After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
After getting into a serious car accident, a TV director discovers an underground sub-culture of scarred, omnisexual car-crash victims who use car accidents and the raw sexual energy they produce to try to rejuvenate his sex life with his wife.
Seth Brundle, a brilliant but eccentric scientist attempts to woo investigative journalist Veronica Quaife by offering her a scoop on his latest research in the field of matter transportation, which against all the expectations of the scientific establishment have proved successful. Up to a point. Brundle thinks he has ironed out the last problem when he successfully transports a living creature, but when he attempts to teleport himself a fly enters one of the transmission booths, and Brundle finds he is a changed man. This Science-Gone-Mad film is the source of the quotable quote "Be afraid. Be very afraid." Written by
Mark Thompson <firstname.lastname@example.org>
An early treatment for a sequel, written by Tim Lucas, involved Veronica Quaife dealing with the evils of the Bartok company. Brundle's consciousness had somehow survived within the Telepod computer, and the Bartok scientists had enslaved him and were using him to develop the system for cloning purposes. Brundle becomes able to communicate with Veronica through the computer, and he eventually takes control of the Bartok complex's security systems to gruesomely attack the villains. Eventually, Veronica frees Brundle by conspiring with him to reintegrate a non-contaminated version of his original body. Cronenberg endorsed the concept at the time. Geena Davis was open to doing a sequel (and only pulled out of "The Fly II" because her character was to be killed off in the opening scene), while Goldblum was not (although he was okay with the cameo), and this treatment reflects that. However, a later treatment written by Jim and Ken Wheat was used as the basis for the final script, written by Frank Darabont. Mick Garris also wrote a treatment, with elements incorporated into the final film. See more »
When Brundlefly opens the medicine cabinet to deposit his teeth, the mirror reveals a person in a red long-sleeved shirt pointing at him. See more »
What am I working on? Uhh... I'm working on something that will change the world, and human life as we know it.
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The background for the opening titles consists of an optically distorted, swirling mass of colors, which gradually transform into the opening shot of the film. This is a representation of how biologists believe a fly's vision would appear to a human. See more »
Truly great but very nasty update of the classic 1958 sci-fi film with both Jeff Goldblum and Geena Davis in the roles of their lives. Technically, this is a remake, but with a genius like David Cronenberg in the director's chair, it's obvious that this isn't anything like the uninspired and irritating remakes that are being released nowadays ("The Amityville Horror", "The Texas Chainsaw Massacre" ). Cronenberg's interpretation of this ultimate terror-tale differs greatly from the original. In fact, the only resemblance is the basic premise of a fusion between an obsessive scientist and an ordinary housefly. Goldblum is terrifically cast as the brilliant, but slightly confused mastermind Seth Brudle, whose lifework are "telepods"; funny looking machines capable of transmitting matter through space. Journalist Davis, with whom he has a romantic adventure, closely observes the progress of his work but when he teapot's himself through space, the catastrophe happens. Mentally as well as physically, Brudle undergoes a horrible transformation into a fly and it cannot be stopped. "The Fly" is a very devastating film. Powerful enough, but not exactly pleasant to look at. Like only the greatest directors can pull this off, Cronenberg overwhelms the audience with a sublime mixture drama, misery and repulsiveness. You feel as helpless as the characters themselves and you painfully wait for the unhappy ending to come! The screenplay is filled with genuine metaphors and the romance between Goldblum and Davis is beautifully illustrated. The special effects, mainly created by Chris Walas (who went on directing the 1989-sequel) are definitely still staggering and they don't look the least bit dated by today's standards.
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