The Fly (1986)
The fly is a film of metamorphis and an unforgiving character arc that will leave you emotionally bewildered. Arguably Cronenburg’s most succesful film, The Fly demonstrates the power of great casting and individual performances. The most noteworthy performance, of course, being that of Jeff Goldblum, who maintains an authentic approach in his acting throughout the varying and complex stages of his character. Seth Brundle- played by Goldblum- begins as a loveable, quirky recluse of a scientist but then progresses into a tragic and dehumanised wreck. With the disgustingly realistic special effects, never will you feel such remorse for a creature so grotesque. The film is ultimately an exploration in the godlessness of modern humanity, with lust, desire and greed at the forefront of the protagonist’s downfall. The direction and composition is of high calibre with smooth pacing and a great sequence of iconic scenes that elevate the somewhat basic plot. The special effects are both digital, non-digital and realistic, and more importantly used appropriately, no highly concentrated sci-fi 80s graphics here. Speaking of graphics, the cinematography is also something to be admired as the location of Brundles lair-like laboratory is a filthy industrial warehouse that reflects the parasytical nature of the fly and also the harsh environment of labor which Brundle seemlessly creates for himself. As previously mentioned, the casting is too be admired, with Geena Davis fulfilling all the criteria in her role as the loyal lover who endures brundles depressing spiral till the very end. Davis as Veronica Quaife is not merely a Damsel in distress but a brave and determined female lead that stays true to their character no matter how chaotic and horrifying the circumstance. Yet, the best of both Davis and Goldblum is seen through there on screen chemistry and the relationship of both their characters. Brundle begins as a socially awkward and cautious man but his drive and obsession for his work only grows during an intense romance with journalist Veronica. While the romance is undoubtedly intense, it originates from a place of love which is inevitably destroyed by Brundles transformation. Surprisingly it is not ‘Brundle fly’ who sabotages the relationship but the newly egotistic brundle that operates on pure desire after having tasted the ‘plasma pool’, it is ironic that brundles spiritual humanity is lost before his physical humanity. Tragically, remnants of the old brundle persevere during his horrific metamorphis, asking how he can ‘become human again’. But its too late and so the life of the Brundle fly ends in climax with a devastating mercy killing as his body lays dead, bound to his work. The film is certainly tragic but John Getz’s portrayal of Stathis Boris provides some much needed comic relief, with many shamelessly sleazy and desperate interactions with ex-partner Veronica. Some surprising growth is seen in Boris’s behaviour as he gradually replaces Brundle by putting Veronica’s needs ahead of his own-something the gene spliced brundle fails to do- and arguably redeeming himself with his efforts to save her from becoming a gene milkshake. What makes Cronenburgs work stand out within its horror genre, is his use of emotion and tragedy as he leads his audience to some truly dark places that ask some uncomfortable questions, the type of questions absent from the mindless slasher era in which this iconic film was born. The ever-prevalent fear of losing those we love is refreshingly capitalised by Cronenburg and I only hope that emerging horror directors take inspiration.
