The Fly (1958) – Review

As the 1950s were drawing to a close a science fiction entry would explode on the screen and bring the world one of cinema’s most disturbing creations, in a movie that wasn’t so much about “mad science” as it was “Oh my god, that is so gross” science. That film would be director Kurt Neumann’s The Fly, which would not only put forth interesting ethical questions but would also help launch the horror career of Vincent Price.

Based on the 1957 short story by George Langelaan, the film’s premise centres around the enigmatic scientist who is working on a groundbreaking teleportation experiment, and by groundbreaking, I mean things are going to go horribly wrong because, like most stories in the genre, we veer into mad-science territory. What is fascinating about this sci-fi horror outing is its plot structure as the film is primarily told with a flashback format, with the movie opening with Hélène Delambre (Patricia Owens) crushing the head and left arm of her husband, André Delambre (David Hedison), in a hydraulic press and then calmly calling up her brother-in-law François Delambre (Vincent Price) to confess to the crime. François quickly notifies Inspector Charas (Herbert Marshall) of the Montreal police and our mystery is off and running. While Hélène may have confessed to the crime, she refuses to provide a motive and begins acting strangely. In particular, she is obsessed with flies, more pointedly, a white-headed fly with a funny leg.

“Was André practicing mad science again, is that it?”

While not exactly made science, André invention, a pair of telepods, does hold the promise of revolutionizing transportation by allowing instantaneous travel from one location to another, of course, it leads to tragedy when he becomes the victim of an experiment gone horribly wrong. It seems he wasn’t all that careful and let a common housefly enter the disintegrator-integrator – I must say telepods is a much better name, thank you David Cronenberg – and this results in André’s DNA becoming entangled in the teleportation process, leading to a gruesome fusion of man and insect. Now sporting a fly head and left arm, he tasks his wife with finding the fly that has his human head and arm – with some helpful assistance from their son Philippe (Charles Herbert) – and it becomes a race against time as the fly’s instincts take over his brain, with André slowly becoming more monster than man.  Which is the kind of thing that will put a strain on even the strongest relationships.

“Hélène, I think we should start seeing other people.”

Stray Observations:

• David Hedison suggested he wear progressive makeup effects that showed him in a combined part human/part fly state which would get progressively more disturbing as the story went along, instead of just revealing a fully formed fly head as depicted in the film, and while the studio thought this was too expensive it’s an idea that David Cronenberg would embrace for his remake.
• The story takes place in Montreal, Quebec, but other than the odd small part the bulk of the cast do not have French accents despite the location and them all having French names.
• André Delambre may not exactly be a “mad scientist” but using the family’s pet cat for an experiment is a bit of a dick move.  The sound of the disembodied cat meowing still haunts me.
• The sound made by the teleporter in this film is the same sound heard when the prototype disappears in the George Pal adaptation of The Time Machine.
• One of the other sound effects used in the film for the disintegrator/integrator is the “bass guitars played backwards” effect used for the Martians’ Heat-Rays in George Pal’s The War of the Worlds.
• A fly’s vision is not composed of several identical small images grouped together, as is seen in the film. This “insect trope” would remain a staple of horror films and be used in such “classics” as Empire of the Ants.
• The Fly is one of the rarest of movie monsters who doesn’t actually kill anyone, he commits “suicide” before his fly half can take over.
• Sadly, Andre did not receive the proportional amount of strength a fly as he seemed to have difficulty picking up Helene when she fainted.

I guess a career as a superhero was not in the cards.

Directed by Kurt Neumann, The Fly’s strength lies in its ability to build tension and unease, as well as its compelling character development. Vincent Price, who plays Francois Delambre, Andre’s brother, delivers a standout performance as the compassionate family friend determined to uncover the truth behind Andre’s bizarre transformation, and as the story unfolds it skilfully explores the emotional turmoil of the Delambre family as they grapple with the horrifying consequences of Andre’s experiment. What sets this film apart from many other science fiction movies of its era is its willingness to explore profound themes. The film delves into the consequences of scientific discovery and the boundaries of human knowledge. It poses questions about the ethical implications of tampering with the fundamental nature of existence, making it a thought-provoking experience for audiences.

“Don’t worry, Phillipe, I’ll make sure nothing like this happens to you.”

Strangely, of the three classic “Fly Movies” this entry is the only one shot in colour, with the studio moving the production of this film out from under the less-respectable Regal banner and making it a more prestige offering. The money and talent for this science fiction horror offering were certainly not the norm for this era and the end result is a testament to the practical effects and makeup talents of all involved, with the transformation of Andre into a grotesque human-fly hybrid being particularly impressive for its time. The slow reveal of the insectoid features on Andre’s face is haunting and unforgettable. One of the film’s most iconic moments is the climactic unveiling of Andre’s final, pitiable state and it’s the use of suspense, coupled with a chilling musical score, that adds to the overall atmosphere of dread. The story is captivating, with a surprising twist that leaves a lasting impression.

“Help me! Help meeeeee!”

While the special effects are a little dated they still possess a certain charm and remain integral to the film’s appeal and the appearance of a man with the head of a fly has become an iconic image one that has echoed through pop culture over the years. The Fly is a testament to the ingenuity of filmmakers in the late 1950s who managed to create horrifying imagery with limited resources. As for the performances, the cast of this genre classic is all commendable, particularly that of David Hedison and Patricia Owens. Hedison brings depth and sympathy to the character of Andre, effectively conveying his desperation and inner turmoil. Owens, in the role of Helene, delivers a powerful and emotional performance as she grapples with the shocking events surrounding her husband and while the film stars Vincent Price and David Hedison playing the title character it is Patricia Owens who really carries this film.

She’s a solid Scream Queen as well.

In conclusion, The Fly is a classic of its genre, offering a thought-provoking narrative, memorable performances, and a spine-tingling sense of horror. It has rightfully earned its place in the annals of science fiction and horror cinema and is a must-see for anyone interested in exploring the darker side of human curiosity and the consequences of scientific experimentation. This timeless gem continues to captivate and terrify audiences, proving that the fear of the unknown is a universal theme that transcends generations.