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Worthwhile,off beat, modern Gothic tale centering on a dysfunctional family that emasculates the only male in the family by keeping him a baby:even though he is fully grown. And lucky "Baby", all the women in the film want him for their own reasons. An unusual premise, with effective performances, efficient direction, and good use of location makes for an enjoyably twisted B movie. The movie drags a bit toward the end, and begins to seem a bit thin, but it remains compelling. A real find on budget DVD.

Comer is well-cast in the lead and Roman's performance is classic. As Roman's daughters, cult figure Marianna Hill (Red Line 7000,Medium Cool, High Plains Drifter,Dead People) and Suzanne Zenor are convincingly creepy. And did I mention Beatrice Manley Blau as Comer's mother-in-law? Now, she's scary!

Slick and sick little film that ends with a nice twist. Shelved by the studio;than given a limited theatrical release. A bit difficult to categorize but, definitely worth seeking out. The DVD, regrettably, has no extras but, the transfer looks good.

I first saw "The Baby" on a late night horror show called "Grimsley". It was on TV so of course they had to edit the very few graphic scenes, but it is still nonetheless disturbing. But as a 9 year old kid, watching a man-child in diapers didn't scare me a bit. Monsters scared me. So this movie was just goofy and at the same time interesting. Why would anyone be interested in such a warped conceit as "The Baby". It's just weird and intriguing. But it also has a sweetness to it. The outcome of course is a very eerie twist and touching outlook on love and compassion. Whether or not this film intentionally tried to freak you out or just paint a strangely humanistic picture, it succeeds on the freakish level. But its played with total seriousness. Serious and corny. Don't be surprised if you catch find yourself shaking your head repeatedly at this movie, you will also be surprised at how much it will mesmerize you.

They could never make a film like this today. If they did, it would have an all-star cast, a loud, obtrusive score, and dizzying, roller-coaster camera effects. Back in the 70s they had to get by on talent, imagination and audacity alone. Luckily, they had plenty of that back then. This is not a 'twisted" film, at least anywhere nearly as twisted as say, "Bad Boy Bubby" or "Sonny Boy" (now those movies are reeeeally twisted!), but then what can one expect from Hollywood? This movie is like Diabolique made as a 1970s TV movie-of-the-week with a drive-in sleaze chaser. There's definitely a lack of credibility in this movie's plot - not that a woman couldn't keep her grown son in the mental state of a six-month infant. That's plausible and has happened before, but it's extremely unlikely that the authorities who knew about this kid all those years wouldn't have insisted on special schooling and therapy from day one. But who cares? Here we've got a film with two wicked Barbie Doll sisters who have venom in their veins and just looove to tease men. There's some great bad seventies fashion and a 'wild party' scene (well, wild for the suburbs. Ahh, Hollywood – so out of touch!). And what can you say about Ruth Roman? She's Joan Crawford, Bette Davis and Ernest Borgnine all rolled into one. They just don't make broads like that anymore!

As mentioned by others, there are lots of twists and turns in the plot, but most anyone can figure them out very early on. But again, who cares? This movie works because of its audacity in the face of its conventionality and well, there is an intelligence at work somewhere in the midst of its drive-in movie formula. Take that whole scene with the babysitter for instance (for those who haven't seen this, you'll just have to see for yourself). I knew what was going to happen, but the way it built up so naturally seemed very honest and real. Which is why it freaked me out so much. Every now and then the film slips that comfort rug out from under you. Freak city! Then it relaxes safely in the realms of convention, but that's okay too because the whole movie has such charming camp appeal. Let's make that clear: this is a camp movie, NOT a horror movie! It's stupidly being marketed as horror, so it's understandable that the kiddies who are looking for lots of gore and boobies are feeling disappointed. Stick with Argento, kids! Oh yeah… huge kudos to David Mooney (Manzy – whatever) who played 'Baby'. He should have become a star.

Bizarre, truly twisted tale of a mother who keeps her grown son in a perpetual infant state. Conflict arises when a social worker tries to intervene. Very low budget and flatly photographed yet it's offbeat enough to keep you going all the way to it's twist ending. There are not too many roles requiring grown men to wear diapers, sleep in a crib, and cry, but if there were Manzy would most certainly win the award. Hill and Zenor, as the two daughters, are sexy enough to create some diversion. Roman and Comer make good adversaries, which they play to the hilt!!

The Baby joins a select club of really flaky little films from the poofy-hair-on-guys era, early 70's to early 80's; the best of these was Night Warning, William Shatner's wigged-out Impulse is another, the MST'd Touch of Satan is another. The Baby and Impulse even share the services of the wondrous Ruth Roman, who in The Baby looks more than ever like Victor Mature in full drag. All these feature somebody driving around in a Dodge Dart or a Maverick and plot twists that make you ask, "What were these people ON?"

Ted Post was already in his late fifties when he did The Baby, so the lame direction can't be written off as a young director learning his craft. It just plain sucks. Anjanette Comer stands around screeching and flapping her hands for emphasis like she's at a community-theater audition; it's hard to see any of the luminescent Aimee Thanatogenos from The Loved One, just eight years before. And Baby is a hoot - this was pretty much the entire career of the hard-working young actor trying to make us believe he's a teenager operating at a 9-month-old level, but somebody decided to dub in the sounds of a real baby coming from his adult voice-box, and you don't buy the bit for five seconds.

But there's just enough here to make it worthwhile to stick it out for the snapper ending. Anybody who says they guessed where this was going is lying like a red dog. It's no Night Warning, but if you've seen Night Warning and you need another sip from the same bucket, it'll do.

Don't bother looking for a single sane character in this twisted, demented sickie, because there isn't one; you just keep watching and waiting to see who will prove to be the most perverse of them all. If you can accept the hard-to-swallow premise, then the film is fairly entertaining. Plus, it has an AMAZING ending. You won't see it coming, no matter how good you think you are at predicting plot surprises. (**)

"The Baby" is one of the oddest films you will ever see. A social worker is suspicious of a family that includes a grown man called "Baby" who behaves like an infant and wears diapers. The women in the family seem invested in his remaining baby-like. The mystery of this horror film lies in learning their true intentions. Or does it?

"The Baby" feels like the second offering in a grade B, drive-in horror double feature. Some of the production values are adequate, but they are undermined by the rambling background music and the incessantly annoying and fake baby sounds that supposedly come from Baby.

The film has its roots in "Psycho", but falls far short of Hitchcock's mastery. The director does use light effectively and he is able to frame a scene, but otherwise the film is nearly laughable.

The ending is a surprise, but it falls short of delivering on the film's promise of shock or horror.

This is a low budget thriller about a bizarre family: a woman and her two grown daughters who are raising ?Baby,? a fully grown man in diapers. Supposedly he's mentally retarded, but a social worker who visits has her doubts. She starts to investigate the family. The film delivers some surprisingly good performances: the looks exchanged between the mom and her daughters and the social worker are terrific, and reveal a lot of creepy subtext. You begin to wonder about the motivations of everyone involved. The ending is a nice little twist that's unexpected and worth the wait. This not high caliber art, but it is fun, and delightfully twisted.

Even after viewing the most pathetic cinematic dreck, I try to avoid the word "stupid" (I once had an English professor who discouraged its use), but that's ultimately the best way to describe "The Baby," a film that's either weirdly stupid or stupidly weird. It is sporadically interesting, but simply doesn't go far enough in its tale of a perky social worker trying to gain custody of 'Baby,' a grown adult male cared for by a gravel -voiced mother and two 'weird' sisters. Director Ted Post seems to have been shooting for a "Spider Baby" vibe, but comes up short on all counts; if this were a carnival sideshow, I'd angrily ask for my money back. The pace frequently drags, there's nary a likable character, and too often it feels like the movie is just killing time in the blandest possible way (to make that idiotic ending seem all the more 'exciting,' perhaps?).

A social worker gets her most insane case to date when she checks in on a 20-something boy who's being kept to live like a baby by his insane mother and abusive sisters. It's the kind of movie that you can't imagine ever got made in the first place, but the sleaze is offset by the sense of humor and campy performances.

How can you go too far wrong with a film that centres much of its action around a fully grown man in a nappy!

On many levels this is a mess, and yet it's still utterly fascinating, shocking and very very funny. Could be read as an early feminist backlash film given the way that women feature as utterly exploitative and controlling figures who seem to want to do nothing other than mother and infantalise men. Ted Post's direction is typically rough and ready, though you can see a little of the influence of Peckinpah (for who Post was a regular cinematographer) in the over-blown, lurid quality of the film and the way it tends to handle female characters. It also owes a fair bit to Russ Meyers and other exploitation film makers of the late 60s and early 70s. I highly recommend it - I promise you will never have seen anything quite like this before and you certainly won't see it's like again.

When I started watching this, about twenty minutes in, I had an inclination to stop the film. It was just "ODD". But then I found the oddness strangely compelling and by the end of the film I was like WTF. Totally a great ending--did not see that coming. I'd watch this again for sure, and I bet I'd notice things I didn't see the first time. Baby's female family members were the very definition of crazy, and man how they pulled it off expertly. I could see something like this being unearthed in real life. An adult baby child kept in a crib and made to be a basic invalid. The Baby's a great role, even if it's sad and unfortunate. The guy who played him did a superb job.

I went into this one totally blind- I was actually expecting a cheeseball, low budget ripoff of "Rosemary's Baby." Boy was I mistaken.

This movie is totally strange and uniquely disturbing; and I mean that in a good way. The image of the baby playing ball and trying to stand up will be forever burned into my psyche. The day after viewing, I found myself thinking of his awkward movements and his upsetting cries.

Nice little twist at the end- not on the level of some flicks today. but hey for '73, it definitely impressed me.

Recommended for fans of early John Waters, 70's TV horror movies, etc. Would make a good double feature with "Bad Boy Bubby." 8 out of 10, kids.

A social worker tries to intervene when she discovers a woman has been treating her mentally challenged adult son as an infant and won't allow him to be an adult.

I was in the mood for 1970s exploitation and this is about as bizarre, exploitative and intriguing as it gets. People not familiar with this type of film will be shocked and disgusted. I think it's very memorable, I had seen it on TV years ago and it has haunted me ever since. I got the DVD a few years ago when my favorite video store was closing, I have watched it whenever the mood hit me. The son is merely called Baby and he crawls on all fours, wears diapers and cries and gurgles but never learned to speak. The only major weakness is the cries are dubbed in, sounding still like a baby though the character is a grown man. Anjanette Comer (she was in the classic black comedy The Loved One) plays the social worker and she gives an excellent performance. Classic film veteran Ruth Roman plays Baby's nasty mom. Ted Post is the director, he had mostly done TV but his most notable film work was inferior sequels to hit movies like Beneath The Planet Of The Apes (1970) and the Dirty Harry follow up Magnum Force. The Baby IMO is his best film, after all the weird and wild stuff at the beginning we get a knockout of a twist ending, cranking this one up an extra notch.

I first watched The Baby one halloween. It is set in an American town, in the 1970's. The colours are vivid oranges and browns, to the extent where they become overbearing.

The film revolves around a man who is treated like a baby by his family due to his mental development. A social worker is assigned to work with the family. The abuse he suffers is disturbing and shocking. It is a very original film in terms of the antagonist and protagonist. It is weird beyond belief.

The premise is so grotesque that memories linger to this day. I have never been more impressed and disgusted with a twist in a movie. I would recommend this film to anybody, anybody who wants to watch a film that is guaranteed to shock and surprise.