attention. Particularly in its con- clusion, THE BABY suggests the male is condemned to a lifetime of immaturity without a strong patriarchal influence, regardless of mother figure.


Shane M. Dallmann previ- ously reviewed Image Entertain- ment’s DVD of this title at greater length in VW 68:12. He estimated the picture quality of that 1.33:1 transfer as not conspicuously better than its earlier King of Video VHS release, but ap- plauded the provision of a mu- sic/effects track and alternate Spanish audio. Neither of these bonuses has been ported over to this release, but Severin has treated the film to a thorough restoration and offers an anamor- phic 1.78:1 presentation, though


the packaging incorrectly indi- cates 1.66:1. Supplements fresh for 2011 include “Tales from the Crib: A Conversation with Ted Post” (19m 59s) and an interview with actor David (Manzy) Mooney, which ends abruptly at 11m 46s. According to Mooney, THE BABY is fact-based, inspired by an LA family that built a case for welfare via a “baby” daughter.


THE COLOSSUS OF NEW YORK


1958, Olive Films, $24.95, 69m 57s, DVD By Charlie Largent


Eugène Lourié’s melancholy sci-fi soap opera features a dys- functional family triangle with echoes of EAST OF EDEN and a


father-son reunion that continues past the grave. Alas, even with those intriguing elements, THE COLOSSUS OF NEW YORK is a lugubrious slog. That said, some of Lourié’s rococo flourishes are just too compelling to dismiss the movie out of hand.


Lourié worked mainly as a production designer, upholster- ing a remarkable variety of films from GRAND ILLUSION to SHOCK CORRIDOR. He also directed a small clutch of science-ficton movies (including GORGO and THE GIANT BEHE- MOTH) tinged with a uniquely wistful fairy-tale aura. THE CO- LOSSUS OF NEW YORK, with its unsettling interplay between a child and the living ghost of his father, is no different.


Mala Powers receives a wake-up call from THE COLOSSUS OF NEW YORK.


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