Roses Have Thoughts

“Manhattan Baby,” directed by Lucio Fulci, is a peculiar entry in the Italian horror genre, known for its mix of supernatural elements and ancient curses. Released in 1982, the film is a unique addition to Fulci’s repertoire, diverging from the more explicit gore and violence found in his other works like “Zombie” or “The Beyond.”

The plot revolves around an American family visiting Egypt, where their young daughter becomes the unwitting recipient of a cursed amulet. What follows is a series of eerie and supernatural occurrences that plague the family upon their return to New York City. Fulci attempts to weave a complex narrative, blending elements of traditional horror with an exotic backdrop, but the execution falls short of achieving a cohesive and engaging storyline.

The film’s strengths lie in its atmospheric cinematography and haunting musical score, courtesy of frequent Fulci collaborator Fabio Frizzi. The use of shadow and light creates a foreboding atmosphere, contributing to the overall sense of unease. Additionally, the practical effects, though dated by today’s standards, showcase the creativity of the special effects team in bringing the supernatural elements to life.

However, “Manhattan Baby” falters in its pacing and narrative coherence. The plot often feels disjointed, with scenes that seem disconnected from the central storyline. While Fulci’s ambition to blend horror with ancient Egyptian mysticism is commendable, the execution leaves much to be desired. The film struggles to maintain a consistent tone, veering between moments of genuine tension and unintentional campiness.

Character development is another weak point, with thinly sketched protagonists who fail to evoke much empathy. The performances, while serviceable, are not memorable, and the dialogue often feels stilted and unnatural. The lack of a compelling central character makes it challenging for the audience to fully invest in the unfolding supernatural events.

Regarding scares, “Manhattan Baby” relies more on a sense of dread and the uncanny than outright terror. While this approach can be effective in psychological horror, it often feels underutilized, leaving the viewer wanting more impactful and memorable moments.

In conclusion, “Manhattan Baby” stands as a mixed bag within Lucio Fulci’s filmography. While it boasts atmospheric cinematography, a haunting musical score, and moments of eerie tension, its disjointed narrative, lacklustre character development, and uneven pacing prevent it from achieving the status of a standout horror classic. Fans of Italian horror may find elements to appreciate, but those seeking a more cohesive and satisfying cinematic experience may be left wanting.

IMDB