Die Fliege

The "help me, help meeeee" scene revolted and scared me so much as a young child that it was years before I could see this movie again. Even now I cringe when I witness that nightmarish scene. As good as Cronenberg's movie is (and it is very good), there is nothing that surpasses the delirious horror of the man-fly in the spider's grasp.

Elsewhere, the movie is rather subdued. In some spots, almost too much so. Although the first revelation of The Fly's appearance is another classic spot...the multiple reflections was a great touch. Like all great monsters, the Fly has a very sympathetic edge to it. We are revolted by the horror of this monster but we feel overwhelming pity for him as well.

Vincent Price does a workman-like job in a rather blasé part. Usually he adds a special touch to a film, but really, any number of actors could have played his part here.

The scientific basis of this movie is pure rubbish, as there is no way that insect and human parts could biologically interact with each other. The result of such a mixture would be instantly dead in real life.

But that doesn't matter here. A nightmare has its own logic. And "The Fly" is a nightmare.

In a Montreal machine shop, scientist Andre Delambre (Al Hedison) is found crush to death with his wife Helene (Patricia Owens) at the controls. She calls to confess to his brother Francois (Vincent Price). With the head crushed, Francois identifies the body with a long scar on his leg. Helene's confession seems suspicious and Andre's basement lab is trashed. Helene seems obsessed with flies and Francois pretends to have captured a white-headed fly. Helene recounts the story to him and Inspector Charas. Andre had succeeded in making a teleportation device.

This is much better than a simple 50's B-movie. The story is actually quite compelling. The acting is relatively good. Vincent Price is playing it straight. The production looks good. The directions are a little stiff which is the style of the day. It is still the story that is so great and the reveal is absolutely iconic.

As a child in the theater I screamed and had bad dreams.... Then as a teenager I watched the "Fly" on TV and still Jumped back in fear at the sight of that horrible face! A few years later my friends and I watched it on TV again, but this time I turned down the sound at the scary scenes ( theorizing that the music was the cause of the fear) but even at low volume the haunting cries of "Help me...Help me" gave me the chills. A MUST SEE DF.

"The Fly" is one of the better giant insect movies of the 50s. It starts out with the discovery by a night watchman of the grisly killing of scientist Andre Delambre (Al Hedison aka David Hedison) apparently at the hands of his wife Helene (Patricia Owens). She calls Andre's brother Francois (Vincent Price) to tell him of the tragedy. Francois in turn, calls in Inspector Charas (Herbert Marshall) and together they question Helene to try to find out what happened.

In a flashback, we learn that Andre had been experimenting with transporting matter at light speed from one point to another. When he reached the stage of using a human in the tests, he had used himself. Unfortunately, when he transported himself, unbeknownst to him a common fly had been in the disintegrator with him. When they re-integrated things were not quite as they had been before. Of course no one really believes Helene's story until Francois and the Inspector are shown the unfortunate fly by Andre and Helene's son Philippe (Charles Herbert).

Director Kurt Neumann builds up the suspense by first letting us guess what has happened in the laboratory and then delaying the unmasking of Andre as long as possible. That scene reminded me of the unmasking of the Phantom in Lon Chaney's "The Phantom of the Opera" (1925). The wide screen is used to great effect in that scene when Helene first sees what has happened to her husband, and we then see multiple images of her, much in the way that we believe a fly would see it, screaming in terror.

The fly makeup was, I thought, quite convincing and who can ever forget the final scene when a spider is closing in on the title character (Help me, please...Help me..).

After killing her husband Helene Delambre recounts the story of why she done it. Her husband was a scientist who was deeply into his work and through those long days and weeks he makes a big breakthrough in science by inventing a teleportation machine that can transmit matter from one spot to another. After some glitches he fine tunes the device and decides to test it by using himself as a guinea pig. While, in the process of this test, a housefly gets caught inside with him and when he emerges from the other capsule he shares its genetic structure and physical attributes.

"The Fly" is classic Sci-Fi / horror from the 50s and what a nice surprise this was! Unlike many of its kind in the 50s, this one didn't have a childish feel. The context may seem silly here, but its executed with enough skill and handled in a relax manner by director Kurt Neumann to set above the rest. Just don't be expecting a monster on the rampage tale. This one veers more towards a much more broaden and imaginative story with a certain eeriness contained in its psychological material rather than visuals. Even though it doesn't scare you witless, it still does provide a couple of memorable and ingenious shocks that are hard to put out of your mind. The film opens with the horrific outcome of Helene's husband Andre and then it goes into flashback mode where we learn the fate of Dr. Andre Delambre. What does make it surprisingly good is that we're treated with such passionately vivid characters and a interesting set-up that pulls you in by taking a more serious approach with a dabble of irony along the way. The talkative first hour slowly builds up to its taut last half-an-hour, where we get a smart and venomously bleak climax. Although, it could have done without that preachy conclusion. The rational script by James Clavell works by being incredibly dense with it thriving on some quick wit and sincerity. The story is more about a woman trying to save the man she loves as he slowly fights the genetic effects of the fly's DNA. He may seem hideous on the outside, but inside he is still more so human and he's trying his best to keep control of his dieing humanity. This is proved by how much he cares for his family's safety when he's willingly to take his own life for the best of everyone. It's practical story telling at its best.

The look of the film is top shape with it being shot in vibrant Technicolor and the key is that the deformity is kept hidden, but when it's revealed it actually stands up rather well. It's ugly, that's for sure, but still it looks rather competent. They're also an inventive touch when we see the creature for the first time with multiple frames being used to represent the reflection from human fly's eyes. In Cronenberg's version we see the grotesque transformation, but because of the times and effects we don't see it here, but more so the aftermath of the mishap. All of the devices and gadgets in Andre's lab are well presented and the mounted score adds in a forceful touch with nice crisp sound effects. The performances are more than great by the likes of Al Edison, Patricia Owens, and Herbert Marshall and even though Vincent Price had a supporting role, you'll be in awe of his effortlessly suave performance.

An excellent classic of its field that's more concern about telling a moving and fascinating story than just giving us pointless action and cheap thrills to spice up proceedings. The more you stick it out, the more compelling it does become.