The Baby

The Baby is a distinctive psychological horror movie released in 1973. The film showcases the genre's capacity to unsettle audiences with provocative themes and distinctly unconventional storytelling. Directed by Ted Post and scripted by Abe Polsky, the film stars Anjanette Comer, Tod Andrews and Marianna Hill, who skillfully maneuver through the movie's unique plotline and macabre elements to deliver engaging performances.

Anjanette Comer plays the protagonist, Ann Gentry, a dedicated and determined social worker who finds herself ensnared in a riveting case revolving around the enigmatic Wadsworth family. Ann initially appears to be every bit a professional social worker, empathetic, analytical, and determined to make a positive impact. However, as the story unfolds, a less conventional side of her character emerges, hinting at a mysterious past and motivations that push her to investigate the strange circumstances in a seemingly typical suburban family.

Tod Andrews plays Dr. Bruner, a psychologist associated with the case and characterized by his rational approach and initial skepticism towards the subject matter the film delves into. Andrews delivers a suave and seasoned performance, providing a counterweight to the more overtly bizarre elements of the story.

Marianna Hill plays Germaine Wadsworth, the eldest of the Wadsworth daughters. As the film progresses, Hill's character reveals complex layers of resentment, protectiveness, and psychological entanglement that adds to the overall eeriness.

The titular character, Baby, is a fully-grown adult man who lives the life of an infant. This strange circumstance forms the crux of the movie and pushes the plot into the realm of macabre and uncanny. From the outset, Baby's predicament seems to be the result of a deeply dysfunctional family situation, ruled over by a domineering matriarch who insists on keeping her grown son in a state of permanent infancy. However, as Ann delves deeper into the case, she uncovers a web of deception, manipulation, and power dynamics that reveal a far more complex and disturbing reality.

The director, Ted Post, masterfully uses the backdrop of an ordinary suburban setting to enhance the eeriness of the film's central narrative. The seemingly normative exteriors of houses and neighborhood contrasts sharply with the bizarre and unsettling events unfolding within the Wadsworth’s residence. The seemingly banal domestic scenes depict the family's interactions with Baby, highlighting their dysfunction, and sowing the seeds of psychological horror that will escalate as the plot unfolds.

Thematically, The Baby explores the concept of arrested development and its implications, both psychological and social. It delves into the damaging effects of overbearing control and manipulation, highlighting how such dynamics can distort growth and breed morbidity. It underscores how familial relationships, often seen as a source of support and nurturing, can become a source of perverse cruelty.

The film also explores themes of obsession and compulsion, as Ann fixates on Baby’s case, leading her down a path that blurs the line between professional duty and personal vendetta. This preoccupation becomes a critical element in driving the plot forward, making the audience question the intentions of the characters and the ultimate endgame.

In essence, The Baby is a film that delves deep into the human psyche and its latent capacities for manipulation, malformation, and monstrous acts. It is a carefully layered horror movie that turns domesticity into a breeding ground of unspeakable horror. The performances by Comer, Andrews, and Hill truly bring this twisted narrative to life, making it a must-watch for horror fans willing to experience something unique and unsettling.