre while serving as a warm, feel-good reminder to keep pursuing your dreams. 

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