The Fly (1986) – Review

When you think of the term “Body Horror” one filmmaker leaps readily to mind, David Cronenberg.  While he’d been dabbling in that arena since his directorial debut with Shivers, which came out way back in 1975, it was in 1986 that he helmed his crowning achievement in this field of horror with his remake of the 1958 classic The Fly.

With a script by Cronenberg himself, this remake explores themes of transformation, identity and the consequences of unchecked scientific ambition. The story follows the trials and tribulations of Seth Brundle (Jeff Goldblum), a brilliant but introverted scientist who develops a teleportation device, as one does when you have no friends but have a cool lab, unfortunately, during an ill-fated experiment a housefly becomes entangled in the teleporter with him, resulting in a fusion of their DNA at the molecular genetic level. Along for the ride is journalist Veronica “Ronnie” Quaife (Geena Davis), whom Seth had met during a meet-the-press event  – she was sent there by her editor and ex-boyfriend Stathis Bornas (John Getz) whose creepy ex-boyfriend behaviour will kick off the horror – and while Brundle initially experiences an exhilarating surge in physical and mental abilities after the teleportation he soon begins to undergo a horrifying and irreversible metamorphosis into a grotesque human-fly hybrid.

 

Seth does not become a poster boy for good science.

As Brundle’s body deteriorates he grapples with his crumbling sense of self, while Veronica watches in horror as the man she had grown to love starts to transform into a monster. It’s at this point that the movie takes on a very dark and viscerally disturbing journey as Brundle’s increased strength, energy and sexual prowess quickly make way for deteriorating health as the fly’s genetics begin to dominate. As the transformation progresses, Brundle’s physical and mental deterioration becomes increasingly horrifying, and it’s that change in mentality that is truly terrifying. When Seth tells Ronnie “I’m an insect who dreamt he was a man and loved it. But now the dream is over… and the insect is awake” we start to understand just how bad things have gotten and how worse they are likely to get.

 

We’re talking new levels of bad.

The film’s central theme of transformation is embodied by the horrifying yet mesmerizing metamorphosis of Seth Brundle. Jeff Goldblum’s portrayal of Brundle’s physical and psychological descent into the grotesque is nothing short of extraordinary and the makeup and practical effects by Oscar Winning make-up artist Chris Walas were truly astonishing, and Brundle’s transformation sequences are simultaneously revolting and awe-inspiring. Cronenberg’s ability to craft this evolution so meticulously and vividly adds a layer of tension and unease throughout the film. But what makes this all so absolutely horrifying is that we see it all through the stricken eyes of a woman who truly loved him. Geena Davis gives an emotionally packed performance as a woman pushed to the very brink of madness – finding out you could be pregnant with a monster will test anyone’s sanity – and the film’s chilling tagline “Be afraid, be very afraid!” sums up the movie perfectly. And while this movie does have a “Beauty and the Beast” element to its story it definitely doesn’t have a fairy tale happy ending.

 

There’s no “Kiss of True Love” in this movie.

Stray Observations:

• Both Seth Brundle and Andre Delambre, who was the title character in the 1958 version of The Fly, had labs accessed by a large sliding metal door. It’s nice when “mad scientists” can share design themes.
• The idea of the teleportation accident causing a progressively more disturbing transformation over time was originally suggested by actor David Hedison when they were making the 1958 original
• While the setting is never explicitly discussed by the characters, we do see well-known Toronto locations like the CN Tower and Kensington Market, but then we see Seth using American currency.
• Seth realizes he has to teach the computer to be “crazy about the flesh” to teach it “the poetry of steak” which seems like a rather hard thing to teach a computer.
• Veronica tells Seth that “Something went wrong” which is also what Ellie Satler told Ian Malcolm in Jurassic Park, which is nice as Jeff Goldblum played both of those movie geniuses.
• Seth corrects Veronica when she calls the baboon a monkey, but baboons are monkeys. Sheesh, and he calls himself a scientist.
• It’s never explained why Seth Brundle uses baboons for his “live tests” and not your standard guinea pig or lab rat. Ethical aspect aside, a baboon can cost up to $3,500 while a rat is about $10 or $20.

 

An inside/out rat would also be easier to clean up.

The heart of Cronenberg’s adaptation of The Fly is the love story between Seth Brundle and Veronica Quaife, with the film delving into the complexities of their relationship as it evolves from professional curiosity to genuine love to heartbreaking tragedy. Their chemistry is undeniable and both actors deliver powerful performances, which I’m sure was helped by the fact that Goldblum and Davis were an actual couple at the time of filming. This all went towards making the audience deeply invested in their characters. This retelling of a classic sci-fi story skillfully weaves elements of body horror with a poignant exploration of the human condition. As Brundle slowly becomes more insect than human, his desperation and fear are palpable, and the film forces us to confront our own fear of physical and mental decay. It is a deeply philosophical horror film, exploring themes of identity, love and mortality, all within the confines of a science fiction framework.

 

Mind you, it’s a really icky science framework.

With this tale of horror, Cronenberg masterfully builds tension with a gradual, suspenseful narrative arc until it culminates in a climax that leaves a lasting impression. The fly symbolism is subtly integrated into the film, adding depth and nuance to the story. Cronenberg’s direction is masterful. He skillfully balances moments of dread with touches of dark humour, making the film as emotionally affecting as it is terrifying. The screenplay deftly explores themes of scientific hubris, love, and the inherent fear of the unknown. The dialogue is sharp and thought-provoking, providing substance to the horrific visuals. Then there is Howard Shore’s hauntingly atmospheric score which complements the film beautifully, enhancing the emotional impact of each scene. The production design, including Brundle’s teleportation pods and the transformation chamber, is both visually striking and thematically resonant.

 

Let’s hear it for mad science!

In the end, 1986’s The Fly is a powerful and thought-provoking horror film, one that combined gruesome body horror with a poignant and tragic love story. Cronenberg’s direction, along with strong performances by Jeff Goldblum and Geena Davis, make it a standout in the horror genre, exploring the boundaries of science and the dark aspects of human ambition. This is also a rare example of a remake that not only pays homage to its predecessor but also surpasses it in terms of storytelling and craftsmanship. If you haven’t experienced this classic yet, be prepared to be both horrified and moved by this unforgettable sci-fi horror masterpiece.