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Manhattan Baby

Manhattan Baby is a 1982 directed by . The story follows an archaeologist who unwittingly unleashes an ancient evil spirit from an during an expedition, leading to the possession of his young daughter upon their return to . Starring as the archaeologist George Hacker, alongside Laura Lenzi, Brigitta Boccoli as the possessed daughter Susie, and , the film blends elements of possession horror with giallo-style mystery and graphic violence typical of Fulci's work. The plot begins in , where George and his colleague open a cursed , releasing a malevolent entity that attaches itself to via a mystical amulet given to her by a blind woman. Back in , the spirit's influence manifests in disturbing visions, animal attacks, and a series of gruesome murders, including hallucinatory sequences involving flesh-tearing birds and disorienting . Composed by , the film's eclectic score enhances its atmospheric dread, though production constraints resulted in a modest budget that limited . Originally released in under the title Manhattan Baby, it was also known internationally as Eye of the . Critically, Manhattan Baby received mixed to negative reviews, often regarded as one of Fulci's weaker entries in his catalog due to its uneven pacing and narrative incoherence. On , it holds an audience score of 24% based on over 1,000 ratings, reflecting its polarizing appeal among viewers. Despite this, the film has garnered a for its bizarre imagery and Fulci's signature gore, contributing to his reputation as a master of during the early 1980s.

Background

Development

Manhattan Baby originated under the working title Il malocchio ("The Evil Eye"), which was altered to Manhattan Baby for greater international marketability, drawing a loose parallel to Roman Polanski's . The story was developed by Dardano Sacchetti in collaboration with his wife, Elisa Briganti, centering on an ancient Egyptian curse that unleashed supernatural horrors, a motif aligned with Lucio Fulci's fascination with otherworldly elements evident in his prior film . Production was spearheaded by Fabrizio De Angelis for Fulvia Film, with an originally planned of 800 million lire reduced to 400 million due to financial constraints. Sacchetti expressed frustration at the dilution of his intricate plot to accommodate the slashed .

Genre and Style

Manhattan Baby is classified as a , incorporating elements of and an ancient curse, within the broader context of early 1980s horror cinema. Unlike the visceral zombie outbreaks in Lucio Fulci's earlier works such as Zombi 2 (1979), it eschews extreme gore in favor of psychological and metaphysical tension, aligning more closely with narratives reminiscent of The Exorcist but infused with occult Egyptian themes. This positions it adjacent to the giallo tradition's atmospheric suspense, though it prioritizes otherworldly incursions over the genre's typical mystery-driven murders. Fulci's directorial style in Manhattan Baby exemplifies his signature motifs, including —manifested in a blinding sequence that underscores vulnerability and sensory invasion—and surreal dream logic that blurs reality with hallucinatory visions. Hypnotic visuals, such as astral projections and portals, dominate over linear narrative progression, creating a disorienting atmosphere through and striking, ethereal imagery like sand infiltrating modern interiors. These elements reflect Fulci's shift toward metaphysical , emphasizing mood and the rather than . The film draws on , portraying an amulet as a conduit to other dimensions and an ancient entity named Abnubenor, which possesses the young protagonist and unleashes chaos. This ancient curse invades the contemporary urban setting of , contrasting timeless mysticism with the family's modern apartment life to heighten the of intrusion into everyday reality. Compared to Fulci's "" trilogy—comprising City of the Living Dead (1980), (1981), and (1981)—Manhattan Baby serves as a looser extension, featuring slower pacing and restrained violence that prioritizes supernatural subtlety over the trilogy's unrelenting otherworldly assaults.

Production

Casting

The principal role of Professor George Hacker, the archaeologist father, was played by American actor , who brought his experience from television series such as Peyton Place to the lead, enhancing the film's appeal to international audiences. Brigitta Boccoli portrayed Susie Hacker, the possessed daughter, in one of her early film roles as a child actress, underscoring themes of vulnerability through her performance. Giovanni Frezza played Tommy Hacker, the son, while appeared as Luke, the family's friend and informal investigator; De Mejo was a recurring collaborator with director , having starred in earlier works like (1980). In a supporting capacity, Cinzia De Ponti took on the role of Jamie Lee, the enigmatic antiques dealer whose interactions add to the intrigue. The character of the blind woman encountered in , who introduces the cursed amulet, remained uncredited and was incorporated as a late script addition. Fulci's decisions blended Italian performers with international talent like Connelly to broaden export potential, a strategy he employed across his output to attract global markets.

Filming

Principal photography for Manhattan Baby commenced in early March 1982 and wrapped by late April, encompassing location shoots in , Egypt, for the film's opening tomb sequence amid the pyramids; , including apartments, the Time & Life Building at 1271 6th Avenue and West 50th Street, 140 Warren Street, and John Finley Walk near the for the urban curse sequences; and interiors at Incir De Paolis Studios in . The production relied on practical effects to depict supernatural elements, such as the glowing amulet and otherworldly portals, with makeup artist Maurizio Trani handling creature attacks and re-animations; however, gore was minimized due to severe budget reductions that slashed the planned 800 million Italian lire to 400 million during shooting, curtailing more ambitious visual realizations. Cinematographer Guglielmo Mancori captured the film's eerie tone through shadowy compositions and lingering shots focused on eyes and disorienting spaces, aligning with director Lucio Fulci's signature style of slow, probing camera movements to build tension. Editing was overseen by Vincenzo Tomassi, whose cuts amplified the narrative's sense of psychological fragmentation and intrusion through rhythmic pacing and abrupt transitions.

Release

Theatrical Distribution

Manhattan Baby had its world premiere in on August 12, 1982, where it was distributed by Fulvia Film. The film achieved a modest domestic box office gross of 409,424,657 lire. In the United States, the film saw a limited theatrical rollout in under the alternate title Eye of the , positioned as a low-budget with scant promotional beyond basic advertising targeting niche audiences. This restricted reflected the challenges faced by Italian genre imports during the era, often confined to urban art houses or drive-ins without widespread studio backing. The opted for a in 1983, retitled The Possessed. International variations like these underscored the film's uneven commercial path, with theatrical opportunities limited outside its home market.

Home Media

The first U.S. home media release of Manhattan Baby was a DVD edition from , issued on June 12, 2001, which included basic supplemental features such as the theatrical trailer and an eight-minute with co-writer Dardano Sacchetti titled "Beyond the Living Dead." In 2016, released a limited three-disc special edition set comprising a Blu-ray, DVD, and of the original soundtrack by , featuring a new 2K restoration from the uncut camera negative for enhanced visual clarity and color saturation. The supplements encompassed extensive interviews, including a 56-minute with composer on his collaborations with director , a nine-minute discussion with Cosimo Cinieri on his role and Fulci's directing style, an 11-minute featurette with makeup effects artist Maurizio Trani reflecting on 25 years working with Fulci, and a 13-minute by Stephen Thrower covering the film's production context and influences; additional materials included a live performance of key score cues, a trailer, a and stills gallery, and a 25-page with by Chris Alexander. Subsequent physical releases include a standard one-disc Blu-ray edition from in April 2022, carrying over the restored transfer and core extras. The film became available for digital streaming on platforms such as and Shudder starting around 2020, broadening access beyond physical formats. Internationally, an Italian-language Blu-ray variant was issued by Raro Video in 2018, while a edition followed from in 2023; as of November 2025, no official UHD release exists, although unofficial fan restorations have appeared in online communities. These high-definition home media editions have significantly improved the film's accessibility for enthusiasts, facilitating renewed appreciation of its surreal elements and contributing to its enduring, albeit minor, status among Italian genre cinema collectors.

Reception

Contemporary Reviews

Upon its release in in August 1982, Manhattan Baby elicited largely negative responses from critics, who praised its visual style while decrying the incoherent plot. The commended the film's atmospheric imagery but slammed its narrative disarray as lacking cohesion and direction. Similarly, dismissed it as derivative of earlier films and criticized its sluggish pacing that failed to build tension effectively. Internationally, the film fared no better upon its limited release, often retitled Eye of the in the United States in 1984. U.S. trade publications like treated it as a typical low-budget import, noting its generic tropes without distinguishing merits. In the UK, early video releases prompted reviews that highlighted the atmospheric dread evoked by its motifs and dreamlike sequences, but lambasted the weak scripting and underdeveloped characters for undermining the elements. The film's modest performance in , where it earned approximately 409 million lire, underscored the mixed word-of-mouth among audiences. Viewers drawn by Lucio Fulci's reputation for graphic gore from films like Zombie (1979) and The Beyond (1981) expressed disappointment over the subdued violence and reliance on suggestion rather than explicit shocks. Common critiques across reviews centered on the rules' lack of internal logic, which left plot developments feeling arbitrary and unresolved. The recurring eye motifs, while visually striking, were seen as overemphasized without meaningful payoff in the story's resolution. English-dubbed versions exacerbated these issues, with awkward and unnatural dialogue delivery further alienating non-Italian audiences.

Modern Assessments

In the years following its initial release, Manhattan Baby has undergone reevaluation within Lucio Fulci's oeuvre, particularly through high-definition restorations that highlight its atmospheric and visual elements. The 2016 Blu-ray release by , sourced from a 2K scan of the uncensored negative, was praised for unveiling the film's subtle hypnotic pacing and surreal imagery, such as dreamlike optical effects and non-linear sequences, which were obscured in prior transfers. However, reviewers noted persistent weaknesses, including a laboring middle section, underdeveloped dialogue, and lack of the visceral gore typical of Fulci's earlier works like (1980), positioning it as one of his lesser efforts in the cycle. More recent analyses, such as a review, have framed Manhattan Baby as an underrated entry for its innovative blend of urban supernatural horror—merging Egyptian curses with paranoia and parapsychological investigation—offering a conceptual departure from Fulci's zombie-centric films. Despite this, criticisms persist regarding the underdeveloped possession trope, which echoes (1973) without cohesive mythology, and the lifeless performance of child actors Brigitta Boccoli and Giovanni Frezza, contributing to the film's uneven execution. Fulci and screenwriter Dardano Sacchetti reportedly disowned the project, underscoring its status as a flawed experiment. Academic and fan discourse in Fulci retrospectives has viewed Manhattan Baby as an experimental failure that nonetheless advances his signature motifs, particularly the obsessive eye symbolism as a precursor to his later surreal horrors. The film's depiction of blindness—through the archaeologist's affliction and ghostly figures with blank, sightless eyes—exemplifies Fulci's fixation on ocular vulnerability, seen in extreme close-ups and trauma sequences that prefigure the abstracted visual poetry in works like Cat in the Brain (1990). This theme, culminating in motifs of gouged or impaired vision, marks the end of Fulci's 1979–1982 horror phase without achieving the narrative coherence of his peaks. Overall, modern consensus rates Manhattan Baby modestly, with an score of 4.9/10 based on over 3,600 user ratings as of 2025, reflecting appreciation among niche Fulci enthusiasts for its moody atmosphere and eerie sound design over outright scares. It lacks major cultural impact, remaining a for audiences rather than a cornerstone of the genre.

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