‘The Fly’ extended, streamlined

Press, 23 February 1987, Page 4

‘The Fly’ extended, streamlined

at the cinema

hons petrovic

“The Fly” Directed by David Cronenberg Screenplay by Charles Edward Pogue

and David Cronenberg “As Seth Brundle awoke one morning from uneasy dreams, he found himself transformed in ‘ his bed into a gigantic fly.” —Brundle’s “Metamorphosis” In “The Fly” (Savoy), however, the metamorphosis from man into insect is not as simple a fait accompli as in the above paraphrase of Kafka’s immortal words. “The Fly,” also, has undergone many changes since it first appeared, about 40 years ago, in George Langelaan’s memorable short story, in which a scientist, experimenting with teleportation, accidentally had his head transposed with that of a fly; leaving him with a bestial upper portion, and the fly with a white, human head. In 1958, this was turned into a reasonably faithful film version, starring Vincent Price; to be followed by two silly sequels, “Return of the Fly” (I 960 and "Curse of the Fly” (1964). According to Hollywood’s astrological calendar, 1986 must again have been the Year of The Fly, with this unkillable creature emerging again like a phoenix out of fire — or a scarab out of dung. This time, “The Fly” has been mutated into a streamlined version of its scruffier earlier selves, with great (though definitely sickening) special effects, some sorely needed humour and human compassion, and a story that comes a little closer to making sense. “Help me, help me,” were the memorable lines of the original “Fly,” as the tiny creature, with its human head, was squashed into oblivion. This was a great device for the ending of a short story, but it never fully explored the glories and possibilities of flyhood. (Imagine the day when a fly can proudly stand up on a diner’s table and say, “It was not the waiter’s thumb, but I who was in your soup.”)

This time, the writer (Charles Edward Pogue) and director (David Cronenberg) have considerably extended “The Fly’s” tale, so that it is not just a sudden switch from man to beast, but a gradual metamorphosis.

After one unfortunate teleportation attempt in which our hero, Brundle (Jeff Goldblum), is teleported from one pod to another, unknowingly accompanied by a housefly, he slowly begins to change.

His strength and reflexes increase as much as his ability of recuperation after copulation. He

feels like a new man, but then he grows bristles on his back, his face becomes mottled, and he moults his finger nails, ears and teeth.

These changes, it seems, are due to a mistaken fusion, by the telepod’s computer, of Brundle and fly at the molecular-genetic level — the teleporter has turned into a gene splicer.

Brundle’s mind, however, still seems to be in brilliant control, with his delectable girlfriend, Veronica (Geena Davis), only starting to worry when he insists on her also going through the teleportation process, and when he starts raving about insect politics. The poor fellow is obviously not himself any more, but she will still give him a tender hug, even if another ear comes off in the process. She can almost live with him regurgitating a corrosive enzyme to digest his food, or his wandering over the ceiling and walls. Her poignant scenes with Brundlefly are reminiscent of the best in the tradition of “Beauty and the Beast,” and certainly add an emotional dimension to this otherwise horrific film.

Veronica loses her cool, however, when she discovers that she is pregnant: Is it Brundle’s child, or did she conceive after her boyfriend had undergone the genetic transmutation? To what kind of creature will she give birth? Her hallucinatory scenes of the birth (with Cronenberg possibly acting as the obstetrician) prove to be the film’s best sick joke. Cronenberg ("Scanners,” "The Dead Zone”) is at his atmospheric best, starting the film off slowly, and concentrating on Brundle and Veronica’s personal relationship during the first half.

. From there on, the picture becomes ever darker, relentlessly moving on to the doom of the scientist trapped in an alien body. Touches of gothic horror are even added when Brundlefly watches Veronica from the parapet of his ware-house-home, prior to abducting her from the abortion clinic.

Particularly noteworthy

are the special makeup effects created by Christopher Walas. These often gruesome scenes dramatically depicted Brundle’s degeneration, suggesting insect-like qualities while retaining human form. “The Fly” is not the kind of film to take your

lunch to, nevertheless (along with “Aliens”), it is the best of its genre to hit the screen for a long time. I suggest you catch “The Fly” as soon as possible, for I do not know where it will go to winter.