'help me...help me'

The best laid plans of mice and men, not to mention flies.

This is first rate science fiction, but of a heart-wrenching variety.

This story is a bit in the spirit of Jack London tales, where some spirited individual gets crushed (in this case, literally), by going out too far on his own.

In this case the spirited individual is a family man who happens to be a scientific genius, developing in his basement the first matter teleportation device. It works, but he fails to realize that the wilderness he confronts in it is not as user friendly as his wife and kid. It confuses him with a fly (which was in the disintegrator with him but escaping his notice). In other words he escapes nature's notice, which didn't bother to distinguish him from the fly, treating him with even more indifference than he treated the fly...

Interestingly, the 1986 remake was not a remake at all, but a spinoff. This spinoff being the opposite story, really: There, only the interpersonal relations fail to be user friendly; nature is fine. (In both films there is a love triangle, but in the first the hero is on the inside track and fine; in the second, the hero is on the outside-and it does him in.)

Acting is very good and script is flawless. Effects do what they need to do and makeup is effective.

One of the best acting scenes is when the wife wakes up in bed alone, clothed, and we watch her as she gradually realizes that what she slowly remembers was not a nightmare, but real-a very intense scene and executed without a word.

Another good scene is where the wife finally sees him eye to eye for the first time after the accident, expecting him to be ok by hoping against hope. She is disappointed, to put it mildly. And the audience can't help but feel for and with her. And with him.

The drama in the lab, with the lab-coat and ever-present equations on the blackboard silently in the background, is classic and captivating; in the most dramatic moment the blackboard gets carelessly rubbed out and the husband scribbles, "I love you."

Though tragic, the film has its own charm and fascination. His son in the end decides that he also wants to be a scientist, and many a kid watching the film may well come to the same conclusion.

THE FIRST FLY

1958's "The Fly" is the original story of the 1986 version, the version that most of the people know. Not as flashy as the 1986 David Cronenberg's version, but the original "Fly" remains very intriguing. "The Fly" is more a mystery film than a thriller. More storytelling oriented, "The Fly" is a very interesting movie, it's really hard to ignore the essence of the film, because the "monster" has human feelings and human fears. You can't help but feel sorry for this unlucky scientist and his family.

Since the very beginning, this movie invites the viewer to watch as the story unfolds. There is the unrecognizable body of a man, murdered by his wife, and to increase the mystery, the woman is looking for a fly with a white head. Eventually we learn why she is desperately trying to catch that intriguing bug. "The Fly" has pretty decent special effects and makeup, specially if we consider that this movie is almost 50 years old. And the final scene is very disturbing, still it is a very shocking image.

The biggest achievement of this film, is that it's able to involve the viewer deep inside the story, the mystery, and the characters emotions and feelings. "The Fly" is a very solid film, specially if you like mystery or sci-fi films.

The Fly: Sight + Sound = Despair

One of the best horror films of any age is the 1958 version of THE FLY. What director Kurt Neumann has created is a film that includes the shock moments required of any horror movie, but to these moments he adds a disturbing montage of sight and sound that grab at the reader to yank him into the minds of the actors so that the viewer can see and hear the horror up close. Only the best science fiction movies can do this.
The movie begins in a flashback when Francois Delambre (Vincent Price) discovers that his sister-in-law Helen (Patricia Owen) has been accused of murdering her husband Andre (David Hedison) by squashing his head in a compressor. Her story forms the basis of the film. She insists that she is neither insane nor a cold-blooded murderer. Helen tells Francois that her scientist-husband Andre had been experimenting with a matter transportation device as in STAR TREK, but in this case, he had inadvertently allowed a housefly to enter the transportation chamber with himself. The result of the experiment was a man with the head and arm of a fly and a fly with the head and arm of a man. Scriptwriter James Clavell of SHOGUN fame had apparently never heard of a pattern buffer that could allow for simultaneous transport of dissimilar DNA hosts. What makes THE FLY click is Andre's reaction to his new form and Helen's acceptance of that reaction. At first, Andre is grief stricken, and tries to hide his condition from her. He places a scarf over his head and keeps his fly-claw in his pocket. There is no need for any fancy special effects here. The simple use of a scarf is all that is required to generate suspense. Later, when it is time to eat, Helen brings soup which he loudly slurps. This soup scene is one of a series of images that are all the more horrible for their morphed simplicity. The viewer can nearly literally taste what life is like for a man/fly hybrid. Andre communicates to Helen by using his human arm to scrawl messages, leaving her puzzled and anguished over her inability to help. She determines to see the face under the scarf and rips it off. This scene is one of the two indelible unions of sight and sound that cause viewers to remember THE FLY as some surreal mixture of a paradoxical link of disgust with an unwillingness to turn away their heads. As she sees Andre's head, the camera shifts perspective to Andre, who sees her as only a fly can: as a infinity of kaleidoscopic images of a screaming woman with each of an infinity of mouths howling an infinity of pain. Once she can gather herself together, she tries to help by recapturing the fly with Andre's head. Since a fly's lifespan is quite limited, the only hope she has to regain her husband is to find that fly, an unlikely prospect at best. In despair, he asks her to kill him with that compressor. She does so, and the movie reverts to the present with Francois discussing the case with Inspector Charas (Herbert Marshall). Each is sure that Helen has gone quietly mad, thus legally preventing her from trial. As Francois and Charas exit the house, the movie's second unforgettable grafting of sight to sound occurs when they see that a strange-looking fly has become entangled in a spider's web, and the spider, looking as large and ferocious as the monster in TARANTULA, looms ever closer. The camera zooms on the fly which has Andre's head attached. The viewer can see his eyes bug out as the spider approaches. He shouts a squeaky HELP ME over and over, but Francois is too slow to react. The spider kills the fly just before Francois kills the spider with a large rock.
The horror of THE FLY does not diminish with repeated viewings nor can the later remakes and sequels detract from its suggestion that the most ordinary things in nature can change into something so terrible as to cause the audience to squirm in its seat and think that the weirdness on the screen is not so far fetched at all.