Manhattan Baby is a 1982 Italian horror film directed by Lucio Fulci, and starring Christopher Connelly and Carlo De Mejo.

On holiday in Egypt with her archaeologist father George and journalist mother Emily, nine-year-old Susie Hacker is approached by a mysterious blind woman who gives her an amulet.

Susie, her younger brother Tommy, and their au pair, Jamie Lee, are affected by the amulet, gaining supernatural access to dimensional doorways.

At her office, Emily and a colleague, Luke, are working on an article about the events in Egypt when a panicked Jamie Lee phones to say the children are locked in their bedroom.

When George and Emily find it in Susie's bedroom drawer, she appears to them glowing with an unearthly blue light and then faints.

Marcato is called to their apartment to examine Susie, but her inner voice possesses him crying for help and falls to the ground, bleeding and foaming at the mouth.

He regains consciousness and successfully links minds briefly with George, showing him a glimpse into the eldritch Egypt his children have been visiting.

A strange blue light of negative energy flows from Tommy, the bedridden Susie, and the dimensional doorways and channels into Marcato's home, where he is reciting an ancient Egyptian spell.

In the final scene back in Egypt, the mystical blind woman again appears and gives the same amulet to another young girl, intending to continue the curse for the forces of darkness, bringing it full circle.

Manhattan Baby was originally planned to have a larger budget than any of the films that Lucio Fulci had previously directed for producer Fabrizio De Angelis.

"[8] Newman concluded that the film "absolves itself from having to make sense: the rough circularity of the story, the insistence on mosaic images rather than smooth plotting, and the impossibility of attributing noble or heroic motives to the character of Marcato, finally serve to remind us that the supernatural is also the irrational.

[11][7] Leonardo Autera of Corriere della Sera commented, "They say that Lucio Fulci, the director, is the most gifted heir in the 'Italian horror' genre, of the late Mario Bava.

[13] Critiquing the continuous presence of eyes, the review declared that it was "a pointless and stupid film of no possible interest to anyone except demented opticians.

"[13] Louis Paul, author of the book Italian Horror Film Directors, opined that "although it contains some graphic murders, ultimately [Manhattan Baby] is a decidedly lifeless affair.