When searching and looking up movies on the IMDb I'll often come across movies and think to myself that 'this one should be a little bit higher,' or 'that one should be a little bit lower' -- generally speaking I'm pretty comfortable with the ratings that I see. Every now and then though I find a rating that just absolutely mystifies me. Did the people who voted watch the same movie that I did? The number is an extreme from where I think the film actually belongs. For me, Val Lewton's 'Isle of the Dead' is one of those films. It currently has a rating of 6.4 and when I saw that I was stunned to say the very least.

I first saw this movie on late night BBC (I was living in England at the time) a couple of years ago. It has stayed with me ever since. I love old movies and horror movies are one of the kinds of film that I actively seek out and watch. 'Isle of the Dead' had a lot of competition if it wanted to have any lasting impact with me. It left a great impression and is the reason that years later I've sought out the rest of Val Lewton's work. 'Isle of the Dead' remains my favourite and I truly hope that people will give it another look.

Let me start with the setting. When I originally watched it I thought it was so fresh and original to set a horror film during the Balkan's war in 1912. I can't think of any other films that have done that before or since. You get a very morbid opening scene that reveals a great deal about Karloff's character. He doesn't instruct a sub-ordinate to commit suicide, but he publicly humiliates them and pushes a revolver towards them after making it quite clear that their military career is over. He has an extreme sense of duty, justice and obligation. Fail, in his eyes, and you'll pay a deep price. He's also very protective in his nature -- especially of the men who he commands. He is modern in his approach. Reason and logic are his weapons but superstition and a sense of obligation are his foundation. This is the man who will be trapped and quarantined on an island with a group of travellers and strangers while a plague, or something more sinister, slowly kills each of them off.

The movie is extremely claustrophobic and very well done. They can see the mainland but can't go to it. They are trapped in their own rooms -- alone -- or in the house with the other quarantees. The doctor will try to save them. Science, reason and logic -- the General's core -- will protect them. But when that core begins to fail, he is influenced by superstition, folklore and hysteria ... and acts accordingly. It is a terrific part for Karloff and the General is a great character study. The psychological depth is wonderful. There MUST be a rational explanation for the deaths. They try, and fail, to fight plague-like symptoms by using plague preventative techniques. He is so wedded to finding rational solutions that when confronted with their failure, paradoxically, he decides that the rational solution must be supernatural agents at work.

'Willing Suspension of Disbelief,' seems to be an unfamiliar concept for some of the film's naysayers. The film is unbelievable because people from different countries appear to be able to converse -- without difficulty -- in one language. It is in Greece and the only non-Greek characters are a British diplomat and his wife (may we presume that being a diplomat to Greece, knowledge of how to speak it MIGHT be advantageous?) an American reporter covering the war and a Greek general (since he doesn't have an interpreter, MIGHT he not have some knowledge of the language?), an ex-pat archaeologist who has been there for over a decade (he's probably had NO opportunity to pick up ANY of the language then, eh?) and a travelling student who is eager to return home (that classical education of Greek likely being of no use to him). People don't like the costuming either -- Karloff's wig being such a distraction that it makes the film unenjoyable for them. I really have no way of responding to what seems like an infinitesimally small and nit-picky criticism. The core of the story is whether or not as a horror film and a character study it successfully builds tension and depth from beginning to end. Do consequences of actions have meaning? The tension is high from the opening scene and the stakes only get higher through the film until the final bloody conclusion. The scares are fantastic -- particularly one in the shadows and who comes out of them. There is a tremendous scene with a coffin that is the very height of anxiety, despair and cinematic tension. Is that scene predictable? OF COURSE it is! That's what makes it's eventual occurrence so intense! It is a huge pay-off that is advertised with great skill and execution. This is one of the best films that Mark Robson ever directed and I think he graduated to A-list director largely because of it.

'Isle of the Dead' is under-watched, under-rated, and a gem of cinema intense in it's own beauty. It might be my favourite horror film of the 1940's through 50's.


Wonderfully atmospheric film with a unique sense of place and well-drawn characters. Karloff's performance here is excellent, yet very different from his work in other films. You may be disappointed if you go in expecting something like his horror classics for Universal. This one is suggestive rather than shocking, and I'd recommend it to anyone who likes the subtle horrors of Cat People, The Innocents, or even Rosemary's Baby. Because of its literate script and interesting character development, Isle of the Dead may also appeal to others who don't usually like horror.


Not the best of the Val Lewton horror series, but it has its moments. When I think about it, the plot seems very good. A small group of people quarantine themselves on a small Greek island when they discover that one of them has the plague. Boris Karloff stars as a Greek general who becomes cruel when trying to keep order. After the army doctor dies, he becomes superstitious along the lines of an old woman who is also on the island. Somehow, the characters and the situation never come off especially well. It's never bad, but it's never great, either. The finale is quite effective, however. 7/10.


What makes this one very interesting to me is that it's hard to categorize. In fact most of Lewton's films are (it's a shame he died so young). Even though Lewton was a mere producer he co-wrote this one along with the two other Karloff film. The writing is where these Lewton films excel. This one starts off as a war movie, then moves to what appears as a horror film when they land on the island (an island cemetery - not too hard to imagine for Greece). Then it becomes a psychological mystery followed closely by what seems to be a vampire movie - but then it changes to what appears to be a faith vs science story. Finally, it becomes full fledged horror but surprisingly it's non-fantastical. The movie is firmly based on the real world. It keeps changing gears so that you never know what to expect - some viewers will be put off by this since it doesn't follow the rules of the majority of films. The drama is not overly exciting until we approach the end - everything is very low key, again some viewers may not appreciate this. Karloff gives a good performance - no one else stands out really but the writing is excellent and the actors are propped up by it. Finally, I have to say that some of the scenes in the vault were very creepy even by modern standards - reminded me of some of David Lynch's films.


This Val Lewton produced film from the mid-1940s isn't fast-paced but it is very effective. Boris Karloff turns in yet another unforgettable performance--this time as the Greek General Pherides who tries to battle a plague and defeat it as he would vanquish any other enemy. But is it really a plague that threatens the lives of all the characters in the film or something more sinister?? Maybe Madame Kyra's vorvolaka? Often surreal in look and atmosphere, this is a wonderful gem of a film filled with creepy and effective little moments.


For my money this is one of producer Val Lewton's greatest pieces and is, I fear, strangely undervalued. We often hear of great moments in 1942's 'Cat People'; most specifically the swimming pool sequence and an almost heart stopping moment involving a scary walk and a bus or we may further be reminded of great scenes of psychological terror in Lewton's other movies, notably 'I walked With a Zombie'(1943) and 'The Body Snatcher' (1945), but we seldom hear of the sense of impending doom and escalating terror evoked during 'Isle of the Dead' which comes to head when we realise that one of the primary characters has been buried alive and it's her consequent insanity blended perfectly with an eruption of repressed superstition that chills the viewer in the final fifteen or so minutes. Indeed this sequence was only ever equalled once; towards the end of Corman's 1960 'House of Usher' which dealt in part with similar themes. Boris Karloff acquits himself well as the troubled General Pherides, a man who has attempted to detach himself from aspects of his own past and that of his country but for whom spectres of both will arise to haunt him before he inevitably joins the soul of his long departed wife on their lonely island cemetery. Robson's direction, apart from the brilliant scare moments, may seem little more than adequate but successive viewings suggest a gradual and intentional turning of the screw with only one or two really pedestrian scenes required to move the plot and characters forward. By today's standards the movie may seem tame, 'stagey' and slow but if you sit there with the lights off and the volume turned up and prepare yourself for some old time atmospherics and chills rather than shocks and gore, you're in for a real treat.


This seems to me to be unjustly neglected among Lewton's oeuvre; likewise, Boris Karloff's performance here is one of his most underrated. I've always loved the film and, while I concede that it moves rather slowly, the atmosphere it conjures up is simply marvelous (Jack Mackenzie's cinematography is outstanding) - with the island setting recalling I WALKED WITH A ZOMBIE (1943), but given added strangeness by being played out against a backdrop of war.

Its central situation - that of a stranded group of people fighting the elements (in this case, the plague) and a dangerous enemy (the vampire-like Vorvoloka who saps their energies) - has been done to death since, but at the time it was still relatively fresh (and may well have been inspired by John Ford's classic Western STAGECOACH [1939], especially in the way the heroine is shunned by some members for her 'corrupting influence'). The vampire lore put forward here is certainly one of the most original approaches to this perennial theme in classic horror cinema - and its presentation is undoubtedly among the most literate and engrossing ever. Actually, the film looks forward to "The Wurdalak" - the episode in Mario Bava's compendium-film BLACK SABBATH (1963) which stars Karloff himself!

The film also takes care to throw in a favorite Poe element - premature burial - for good measure; of course, this added flourish pays off in spades in the form of a terrific - and quite unsettling - finale. Besides, the deliberate pace does allow for well-rounded characterizations (in all the major parts): especially interesting is the relationship between the Greeks (Karloff and the sinister Helene Thimig allowing superstition to get the better of them, thus distrusting and ultimately threatening innocent Ellen Drew), and also that between paganism (as represented by Jason Robards Sr., who lights a pyre to appease the old gods so that they ward off the plague) vs. science (as represented by Ernst Deutsch, who eventually succumbs to the disease himself). Unusual for horror films at the time - but typically for Lewton - special consideration is given to the feminine roles: the afore-mentioned Drew and Thimig, but even more so Katherine Emery (playing a character suffering from a particular 'ailment' and who comes to the fore during the climax, lending it unexpected irony - especially with Karloff's final remark, "I've seen the Vorvoloka!").

Unfortunately, the side of the disc which houses this title is completely bare-bones: the most regrettable aspect to this Box Set, apart from the somewhat disappointing transfers (including this one), is the fact that ISLE OF THE DEAD does not have an accompanying Audio Commentary; for a rarely-seen film like THE GHOST SHIP (1943), which is not even really horror to begin with, that's quite understandable - but Karloff's involvement and the vampiric theme here should have provided ample material for discussion (is it possible there are few admirers of this one, then - Lewton himself, reportedly, considered it "a complete mess"?!)...


This slow, moody little film is more an interesting set of character studies than a horror movie. The script is thoughtful, and the players, especially Katherine Emery as the British consul's wife, Ernst Dorian as the military doctor, and Jason Robards, Sr. as the archaeologist, are all pretty good. Karloff tends to take the stage most of the time with a quiet, but riveting performance as a Greek general slowly crumbling into madness. An excellent performance by Helene Thimig as a sarcastic, bitter old peasant woman, is remarkable for the way she arouses intense dislike in the viewer, and yet is a believable, human sort of villain. The film's atmosphere is dark and filled with gloom, appropriately reflected in the foreboding cinematography. Practically all the action takes place at night, on the confined space of a small island. The sense of fear and hopeless dependence on fate to rescue the trapped people is extremely well portrayed. Not a true classic, perhaps, but well worth seeing.


I'm still not quite sure what I saw in Isle of the Dead. I do know it succeeded in giving me the willies.

Several people gather on Greek Island during the Balkan Wars when a type of plague strikes and folks die one by one. One old peasant woman, Helene Thimig suspects young and pretty Ellen Drew of being a monster called a Vorvola which was part of the old Greek religion of Zeus and the rest of the folks from Olympus. The problem is that she gets old Greek general Boris Karloff, a brooding and suspicious man to start with, believing it as well.

Imagine Agatha Christie's And Then There Were None laced with the atmosphere of a horror film and you've got Isle of the Dead. At the end of the film you're not even sure what's happened, but the mood created in you by producer Val Lewton will linger on.

I'm not sure what a guy like Val Lewton would have done with a big budget in a studio like MGM or Paramount. Those recycled RKO sets with the proper sinister lighting were a signature with him.

So was there a Vorvola? Watch and judge for yourself.


"Isle of the Dead" was the second of three films that Boris Karloff made for famed producer Val Lewton in 1945-46. It has all of the Lewton trademarks, darkness and shadows, mystery, horror and good performances. The film was directed by Mark Robson but follows Lewton's proved path to success. The film has an aura of impending death throughout. It also has more on screen violence than most Lewton films but it still manages to play with the audience's emotions and imagination.

The film opens during the Balkan War of 1912 in a Greek army camp commanded by General Nikolas Pherides (Karloff). There is a particular gruesome scene here as the General walks through the camp. We see wagon loads of dead soldiers being drawn by other soldiers to a mass burial. It seems that a deadly plague is sweeping across the country.

Located on an island across from the camp is an island on which Pherides' wife is buried. During a lull in the war, General Pherides and a reporter Oliver Davis (Marc Cramer) row over to the island. There, they are drawn to the haunting voice of a young woman.

Investigating, the pair come upon the home of an antique collector named Albrecht (Jason Robards Sr.) who offers the men lodging for the night. There they meet the St. Aubyns, British diplomats (Alan Napier, Katherine Emery), a young girl, whose voice was heard earlier, Thea (Ellen Drew) and a mysterious old lady named Madame Kyra (Helene Thimig).

When St. Aubyn falls ill, Pherides sends for his medical officer, Dr. Drossos (Ernest Drossos). The doctor diagnoses the illness as the plague and the diplomat soon dies. The General quarantines the island allowing none to leave. We learn that Mrs. St. Aubyn is susceptible to cataleptic seizures and that she has been befriended by Thea. Madame Kyra believes that Thea is a vampire and that she is responsible for the plague on the island. She manages to raise doubts in the mind of the General who confronts the young girl one night in one of the film's key scenes.

More deaths occur including the "apparent" death of Mrs. St. Aubyn. When she awakes..................

Lewton and Robson again play on the audience's fear of the unknown. Is Thea really a vampire? Is Mrs. St. Aubyn really dead? and the ultimate fear of being buried alive.

Karloff gives another outstanding performance as General Pherides, who tries to be the protector of the small group. Of the rest of the cast, Helene Thimig as the superstitious Madame Kyra and Katherine Emery as Mrs. St. Aubyn, stand out.

Followed by Lewton's final RKO "B" horror film, "Bedlam" (1946).


***SPOILERS*** Owing much to Edgar Allan Poe (as do several of his "budget" pictures), Val Lewton's production of ISLE OF THE DEAD has it all: the fear of premature burial, the fear of contagion, the fear of the undead; the fear of madness... Center stage (which is exactly where he belonged all along) is Boris Karloff. Not for the final time does he steal the show in a Lewton production. Hardened by the horrors of war (including the plague that follows close on its heels), his character is driven to the brink of... Well, see for yourself. Suffice it to say that the "Lewton unit" strikes gold again. As absorbing (and as unique) as its predecessors, ISLE OF THE DEAD belongs among the first rank of fright films.


I do like Val Lewton's films. This one begins in an interesting setting with a war correspondent talking to a military man, Boris Karloff. He is a cruel and driven man, a total follower of military rule. Through a series of circumstances, a group of people end up quarantined from the plague. Karloff asserts his military power, forcing the people to do as he says, but some don't have the "proper" respect. He also shows himself to be very superstitious, believing in some old Greek werewolf stories. He directs his attention toward a young woman who defies him and gets people to believe that she is sort of an angel of death. As people begin to expire, he gains more and more power, but there is another woman who is, for all practical purposes, his equal. The movie is a moody portrayal of what people can do to each other when they are frightened. It's a good role for Karloff and comes off reasonably well.


Leaving his Frankenstein monster portrayal behind, Boris Karloff shows in this film that he can act and do a good job of it. He plays a Greek General trapped on an island with others fighting the plague.

A young girl, Thea (Ellen Drew) is thought to be a vrykolaka, a harmful undead creature in Greek folklore, by an old peasant woman (Helen Thimig). It has similarities to many different legendary creatures, but is generally equated with the vampire of the folklore of the neighbouring Slavic countries. While the two are very similar, blood-drinking is only marginally associated with the vrykolakas.

The tale is a mixture of folktale and virus, of medicine and miracles, of superstition and madness. Karloff carried the film with marginal assistance from the others. Worth a watch to see his acting.


Isle Of The Dead is set on a Greek isle during the First Balkan War in 19121913. When General Nikolas "The Watchdog" Pherides (Boris Karloff) and American war correspondent Oliver Davis (Marc Cramer) visit the isle, they find that Pherides' wife's tomb has been desecrated and the body gone. Upon hearing the sweet singing of a female they are led to a household consisting of the Aubin's, St & Mary (Alan Napier & Katherine Emery), Mary's nursemaid Thea (Ellen Drew), archaeologist Albrecht (Jason Robards) & his housekeeper Kyra (Helene Thimig), and salesman Andrew Robbins (Skelton Knaggs). As the talk turns to a mysterious Greek vampire called a vorvolaka being responsible for bad deeds on the isle, a septicaemic plague breaks out. Pherides sends for Dr Drossos (Ernst Dorian) and promptly quarantines all on the isle. But as the group wait and hope for the wind to come and blow the plague away, death and madness starts to take a hold.

We open with a scene in Pherides' shadowy tented command point. Dark unflinching eyes stare out at the soldier in front of him, Pherides doesn't utter a word, he merely pushes a pistol forward, holding his gaze. The soldier takes up the pistol and leaves the tent, the outcome we know from Pherides' manner is obvious. The moody marker has been set, this is a Val Lewton {producer} & Mark Robson {director} picture.

Working from a script from Ardel Wray that was inspired by Arnold Böcklin's painting of the same name, this was the fourth of five pictures Robson directed for Lewton, and the first of three pictures that Karloff made with the talented producer. Originally titled "Camilla," the production was not without problems. Karloff suffered a back problem that required surgery and thus delayed the film for a while and a central female character called Catharine was jettisoned from the original script. So not without problems it seems, but it doesn't show because Isle Of The Dead ended up as an atmospheric pot boiler dripping with the sense of unease so synonymous with the Lewton/Robson partnership.

No doubt about it, this is a very talky piece, with the makers choosing fright suggestion and mooted superstition over actual actions for the most part; with Robson deliberately keeping the pace claustrophobic-ally sedate. It all then comes alive with horror relish as a premature burial {the audience are aware of this fact} brings about an upturn in pace. Which simultaneously gives the horror genre one of its best and most unsettling sequences from the 1940s. We then blend seamlessly into the last quarter of the piece where the mystery and horror unfolds amid shocks and hypnotic like fulfilment. 8/10


Just watched this, the second of Boris Karloff's collaborations with producer Val Lewton, on YouTube. Karloff plays General Nikolas Pherides who is visiting, with American reporter Oliver Davis (Marc Cramer), a Greek isle in which his wife was buried. Turns out the graves were opened with many bodies burned due to the war situation. Also there is a plague that causes a quarantine of the house the General and Davis are staying in which also houses a man named Albrecht (Jason Robards, Sr.), an army physician named Dr. Drossos (Ernst Deutsch), a married couple (Alan Napier and Katherine Emery), a superstitious woman named Madame Kyra (Helene Thimig), and a beautiful young woman named Thea (Ellen Drew) who takes care of the invalid named Mary St. Aubyn played by Ms. Emery. I'll stop there and just say what a compellingly atmospheric drama this was especially near the end. Karloff himself plays a much more sympathetic role whose decent into partial madness is understandable here. Everyone else here also provide their own moments. Director Mark Robson, like other Lewton filmmakers Jacques Tourneur and Robert Wise, provides just the right touch of suspense to keep one riveted. So on that note, I highly recommend Isle of the Dead.


Boris Karloff's name is what brought me to this picture, and without him, I think, the film might have been just another B movie programmer from the Forties. I've just learned a little about producer Val Lewton, and their collaboration here is what gives the picture some of it's momentum. While watching however, I never really got the impression that this was going to be much of a horror film. Yes, there's mention of evil spirits and malignant forces, and even a word about the dreaded vorvolaka, an undead vampire-like creature that's part of Greek folklore. But even with a mysterious Madame Kyra (Helen Thimig) professing such belief, and others in the story buying into it, the production makes it pretty plain that the reason folks are in danger is because of a plague that has infected the island. The attempt to link Thea (Ellen Drew) to malevolent forces didn't really work for me, she was just too wholesome and good looking to imply a serious threat. That role should probably have gone to Madame Kyra, perfect for someone warning about vorvolakas to actually be possessed by one.

What works best I guess is the way General Pherides (Karloff) slowly unravels from a man of strong principal and belief in science to a mad man intent on eliminating a superstition come to life. It's that psychological aspect to the drama that holds more water than the implied horror component, even if Mrs. St. Aubyn escapes from her coffin. Enough explanation revealed her bouts with cataleptic trances and fear of being buried alive to make that an expected part of the story, and one would presume that that was enough to put her over the edge with the old Poseidon sword.

Nevertheless the film is enjoyable on a number of levels; for one, lovers of old films will delight in the great ambiance of an isolated, wind swept island and the dark, moody atmosphere of the Albrecht home. The characters never wear out their welcome, and as others on this board have suggested, those that might have make an early exit. Be prepared though for a Karloff you haven't seen before, all the while I just couldn't get used to seeing him in a military uniform with curly hair.


This horror movie is quite typical for '40's standards. Horror movies from the '40's were often movies that were slow in its build up and also most often picked a realistic approach, with its unlikely subjects. It also often implied more than it actually showed on the screen. "Isle of the Dead" is just a movie like that and for the fans of the genre simply a great one to watch.

The concept is kept quite simple but it works out effective, when a small group needs to remain in quarantine on an island, when a mysterious deadly plague suddenly sets in. The movie often implies a lot and the movie spend most of its time building up things, which in the long run might make this movie a bit unsatisfying for the average viewer (because not a lot is happening) but for those who are familiar and like these type of movies it's quite rewarding movie. Certainly not the best that the genre has to offer but it's simply all good enough.

Of course the movie is also being uplifted by the fact that it has Boris Karloff in the main lead. Once again he proofs that he actually was a great actor, who got stuck in the horror genre. Who knows, maybe otherwise he would had been respected more for his talents, had he starred also in some acclaimed drama's and such.

It's a movie that relies mostly on its atmosphere and main concept and it does this well. "Isle of the Dead" might not be a classic, it certainly is still a fine example of '40's horror.

7/10


From watching Val Lewton's films, it seems that he was fascinated with dichotomies. For example:

"Cat People" explores self-repression vs. uninhibited passion. "Curse of the Cat People" explores reality vs. fantasy. "The 7th Victim" explores the desire to live vs. the desire to die.

Lewton's movies are usually very rich in these psychological themes, but "Isle of the Dead" may explore more dichotomies than any of his other pictures. Here are just a few of the themes dealt with:

*protection vs. domination *cold-hearted rationalism vs. illogical compassion *science vs. superstition *faith vs. superstition *fighting fate/death vs. accepting fate/death *control vs. helplessness

As far as the story is concerned, General Nikolas Pherides (Boris Karloff) and reporter Oliver Davis (Marc Kramer) follow a pleasant and mysterious singing woman's voice to a remote house. Their interaction with the house's occupants generates an eerie, compelling story. I won't give away anything more than to say the plot revolves around the superstition of the Vorvolaka--a Greek "nightmare figure", as the Foreword describes it, that can slowly drain the life from its victim(s) and even cause plagues and epidemics in a community.

I don't know how many dozens of Boris Karloff films I've seen, but this is one of my favorites. In "Isle of the Dead" he is never someone we are allowed to identify with, but he still manages to make us understand his every action. His character undergoes several developments, and they all seem perfectly logical and understandable within the context of this twisted character's worldview.

Though no one in the film really seems Greek--more American and British, in fact--it doesn't really matter where the film takes place or what culture it's in. This is a secluded world that only exists in the movies, but it's a powerful world that forces us to confront our fears in a very real way.

"Isle of the Dead" isn't a monster film or a jolting shock-you-out-of-your-seat jolt-a-minute horror movie, but it's definitely creepy, unsettling, and even scary at times. Is writing is at a much higher calibre than most horror movies, and if you let yourself really get into the story and contemplate the ideas presented, you will find yourself captivated.


Boris Karloff stars as a Greek general in 1912, trapped on an island in quarantine with a house full of people trying to avoid the plague. And is there an evil spirit at work also? This film is a horrifying journey from reason and faith to superstition descending into madness. Wonderful performances by all, but especially Karloff, help to carry this movie. But the setting and the camera work do wonders as well. From a gritty, yet realistic and lighter background initially to a much more dark and Gothic atmosphere in keeping with the story line and the characters' mental state, reminiscent of the subtle, yet terrifying atmosphere of Cat People, the mood of the film is both effective and frightening.

I can think of few things worse than being quarantined after exposure to a deadly pestilence with limited medical resources...relying only on hope to save me, which quickly turns to despair as those around me fall into the darkness. Or the horror, which would almost certainly drive me mad, of being buried alive.

Overall, I really enjoyed this movie and will definitely watch it again.


I saw this movie when I was a teenager and totally dedicated to being scared by most horror films I saw. This movie, I well remember, gave me some great chills which built to the end.

I bought the DVD recently, especially for Halloween--which of course, it arrived 3 days after. Anyway, I was not disappointed with the movie. It moved along nicely from somewhat sinister settings and a mismatch of people who become isolated due to the threat of plague. The man in charge, a Greek general (well played by Boris Karloff) takes over when he suspects the possibility of passing the illness to his troops on the mainland. What interested me most was not that the picture wasn't as well done as I originally thought, but that the characters had so much more depth than I imagined. The general was not an evil tyrant and the housekeeper was not an old witch egging him on out of her envy toward the lovely, young woman. She still seems like an old witch, but this time around I felt her belief in the supernatural and understood her fears which she passed along to the general who had been brought up with the same superstitions. As the first victim succumbs to a mysterious illness and then his wife apparently dies of the same the general's mind becomes affected by the old ways and he falls prey to imagination.

It was not the all-out scary picture I remembered, but it was certainly well done (good old Val Lewton and company). It moved along smoothly and swiftly and built to a very rational and chilling end. I enjoyed it immensely.


Boris Karloff gives a good performance as General Feredes,one of several people he quarantines on a small island where his wife is buried. Suspense builds as each person is struck-down and the superstition of Feredes begins to grow,fuelled by the malevolent housekeeper. An interesting sub-plot is that one of the victims suffers from catatonic trances,and is mistakenly buried alive. Claustrophobic and atmospheric,guaranteed to send a shiver down your spine.


I saw this film a couple of years ago as a young teenager. I enjoyed it, and remembered it, but never really realized the full effect of the delightful terror in it. I saw it again today (shocked that I was able to find it at a local library), and I have been totally and completely blown away. This film boasts one of the most imaginative and solid plotlines I've ever seen in a shock flick. In the first twenty minutes, there is really nothing to distinguish it as a "horror" movie, more as a kind of suspense thriller. But the writers take the story into a whole other realm of reality, and this results in the most satisfying and eerily spooky thriller that you can imagine. A rare gem also, in that the film is practically unmentioned now. But despite its age, it surprisingly isn't in the least bit dated or campy, which many Karloff pictures have become, at least in the minds of the more close-minded horror buffs who wouldn't touch a vintage piece like this one with a ten-foot pole. Sad, really. If Hollywood still had the capacity to produce quality films like this, motion pictures would see another Golden Age. At any rate, do yourself a favor and sample this macabre bill of fare! It's almost certainly to be worth your while.


The filming of this picture was interrupted on two occasions, one from an old back injury, Karloff was rushed to the hospital for an emergency spinal operation and Actress Rose Hobart was replaced in the role of the cataleptic (Mrs. St. Aubyn) by Katherine Emery. This so called "horror" film had a great lack of action and was a drag, even its suspense only mildly was interesting. Even Boris Karloff fans will note the tired way he performs through the entire film. This picture takes place during Balkan War of 1912, General Pherides (Boris Karloff) rows to a tiny Grecian island to visit the grave of his wife. Oliver Davis (Marc Cramer), an American newspaperman, accompanies him. After finding the coffin looted by thieves, they accept lodging in the household of Albrecht (Jason Robards Sr.,) father of Jason Robards Jr. an antique collector. But they soon discover plague has infested the island. Kyra (Helene Thimig), superstitious old crone, believes Thea (Ellen Drew), an attractive Greek girl, is a vampire and responsible for the deaths. This film is not one of Karloff's best performances. However, it is a Classic and a must see film for all Karloff fans !


The 1945 Val Lewton ISLE OF THE DEAD is, regrettably, aptly titled: the film itself is a dead, awkward thing and largely devoid of the style that made such Lewton films as CAT PEOPLE, I WALKED WITH A ZOMBIE, and THE BODY SNATCHER so memorable.

The story concerns a 19th century Greek military commander (Karloff) who visits his wife's grave, located on an island described as a cemetery. But plague breaks out--and in order to prevent its spread the commander quarantines the island. Even as various residents fall ill and die, others attribute the deaths to a Greek-style vampire; to further complicate the story a premature burial leaves the prematurely buried considerably annoyed, to say the least.

The basic problem here is the script, credited to Josef Mishel and Ardel Wray: the dialogue is incredibly awkward and the overall story is at best vague, at worst incomprehensible. Karloff, having just given the performance of his career in the earlier THE BODY SNATCHER, now gives what may be his weakest performance of the 1940s with this film--and frankly he looks incredibly ridiculous with curly hair. But Karloff is not alone: the entire cast is truly at sea, their performances clashing at every possible stylistic level, and director Mark Robson is unable to chart any direction that might give these issues any interest.

Lewton was greatly admired for his skill in turning low budgets into memorable horror films with unexpected poet flourishes; he was, without doubt, one of the few genius producers of the 20th century. But ISLE OF THE DEAD does him no credit. Although it will be a must-see for Lewton and Karloff fans, they will be tremendously disappointed--and all others are warned off.

Gary F. Taylor, aka GFT, Amazon Reviewer


This picture contains a few nice atmospheric bits, but nothing much happens. There's very little tension, and what there is comes only at the very end.

More could have been done with the mythic Greek elements of the story, rather than falling back on Edgar Allan Poe's "The Premature Burial". I'd recommend this picture only to hardcore Karloff fans and aficionados of Val Lewton (although many Lewton fans agree that this is one his weaker pictures).

Definitely not one to keep you on the edge of your seat, but not exactly boring.

One bit doesn't make sense. Karloff comes to the island with the journalist, and then destroys the rowboat to keep everyone from escaping. How did the rest of the people get there? Well, let's assume he wrecked the other boats, too, although one of the characters says, "He's wrecked the only boat on the island!"


One of Val Lewton's classic horror flicks. Creepy and dark. While quarantined on a Greek island, the Plague is not the only thing you have to fear. This chilling story does its job in short order...72 minutes. Great half of a double feature.

Mark Robson directs and Boris Karloff leads the cast that includes Ellen Drew and Jason Robards, Sr.


While I'm a large fan of horror and Karloff, this one failed to really hook me. There are some very tense or creepy moments, but they are few and far between, unlike other Karloff works with a feeling of dread throughout. To be fair, I believe this was a production, plot and directorial weakness that's too much for Karloff and others to overcome.


There seem to be certain rules about "madcap comedy" in the 1930s. It had to center around the idle rich and newspapers frequently played an important part in the story lines...oh yes, and Walter Connolly had to be the rich millionaire father who is bedeviled by the antics of the people around him, be they his daughters (Claudette Colbert in IT HAPPENED ONE NIGHT, Myrna Loy in Broadway BILL and LIBELED LADY, or Olivia de Haviland in the current film, FOUR'S A CROWD. Somehow when Frank Capra used him Connolly was treated with more respect than in the other films. In IT HAPPENED ONE NIGHT he was the wise man who saw through the fortune hunting airplane pilot and pushed his daughter into the hands of Clark Gable. But in LIBELED LADY he is a man who is easily impressed by a conniver's claims at being a trout fisherman. In FOUR'S A CROWD he's the nation's richest man, who has a secret passion that is sillier in it's way than trout fishing (which, after all, is exercise).

Connolly is John Dillingwell, who is a very private millionaire who does not care about public relations. His daughter is Olivia de Haviland, who is currently being romanced by newspaper owner Patrick Knowles. Knowles' ace reporter is Rosalind Russell, whose boyfriend is Errol Flynn. Flynn runs a public relations firm, and would love a chance to have Connolly as a client. The film follows how Flynn tries to land this account, and uses Knowles' newspaper to ensnare Connolly.

In the background of this comedy was an actual transformation. In the 1900s the most hated figure in American business was our richest man, John D. Rockefeller. The business savvy tied to tricks and chicanery used by Rockefeller to build up Standard Oil to controlling 90% of the oil refining in the U.S. was done at the expense of countless rivals driven to bankruptcy. Ida Tarbell's HISTORY OF THE STANDARD OIL COMPANY was one of the great (if not fully trustworthy) muckraking books of the Progressive Era. John D. Rockefeller was fully hated. Then, about 1910, Rockefeller hired publicist Ivy Lee to figure out how to get rid of this bad image. Lee was a genius about advertising. He convinced Rockefeller to get involved with turning a huge portion of his fortune into charity. This eventually led to Rockefeller University, the Rockefeller Foundation, medical charities, work at restoring the colonial town of Williamsburg (and the Cloisters in upper Manhattan). It also led to Lee's interesting suggestion to turn the elderly Rockefeller into a "lovable old codger" by giving dimes away as gifts or tips to strangers. And it worked. By the time Rockefeller died in 1937 (at the age of 97) he had become a well-liked figure to the American public.

Flynn uses bad publicity stories to make Connolly so disliked that street children thrown stones at him. He also uses Knowles' newspaper to print anti-Connolly articles (which threatens Knowels' romance with de Haviland. Then at one point he calls Connolly to offer his services. Connolly responds, "I'd be glad to accept your offer...WHEN BANANAS GROW AT THE NORTH POLE!!" Since global warming is not happening in 1938, this portends no business contract. Instead, Flynn uses Knowles to get Flynn an introduction to Da Haviland. And in visiting her, Flynn finds the key to Connolly's heart: he and his servant Melville Cooper have one of the most elaborate toy train sets in America. Flynn challenges Connolly to a contest between his train and Connolly's favorite one. And surreptitiously sabotages Connolly's train's traction ability.

As the relationship between Loy, Powell, Tracy, and Harlow in LIBELED LADY got "twisty" (to say the least), in this film a similar growth of jealousy and confusion renders relations between Flynn, Russell, de Haviland, and Knowles equally confusing at the end - especially when all four end up at Justice of the Peace Hugh Herbert's to get married. The result is four voices in disharmony speaking at once, joined by Herbert (for once not saying "WOO - WOO" as he claps his hands) trying to read through the marriage service once. It is not a great comedy, but it is amusing, and most people will like it.


In this film, Errol Flynn plays a publicity man and ex-newspaper editor, Patric Knowles plays the owner of a newspaper, Rosalind Russell a star reporter and Olivia DeHavilland plays...well,...an idiot. While I could try to explain the plot as well as how all these characters come together in the film, I'd rather not--as the film is a super-frenetic mess. I am a huge fan of Errol Flynn as well as Olivia DeHavilland, so it came as quite a surprise that I enjoyed this film as little as I did. The biggest problem was that despite all the star power and the direction of the great Michael Curtiz, the overall effort is pretty awful and is only saved by a few moments here and there (provided mostly by Flynn and Walter Connelly). The stars and script try too hard--making the film very shrill and pushy. This is because the film is too high-paced and the script too busy--often resulting in all the main actors talking loudly over each other (not a fun experience at all). Now SOME films with these qualities work (such as MY GIRL Friday or BRINGING UP BABY), but this one does not because the script is poor plus Miss DeHavilland is cast in one of her worst roles ever. While Miss DeHavilland was wonderful in roles in such notable films as CAPTAIN BLOOD and GONE WITH THE WIND, here she plays against type. Instead of the usual sweet character, here she plays a ditsy dame and it just never works and seems, like the rest of the film, very forced. Katherine Hepburn could pull this off, DeHavilland could not.

The bottom line is that the stars of this film made much better films and you should see them instead. In particular, Flynn, Knowles and DeHavilland all appeared in one of the greatest films of the era, THE ADVENTURES OF ROBIN HOOD. So it's obvious with better direction (sorry, Curtiz just doesn't have it here, though he was usually a wonderful director--particularly in romances and adventure films) and writing this SHOULD have been a lot better considering the money Warner Brothers spent to bring all these stars together.


What a fun cast ! Bob Lansford (Errol Flynn) and reporter Jean Christy (Rosalind Russell) are scheming writers, about to lose their jobs. They decide to write stories about rich man Mr. Dillingwill (Walter Connelly -- played the father of the bride in It Happened One Night) that will affect his standing, as well as theirs. Errol Flynn, about 30 at this time, is known mostly as swashbuckling pirate and Robin Hood, and has a most interesting family history in real life; check it out on the Bio page of IMDb. And of course, they do manage to take Flynn's shirt off in Four's a Crowd. Olivia DeHavilland (Gone With the Wind) plays Lorri, the daughter of Dillingwell. Also look for Margaret Hamilton (wicked witch from Wizard of Oz) as Amy, the housekeeper with long pigtails no less, and Frank Pangborn plays the butler. He always had perfect timing as the prim & proper butler, the hotel clerk, or the bank examiner in Bank Dick. The sale of the newspaper was a common theme in the 30s and 40s, (think Citizen Kane) but here it's a fun caper as everyone tries to decide which side they are on. I LOVE the giant train set Mr. Connelly and his butler play with. This story kind of goes around the mulberry mush, but it's fun to be along for the ride. As others have noted, this WOULD be a good DVD, but doesn't seem to have been released yet.


OK! This is not the great hidden screwball masterpiece. The screwy cleverness is pretty obvious, but it's still funny. The story is adequate enough to keep the laughs coming with the right cast. I won't bother too much with the details because you'll get the idea pretty quickly. This is the right cast however and they keep the laughs coming.

For me the highlights are the scenes with Errol Flynn and Rosalind Russell. Russell has always been great as a comedienne and she delivers here as well, but Flynn is a revelation. Like Frank Morgan and Walter Pidgeon before him, he is the guy who not only can, but will, sell refrigerators to the Eskimos. When he turns the charm on Russell it's like being with that cousin who got you into network marketing.

The final act gets the ensemble (de Havilland,Flynn, Knowles and Russell) colliding together like bumper cars with Justice of the Peace, Hugh Herbert misdirecting traffic. He may have delivered the ultimate screwball line ever with "Children, please don't fight! There'll be time for that after you're married."

Realistically, it's obvious why the suits would not let Flynn take this direction, he was the king of swashbucklers and this would have weakened the brand. However, this movie shows what he could have been. As a screwball lead he had charm, athleticism, comic timing, sexy looks and a great voice, but so did Grant, Barrymore and Cooper and others and they were kind enough to leave the pirate market to him. A loss but I'll console myself with another hundred views of Captain Blood.


I just saw this movie last night for the first time, and I thought this was a very funny movie. I thought the story line was very good, and Walter Connolly was excellent as the wealthy Grandfather (as always)! I have to admit one thing though. As far as who shined best in this comedy, I thought it was Flynn and De Havilland. I really expected that Rosalind Russell would steal the show. I was truly surprised she didn't. Even Patric Knowles was funnier in my opinion. I would definitely recommend this to anyone who is a fan of Errol Flynn or Olivia De Havilland. If this came out on DVD tomorrow, it would be a part of my collection tomorrow.


I am a little bias to anything in the classic era of film and by classic era I mean anything from 1930 to 1948. But this movie is a real treasure. Not only do you have the irreplaceable team of Errol Flynn and Olivia de Havilland in Four's a Crowd, there is a bonus of Rosalind Russell.

Mr. Flynn plays a different role than we usually see him in. He is still ever so charming but this time he has traded his sword for a desk. Miss De Havilland refreshes us with a comedic role. Anyone who says this limits her acting ability is completely wrong. Comedy requires a certain amount of skill and she nails her role. Roz Russell fulfills in her character everything her followers like to see her as, a witty newspaper woman. Of course she is capable of playing other parts well but she plays these woman the best. Walter Connolly plays the high-strung,stubborn patriarch like always. In the End the all get married to each other (there's another guy) but you'll have to watch it to see whom to who.


I just saw this movie last night for the first time and taped it off of TCM as part of the Errol Flynn festival for April, and am I glad I did! Flynn is hilarious as the lovable cad he was born to play, and almost every gag line he has works with his flawless delivery and perfect timing. Flynn also turns out, not surprisingly when one thinks about it, to be a physical comedian on par with (I sh*t you not) Cary Grant. Another commenter notes that de Havilland's role was wasted on her, and I agree, but she still turns in a great performance. I would probably have cast Jean Arthur or even Claudette Colbert (anything to see her in a slinky silk slip again!) in the role, but Olivia has the chops, no doubt. Some folks might not have cared for all the phone conversations, but one in particular (here be spoilers) when Flynn has to make two dates for the same night without them overlapping is hysterical. Also, Flynn's ingenious use of the household butter supply brings forth the chortles.

If only the black shoe bastards had let Flynn do what he wanted and make more of these screwball comedies! What a treasure trove they would be!


David Cronenberg redefined what we think of as creepy with this brilliant film. The makeup special effects and grossouts are top notch, but what is most surprising about The Fly is that it turns out to be a very well acted and emotional love story. It greatly surpasses the original '58 version.

The film focuses on the relationship between Jeff Goldblum and Geena Davis at the top and once it takes its turn towards horror it really pays off. It's not just scary, it's a tragedy too. Jeff Goldblum is phenomenal. He is mesmerizing as he delivers great dialogue and once he's barely recognizable he still breaks through the makeup and you can feel the human inside. I can't believe he didn't get an Oscar for this, it's easily his best performance.

I can't express how much I love The Fly. It's more than just horror, and it's proof that you just may find a truly great movie where you least expect it.

My rating: 10/10


Most science fiction films are big on ideas and special effects, but weak on coherence and character development; most horror films are just the same, except without the ideas. But David Cronenberg's 'The Fly' takes one simple idea, develops it properly, and eschews (its genuinely terrifying) special effects until its truly horrific climax. And by paying some attention to the personalities of its protagonists, it actually makes you care about them (Jeff Goldblum is excellent in the lead role), and adds a level of serious reflection on the very nature of human mortality to the raw shock. The mix amounts to a gruesomely good film.


The Fly is more than a horror movie it's a statement of the eighties. I remeber seeing this film for the first time when I was five years old and telling my friends about the gore scenes but as I got older and viewed the film again I realzied how much of a tragic love story the film was. Jeff Goldblum gave an Oscar worthy performanc of ill fated scinenits Seth Brundle and Genna Davis gave an equally good performance as his love interest. The special effects were very good for the eighties and the film does have some scary moments. If you've never seen the film you should.


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. That's one of the reasons why it's a complete mystery that ANOTHER remake is scheduled for 2006. This film can't possibly be improved.


It's been over 20 years since this movie was made, but the special effects are still amazing and the story is an entertaining - and disgusting - as ever! I watch it about every 5-7 years. It's utterly fascinating, but it is so uncomfortable to watch at times I always wonder, as I am viewing it, why I put myself through this each time! The original movie, with Vincent Price, is "dullsville" compared to this re-make.

Things can get really disgusting as Jeff Goldblum ('Seth Brundle") slowly turns into a huge fly. The transformation is very gross in certain spots, and certainly gut-wrenching to witness. You can just feel his girlfriend's anguish and horror as she witnesses Goldblums' incredible physical and mental change. Geena Davis gives a convincing performance in that roles as "Veronica Quiafe."

The story is not just a dumb horror-creature movie, but an intelligent science fiction tale with both leading actors excellent. I don't Davis ever looked prettier, too. John Getz also is good as her magazine boss, "Stathis Borans." Those three characters dominate the film. I can't even remember anyone else in here.

The ending is stunning, almost leaving the first time viewer in shock. In fact, by the nd, this movie will have you emotionally worn out.


The film 'The Fly' has one of the saddest story lines I have ever seen in a horror(Sci-fi and drama) film. Its about a man named Seth Brundle (Jeff Goldblum) who invents a Teleportation machine and accidentally teleports himself with a fly from one transmitting pod to another, which places the insects genetics into Seth Brundle, causing him to slowly mutate into a giant insect. What mostly moved me about this film was the sorrow and pity I felt for Seth Brundle and his girlfriend Veronica (Geena Davis) as he was mutating into an giant insect. To see a man who loved life so much and finally making it in life by meeting the woman of his dreams and by succeeding in his six year goal in inventing Teleportation and then losing it all by transforming into a monster, is enough to put a tear into my eye. I admit this film in many aspects was quite hideous, but because Jeff Goldblums and Geena Davis' acting was so proper and convincing, this is what made the film into what it is. The scene when Seth Brundle went smashing threw the abortion clinic window and then trying to convince Veronica (Geena Davis) not to abort his unborn baby as the baby was the only thing left of the real him, I thought was very sad and moving for Jeff Goldblums acting was so real and professional in that scene, I honestly don't think that any other actor could have played the role of Seth Brundle better than him. I recommend anybody to see this film for I rate it an 7 out of 10.


I think that this is a grossly underrated film - a noteworthy landmark in modern horror. I would expect nothing less than excellent from my favourite director Cronenberg, and this doesn't disappoint. Goldblum's performance is particularly good as the nervy scientist Brundle, but I think the main reason for the film's achievement is its structure - very subtle, very well made. Most of the action takes place in the last third of the picture, but there is a great suspense building up to that point. And the special effects are jaw-dropping - Brundle's hideous transformation is reminiscent of Lynch's 'The Elephant Man'. This film has a reputation for being unnecessarily gory, which is actually not at all true. It is a very intelligent picture, about love and other issues as much as horror, and a must-see for anyone.


David Cronenberg's version of "The Fly" has little in common with Kurt Neumann's 1958 film of the same title, one of the cheaply made 'creature-features' of the 1950s Instead, it reveals many of the director's obsessions

Jeff Goldblum is Seth Brundle, a Mad Scientist who is working on 'teleporting', a means of transporting objects through space Geena Davis is Veronica Quaife, a magazine writer who becomes interested in his work, and in him They start an affair, but Seth believes Veronica is still seeing her former lover In a rage he tries to transport himself, and his genes become caught up with a fly that gets into the machine Slowly Seth takes on the features of an insect

As in other Cronenberg's films, sexuality is seen as a dangerous force that leads to disaster Seth cannot get his amazing machine to transport living creatures until he has experienced the delights of sex with Veronica, but then almost immediately his jealousy leads more like a fly he develops a raging libido; the more physically repulsive he is, the more he wants sex

Like many successful films of the 1980s, "The Fly" is a hybrid, fusing elements of both horror and science fiction Considering that the plot is from the latter genre, the elements of fear and disgust with the human body are traditional to horror Both genres, as this film will illustrate, benefited greatly from the increasing sophistication of contemporary special effects technique, and the make-up abilities The success of the film led to sequel in 1989, in which the son of Seth and Veronica begins to display familiar symptoms


The Fly is a great Sci-Fi thriller that brings excitement to the screen that the original did not. Even though, yes, it can be a bit much to watch with all that, eew, vomiting. I think any true Sci-Fi or horror fan would admit that this is a great movie to watch at midnight. I'm not even really sure why I love this movie, I just think you need a good scare every once in a while and the ending is always a shocker.

Jeff Goldblum plays Seth Brendel, a scientist and meets Veronica played by then wife Geena Davis, she is a journalist trying to find a break-through story that can make her career. Seth interests her with his telepods, only these aren't just any normal telepods, they can transfer things from place to place. Only it has not been perfected to where it can transfer a living creature and Seth offers Veronica or he calls her Ronnie, to stay with him and film what will happen when he perfects it. There Ronnie and Seth fall for each other and begin an affair while trying to perfect the machines.

There is one little past problem of Ronnie's, her ex and boss, Stathis played by John Getz, he wants Ronnie back, but she refuses and continues the project. When she's gone away from Seth, he gets drunk and goes into the telepod not even sure of the results to come, a fly accidentally gets into the machine with him and he telepods successfully! Everything seems fine at first, until a cut he got earlier starts to have tough hair Ronnie notices. When Seth tries to get her into the telepod, she refuses being too scared understandably, he tells her that he'll get another person who'll do it. We notice also that his face is starting too look a little bit more rough, he's only eating sweets, and now has amazing strength. When he scares off another girl as Ronnie warns her "Be afraid, be very afraid", Seth tells Ronnie to leave and never come back.

But now Seth has a bigger problem, he's now loosing his body parts and collecting the "Seth Brendel Museum", he is grossly disfigured when he begs Ronnie to come back into his life and help him. He cannot even eat solid foods any more, he has to vomit on it and make it into liquid, Ronnie loves Seth that she continues to see him and get him help. When it seems that Seth is first frightened of what the results will be, he starts to embrace it with his amazing strength and ability to crawl on the walls and wants to become Brendal Fly! It's worth a Nobel prize or two don't you think? When Ronnie begs Stathus for help, she shows him some video of what Seth is capable of, she has a new problem, she's pregnant with SETH'S baby! She wants an abortion, but when Seth secretly finds out, he's hurt that she'd want to kill the child and he decides the only cure for him is if he and she(with the baby inside her) get in the telepods together and form the ultimate family of one person!

"The Fly" is a creative and gross but nevertheless awesome movie with great performances and keeps you on the edge of your seat. I don't think you will be disappointed. It's just a fun watch for a midnight with your friends and you want a good scare. The effects are cool and not cheap and the make up, well, eesh! You might want a blanket to put up by your face. :D

10/10


I have to admit it. The Fly is the only David Cronenberg movie I have ever seen. I haven't seen any of his others, such as The Dead Zone, Naked Lunch, or eXiStenZ (I think that's how you spell it). But it's just an example that you don't have to be a Cronenberg fan to enjoy this classic. The movie was definitely not a horror movie starring a mad scientist who transforms into an evil fly. It's really not even a horror movie. It's a drama with amounts of romance and suspense/horror. Jeff Goldblum did the best performance of his career as Seth Brundle, a scientist who has invented something he calls "Telepods". They're pods that transport you from pod to pod, space to space. He tests this invention with animals and objects until one night he gets very mad because he believes his girlfriend (Geena Davis) is seeing someone else (John Getz), even though his belief is wrong. He tries the pods out for himself, unknowing that a fly got trapped in the pod with him. The pods splice them together, and slowly throughout the movie, Seth Brundle transforms into a gross and devastating creature, half man, half fly.

The movie had no errors in it. The acting was great, the terrifying score by Howard Shore was amazing, the directing was exceptional, the story was brilliant, and the extremely sick and disgusting special effects were fantastic. Go see this movie! But don't go on a full stomach, unless you want to lose that meal in you.


Why is it this film that will always be his REAL 'breakout', and not any of the others before or since? The truth is, beneath all the biological yucks and makeup (there is plenty of both) lies a strong emotional core. Goldblum is enthusiastically likable as scientist Seth Brundle, and Geena Davis is just how Geena Davis seems to be in real life... sweet. It is how the events change both characters EMOTIONALLY, not physically, that inspires the true horror.

The blending of both the above elements makes this remake appeal simultaneously to the 'gross out' crowd, and those in the mood for a more cerebral horror experience. A concept of B-movie stature, electrified by the skills of A-list talent.


It was nice reading the reviews for this film as so many people picked up the real elements of this movie and not just about the horror.

This movie, as most great movies, is a subtle love story, where someone realises they are a burden and maybe even a danger to them, and so make the ultimate sacrifice.

Cronenberg is probably my favourite director as he is able to take unusual film idea and turn it into something intense and believable. As he has evolved he has improved his writing and as a results the stories have become more hidden and more intelligent.

I think the Fly, Deadzone and Videodrome are his best work. His more recent films, Crash and the Naked Lunch have impressed me with his ambition and ability to try something new, but have failed as entertainment.

I can't really put my finger on how Cronenberg is able to create the intensity and atmosphere that he does, even with very obscure subjects, but I would love to see him try some less obscure subjects and make films of the caliber of the Fly again.

Highly recommend  9/10


The Fly definitely has to have one of the most interesting story in film history about a scientist who teleported himself in his invention without knowing that there is a fly with him. The best thing about the movie is that he didn't turn into a fly straight away after he left the machine; he was slowly throughout the whole film which really created the suspense & the tensive mood.

It is a remake and a hi-tech update of the 1958 classic and is David Cronenberg's biggest hit to date, granting Jeff Goldblum his finest role as the teleported monster hybrid and granting an Oscar for its gruesomely icky special effects. Generally flies are the most useless & annoying animals especially when they sit on your food but for once they did become useful for the idea of this terrific film. I've not seen the original Fly because I'm not keen in really old films and I don't think it will turn out to be as good as this one.

It's rumoured that there is going to be another remake in 2008, I don't mind remakes as long as they turn out to be good but most of them are rubbish. The 80's was the best decade for movies e.g. An American Werewolf in London, Gremlins, A Nightmare in Elm Street, The Terminator & Predator, the list is endless. Overall The Fly is a masterpiece with a classic story that has been tackled in a lot of cartoons including Dexter's Laboratory & Johnny Bravo. It is really underrated because mostly people gave it an 8 instead of 10 out of 10 and it should be on the IMDb top 250.


Someone decides to remake a camp horror movie ? One thing's for sure and that's it's got to be better than than the original where a man who swaps heads with a fly walks about a house with head gear that looks like Michael Jackson's Blanket baby costume

Hey I enjoyed this remake a lot and is certainly David Cronenberg's most mainstream movie . Like most successful horror movies ( HELLRAISER for example ) it confines itself to human elements like desire , hubris along with a love triangle and uses a limited number of locations in this case most of the action takes place in Seth Brundle's apartment . There's something present here that is totally lacking in nearly every horror movie of the 1970s and 80s and that's pathos , we feel sorry for Brundle as he has his genes spliced and starts to mutate into Brundlefly and in many ways the movie feels more like an update of James Whale's FRANKENSTIEN or a remake of THE WOLF MAN featuring an insect mutation instead of lycanthropy . This type of poignancy was absent from the 1980s where horror " heroes " were Freddy Kruegar who was an ethereal child molester killed by vigilante parents . That alone makes THE FLY unique . The final scene were Brundlefly emerges from the teleport after merging with metal and wants Veronica to end his suffering is a truly touching scene almost unheard of in the genre

Being an 1980s movie means we're devoid of CGI and count your blessings for that because the make up here deserved throughly deserved the Oscar it won . True maybe some of the gore is excessive but the final transformation of Brundlefly is very impressive .Jaw dropping in fact . We also get to see undoubtedly Jeff Goldblum's best performance playing Seth Brundle in not a too dissimilar way that Tom Baker played The Doctor in DOCTOR WHO though it's fairly obvious that when Brundle does gymnastics it's a body double since the camera never focuses on Brundle's face . The supporting cast also play their parts as if they're in a serious film , especially Geena Davis which makes THE FLY an even more involving experience . If the actors believe in the story so will the audience

An outstanding horror movie from a decade that featured nothing but teenagers getting sliced and diced by serial killers that couldn't be killed , and a horror movie that shouldn't be remade under any circumstances . What's that ? Hollywood have just started on a remake ? No doubt doubt we'll see Leonardo DiCario or Johhny Depp star in a movie bulging with CGI . I'll be going out of my way not to watch it


Eccentric, brilliant and extremely likable scientist Seth Brundle (Jeff Goldblum) manages to convince a journalist named Veronica Quaife (Geena Davis) working for 'Particle Magazine' to accompany him back to his apartment so he can show her his invention that will, according to him, change the world. Eventually Veronica agrees. Seth shows her his 'Telepods'. Devices that reintegrate objects placed in one pod and reintegrates them in another. Veronica is suitably impressed and takes the story to her ex-boyfriend and editor Stathis Borans (John Getz) who doesn't believe her and says that Seth is trying to con her. Seth contacts Veronica again and asks her to cover the remaining development of the telepods. Veronica sensing a massive story that she will have exclusive rights to, agrees. After some teething troubles Seth feels he is ready to test the pods out on himself. Unfortunately a fly is trapped in Seths pod as he is teleported. The computer which controls the teleportation decides to splice Seth's and the Fly's genes together. Veronica notices drastic changes in Seth's appearance and personality as he undergoes an horrific transformation into the Fly!

Co-written and directed by David Cronenberg I thought this was quite simply an excellent horror film. The script by Cronenberg and Charles Edward Pogue is gripping and really works on an emotional level unlike so many horror films, I actually felt sorry for Seth by the end and the rest of the characters are fleshed out very well so that we care for them. The pacing is excellent, starting off at a sedate pace but never becoming boring and then building up to the gory climax. The acting from both Goldblum and Davis is superb, if they have ever turned in a better performance than I have yet to see it. There are actually very few characters in the film, Seth, Veronica and Stathis is about it. The special effects look pretty good. There isn't much blood or gore, a bone sticking out of an arm and a melted hand is about it. But there are lots of disgusting gooey effects as Goldblum changes into a Fly. It's very well made and looks good. I've nothing really bad to say about it. It was an absolute pleasure to spend and hour and a half of my time watching this. Highly recommended, especially for those who value a well written story with good characters. Don't miss it.


Just last week, in one of my Screen Analysis tutorials, our tutor good-naturedly decided that if we were going to be film students we needed to be exposed to disturbing things. What he showed us was an excerpt from an expressionist French film made in the late 20's, the name escapes me. Before we had reached the climactic scene, every one in the class had already guessed it, as we had seen images so far of a man purposely sharpening a razor blade, and then approaching a complacent woman in a chair and holding wide open one of her eyes. At this point one of the girls in the room rather loudly asked of the tutor, jokingly but in something of a shaky voice, "Why are you doing this?"

This question, I think, could well be the definitive mark of really effective horror, and it was certainly in the back of my mind nearly all of last night as I was watching David Cronenberg's "The Fly" for the first time. True horror films, by their nature, should strive to get their audience to ask this question, because it means that they are transcending the illusion of moving pictures and becoming a film  suspending disbelief and getting under your skin. Effectiveness aside, however, I believe that the mark of exceptional horror is when the question stems from a concern for the characters' wellbeing, and not your own. With both these thoughts in mind, I suspect that "The Fly" could well be the second best horror film of all time (behind Kubrick's "The Shining", which, I admit, got to first place by completely different criteria. Such is life, I'm afraid).

Remade from a 1958 concept starring Vincent Price (and later popularized by "The Simpsons"), the film follows a pretty archetypical horror premise: science gone (of course) horribly wrong. In this case, Jeff Goldblum (in his tour-de-force performance) plays Seth Brundle, an independent scientific visionary who has been slowly designing a device that will "change the world as we know it"  a Teleporter. When he shows his invention to romantic interest Veronica (Geena Davis), it is not quite ready to handle living tissue (demonstrated on screen in the first instance of quite confronting gore), but as the two grow a relationship and fall in love, the wrinkles in the technology are ironed out and so Brundle takes one small step for man and tests the machine on himself. Unfortunately, in the process of teleportation, his DNA is mixed up with that of a common housefly, and although not immediately transformed, as in the original, the two species soon begin to genetically merge and transform Brundle into a creature that has never existed before  and for damned good reasons.

Cronenberg, of course, never shortchanges his audience with graphic gore, and even viewed with the critical eye of Generation Y, the film's mid-eighties effects are still quite sickening, none more so than Goldblum's slow physical transformation. What makes this whole affair really outstanding, however, is his psychological transformation: the truly disturbing thing is how front and centre the humanity of these characters and their world is kept. Davis and Goldblum are the heroes in this regard  their chemistry is palpable, and her affection for him struggling against her disgust at what he is becoming, coupled with his own struggle to keep the fly in check, create the kind of riveting discomfort usually only commanded by train-wrecks.

I was, in fact, quite strongly reminded of Darren Aronofsky's 2000 film-adaptation of Hubert Selby's novel "Requiem for a Dream"  although the subject matter differs greatly, both films derive their horror elements most strongly from a place that is completely removed from Horror  and in both examples the source is basically Love. In this sense, the film affects a lot like real life tragedies do, because it begins in a place truly pure and good and unsuspecting, lets its characters discover how wonderful life can be, and then Horror is unjustly, and irrevocably, forced upon them. This is why it is genuinely moving, instead of tacky, when Goldblum resigns to Davis with a regretful and yet matter-of-fact air that "(he is) an insect who dreamt (he) was a man, and loved it. But now the dream is over and the insect is awake". And in true Cronenberg style, this prophecy becomes quite literal in the third act (think Vincent D'Onofrio in "Men in Black").

Now, in a film that had spent more time on sinister close ups of flies and haunting music cues and not on the bare and essential humanity of the doomed lovers, at this point I probably would have asked "Why are you doing this to me?" and that could have been the end of it  dismissed as senseless disturbing cinema and forgotten. As Cronenberg, Goldblum and Davis have done it, what I asked was "Why are you doing this to them?" And that's the kind of film that you don't ever forget.


The Fog, Friday the 13th, Halloween, The Omen: just a few of the classic horror titles that have recently suffered the indignity of an extremely inferior remake by greedy studios keen to make an easy buck. With box office receipts the only consideration, the makers of these lazy cash-cows make no attempt at improving upon the originals, aware that indiscriminate teens will flock to see their films, regardless of quality.

Back in the 80s, however, things were a little different: easy money came in the form of sequels, which were churned out in rapid succession, but remakes were rare and a surprising amount of care went into their production. Chuck Russell's 1988 version of The Blob was a hugely entertaining romp from a director who clearly loved the genre; John Carpenter's The Thing oozed with atmosphere and pushed make-up FX to a new level; but it was David Cronenberg's re-imagining of The Fly which really proved that a skilled director blessed with a unique vision could turn a remake into a masterpiece.

Cronenberg keeps the basic plot from the Vincent Price classica scientist experimenting with teleportation becomes horribly disfigured after his body is accidentally merged with that of a houseflybut discards the silly notion of a man sporting a massive fly head and arm. Instead, the director once again indulges his obsession with 'the flesh', and has his protagonist suffer a much more gradual fate: in the days following his seemingly successful experiment, genius Seth Brundle (a wonderfully eccentric Jeff Goldblum) gradually transforms into a monstrous creature as his body struggles to fuse his own DNA with that of the fly.

In addition to losing his looks, bits of his body, his ability to digest, and eventually his mind, Brundle also has to cope with the possibility of losing girlfriend Veronica Quaife (Geena Davis), who is pregnant with his child. When madness finally takes control of Seth, and his transformation into 'Brundlefly' is almost complete, the scientist abducts Veronica as she attempts to abort her pregnancy, takes her home to his lab, and pushes her into one of his teleportation pods, his intention being to merge himself with Veronica and their unborn child, thus creating the ultimate family.

A superb central performance from Goldblum, whose quirky, individualistic acting style is perfect for such an unusual role, is perfectly complemented by the equally unique Davis, and solid support is given from John Getz as Veronica's loathsome ex-boyfriend Stathis Borans. The film also benefits immensely from stunning creature and gore effects courtesy of make-up artist Chris Walas (who created the memorable creatures from Gremlins); these ensure that The Fly is as nauseating as it is heart-breakingly tragic. Amongst the revolting sights on offer are a very painful looking broken arm inflicted by Seth during a show of strength in a bar, a quivering inside-out baboon (one of Seth's earlier mistakes), and the Brundlefly vomiting corrosive liquid onto Stathis' hand and foot.

If I was going to nitpick, I might argue that baboons seem like an unnecessarily dangerous test animal for Brundle to work with (but then again, maybe they had a special on baboons at the pet store) and the scientist's uncanny ability to program a computer to recognise the poetry of flesh (as he puts it) comes a little too easy, but these are minor niggles and do very little to spoil the film as a whole.

With Hollywood currently showing no sign of slowing down the remake production line, perhaps those responsible should take a look at The Fly to remind themselves how the job should be done properly.


Quite simply one of the best movies ever (of the genre).

The special effects are great.

The story is great.

The acting is great.

The characters are great (and very believable), which make you really care about what happens to them.

Most movies at the grosser end of the horror genre (including Cronenbergs) usually have such poor characterisation that I simply don't care about what happens to them - this movie is very different.

Probably Cronenbergs masterpiece.


This remake of the original The Fly is a landmark in David Cronenberg's career. Brilliant lit and cinema-graphed this is one of Cronenberg's crowning achievements in both horror and sci-fi. Re-imagining the whole plot normally kills the original movie but it didn't for this film. In fact it made it more greater. Instead of having a man with the head of a fly you get a man who has almost total transformation into a fly. Goldblum is great as Dr. Seth Brundle a scientist who tries to make a revolutionary design in time-place relationships. Going from the area to another is his idea and with his trusty "Telepods" he intends to be a pioneer in breaking research and it almost works. However the experiment goes horribly wrong and Seth realises that he not going to be the same anymore. I have lost count with how many I have seen this but it never gets tiring. The special effects were brilliant and still are to this day. although gruesome sick and very stomach churning, it compliments this classic in the making back in the 80's. Those who have watched Cronenberg's work will notice his trademark in this picture. One being the horrifying FX done fairly close up and the atmospheric score in the background that share the same style of that in Scanners, Rabid, Videodrome and eXistence.

All in all a brill horror/sci-fi movie to be enjoyed by adults with strong stomachs and strong hearts. Just don't watch it on a full stomach. YOU HAVE BEEN WARNED!!!!


In this 1980's update of a 1958 camp classic ("Help me! Help me!"), brilliant if eccentric scientist Seth Brundle (Jeff Goldblum) has concocted a revolutionary new method of transport - 'teleporting' people from pod to pod. Testing it on himself, he unwittingly allows a housefly into his pod, and the system decides to fuse the two of them together, into a steadily mutating man-thing.

Goldblum's former wife Geena Davis is Veronica Quaife, his romantic interest and a reporter for science magazines who cares for him deeply enough that she can't really stay away from him, no matter how bad his situation gets.

Intense, disturbing, graphic (*very* graphic - the makeup effects are so impressive that they actually won the Academy Award), even emotional - this solid remake delivers on a number of levels. All three major performances (John Getz does a good job as Veronica's former boyfriend and current editor; he comes off as a jerk at first, but eventually moves into sympathetic mode and even heroic mode at the end) are very entertaining. Howard Shore delivers another in his long line of superb, ominous, grandiose music scores.

Cronenberg had already before this film succeeded in combining creepy biological horror with various social and/or political commentary, but here he also gives us the added aspect of a tragic love story. Not many films can give you an ending where you may be as moved/saddened as you might be repulsed by the gore (you've gotta admit, though, that gore is extremely well done).

Originally written by Charles Edward Pogue ("Psycho III") and given a rewrite by director Cronenberg. Also, presented by Mel Brooks's company.

Followed by a sequel in 1989.

Look for legendary Canadian boxer George Chuvalo as arm-wrestling barfly Marky, and Joy Boushel ("Terror Train", "Humongous") as Seth's young pick-up. Les Carlson, previously seen in "Videodrome" as that movie's villain, has a small role, and Cronenberg himself also appears briefly as a gynecologist.

8/10


Not a lot of people realise that this is a remake of an old Vincent Price classic about a man who's head is transplanted onto a fly's and vice versa. Whilst that film was a ridiculous B-movie, this truly disturbing adaptation is something far different.

An obsessive scientist decides to try out the teleportation machine he is perfecting on himself, little realising that an ordinary housefly is trapped in the transfer chamber with him. Upon reappearance, he seems to be normal. But he soon begins to slowly transform into a monstrous hybrid.

While most horror fans may see this as a silly monster movie, little realise that at the heart of the story lies a man who is trying to fight a bizarre form of cancer that he is slowly succumbing to. The on-screen chemistry between then-husband and wife Jeff Goldblum and Geena Davis brings the real sense of tragedy to this movie. This helps transcend the grotesque display of mutated flesh going on here.


This is one of the few remakes that actually surpasses the original. Jeff Goldblum plays Seth Brundle, a scientist who created two teleportation pods (or telepods) in his apartment. He then meets a journalist whom he shows his experiment to in action. They end up falling in love and he goes through the teleportation successfully--sort of. Unbeknownst to him, a common house fly got into the machine with him, causing their DNA to get spliced together. He then begins the slow transformation into what he calls 'Brundlefly'. His body parts (ears, fingernails, teeth) begin to fall off as he mutates into a fly creature. David Cronenberg directed this awesome remake with some great, memorable makeup effects. Definitely one of the best remakes ever made.


"The Fly" is hard to classify. There never has been a movie like this before and there will never be one again, since the way of movie-making and story telling is so brilliantly unique of this movie. It's not really an horror movie, for it's not consistently scary and gory enough for that. The movie can be divided into several parts and to every part of the movie a different genre label can be put. Cronenberg simply chooses to ignore that there are different movie genres and he tries to create his very own movie with his very own unique view and take on the story. He ignores all of the 'Hollywood' movie rules with as a result this brilliant and unique movie.

The storytelling is for most part slow and mysterious. It helps to give the movie a certain atmosphere of fear and paranoia. The movie has very few settings and actors in it. It doesn't waste anytime on wide-shots, needless side-plots and characters. Instead it choices a straight forward approach. It works powerful and compelling. We as viewers get immediately drawn into the story and the 'action', so to speak, immediately starts of. It are all reasons why this movie is only 95 minutes short but its long enough to cover everything that has to be told.

The unique way of storytelling is probably also the reason why this movie feels so realistic to watch. You just never know what is going to happen next and the characters are mostly unpredictable. The story and characters take several turns as the movie progresses.

The wonderful dialog is another thing that adds to the realism of the movie. Of course the dialog is also perfectly delivered by the fine cast. Jeff Goldblum plays his character in a way only Goldblum can. With this movie he deliverers one of his most memorable performances. Geena Davis in this movie also shows that she is a very talented actress. It's too bad her career never really got of the ground, in terms of playing respectable and tough roles. She is a well known Hollywood-star but she never really appeared in any widely acclaimed and respected movie, with the exception of this movie, "Beetle Juice" and "Thelma & Louise", for which she was nominated for an Oscar. Three years before that she even won an Oscar for her role in "The Accidental Tourist". But having a successful 5 years just isn't enough for an actress of her caliber. A real shame because when you watch this movie it becomes obvious that the talent is definitely there. John Getz also plays a great role. He plays an unpredictable character that at moments you hate and at others you like him again. Just like in real life, none of the characters are fully bad or fully good. Everyone has a darker less pleasant side and director Cronenberg is not afraid to show this.

The special effects are simple and quite poor but considering that this movie was released in 1986, it's acceptable. The Oscar winning make-up effects on the other hand are fantastic. There are very gory. Even more gory than the most hardened horror movie. The make-up effects are one of the main reasons why the horror elements of the movie work out so very well, especially toward the ending. It's probably also the reason why this movie is regarded by many as an of the best horror movies of all time, even though the entire movie itself isn't really an horror movie at all in my opinion.

It's a very well constructed movie that can't really be defined. A typical Cronebergian gem, with more layers, meanings and elements in it then you would see at first sight. Almost everything about it is unique. It makes "The Fly" a one of a kind movie that is an absolute must-see, at least if you have a strong enough stomach, for this movie definitely isn't for the faint of heart.

9/10


Practically the best remake of all time. Vincent Price's movie was good but this one adds another level to it. Jeff Goldblum is wonderful as Seth Brundle/ Brundlefly he really shows the true madness of the character while allowing the emotional content to shine through the gaps.

This film is beautiful and even though the basic genre is horror this film plays out one of the greatest love stories played out in film history.

In short 'The Fly' is well worth taking the time to sit down and watch be it now or in ten years this film will always be a classic.


I myself saw this film at around 12 years old and man the gore in this film was the only thing i wanted to see, I would invite all my friends round just to show a mans hand dissolved by fly vomit. But now as I watch the film 2 years later I realise its the emotional story between Seth and Veronica that drives it to the end.

The moment he enters the pod with the fly I could just tell that the film would go from perfect to disastrous. The special effects in this film were highly impressive and the film full well deserved its best make up Oscar. But I believe that Jeff Goldblum deserved one also. When near the end of the film he is on the brink of his final transformation he rasps out a small but affectionate speech to Veronica, within moments he starts to talk slight nonsense but the fact that he can accept his fate really makes me sad. Then when he points the gun to his head and begs for death I suddenly realised the second time watching it the true pain both Physically and mentally he went through. I would have preferred to see Stathis the fly monster rather than Seth because for a man that sweet to change that badly, really gets me down.

This is one of those films which you've heard of but never seen but it is a great film so watch it as soon as you can.


Everyone knows the story--brilliant scientist creates amazing invention (teleporter!) and, in testing it, merges himself with a fly that, unbeknown to him, zips about his second telepod. What follows that mishap could best be described as degeneration, as Seth Brundle, the scientist, becomes Brundlefly.

Obviously, though, the movie was made by David Cronenberg, master of venereal or bio- horror. He loves exploring the body and the many ways it disintegrates or morphs; he loves making audiences squeamish with glistening viscera that serve a higher, more philosophical purpose. If Rabid was about STDs, then the Fly is about love in the face of decay. Reading into the story too much would be reductive--The Fly isn't about watching Brundle die from any particular disease; it's about watching Veronica helplessly stand witness to her lover's slow, unalterable demise. It might also be leftfield, allegorical support for euthanasia, but I'm more inclined to believe that the ending resulted from the necessity of a tidy narrative than it did from Cronenberg's desire to include an encrypted message.

But is it any good? Yes, it is. The Fly works on the level of symbolism, but it's also an enjoyable and frightening horror film. It's got the gore and the scares, but it's also intelligent. The Fly is a brilliant commercial horror movie inasmuch as it manages to stay true to the director's vision, while also delivering what audiences expect from a scary movie. It's also wonderfully shot and acted (Jeff Goldblum already looked like an insect; Cronenberg got him to act like one as well).

With The Fly Cronenberg also achieved something few directors could--he made a remake better than the original. The Fly from the 1950s was fine, but it wasn't really that frightening; it's actually a little silly. Cronenberg rewrote the script and turned the earlier film on its ear. This Fly is scary, smart, and, unlike most of Cronenberg's films, lacking in gallows humor; it's actually among his more serious endeavors.

The Fly is a fantastic piece of film-making that should appeal to those in the mood for a taut horror flick or an intelligent, though coded, exploration of an interesting idea.


This was my first look at a David Cronenburg film. Impressive and similar in style to Paul Verhoevens stylistic use of explicit sex and violence. But its not the horrid make up effects that make this film special, it's its ability to take you inside the mind of these characters to a point of being uncomfortable, going inside our deep seeded obsession with vanity. Not only a horror film, but a tragic love story, The Fly melds genres like no other film i've seen. These really are some of the most disturbing notions made in any horror film i have ever seen since 'Alien'. The film is a masterpiece of psychological sickness, bound to make even the most hard core horror fan weak at the knee's.


By 1986, director David Cronenberg was one of the rising stars in the horror genre, having a bright career in his natal Canada where he had directer modern classics such as "The Brood", "Scanners" and the masterpiece of the genre, "Videodrome". After directing his first movie in the U.S., "The Dead Zone" in 1983, Cronenberg was chosen to direct his first big budget project in the U.S.: the remake of the classic movie "The Fly".

The plot of the original movie was kept at its core, a brilliant scientist, Seth Brundle (Jeff Goldblum), creates a teleporting machine, but when he experiments teleporting himself, something goes wrong and he gets combined with a fly. That is the plot outline and all the movie has in common with the original, because Cronenberg took a whole different approach to the story.

While in the original movie the doctor turned himself into a giant fly, in Cronenberg's movie Seth Brundle doesn't change instantly, his mutation is progressive, at first not apparent but later he becomes a new creature, something that has never existed before, as Brundle describes himself, he becomes "the offspring of man and fly".

The script is simply brilliant, not only it explores Seth Brundle's tragedy, the inclusion of Geena Davis as the reporter who falls in love with the scientist only to discover that his lover is slowly changing into something unnatural plays an important part in Brundle's tragedy. The story is full of metaphors and it is the ultimate romance/horror tragedy.

Now, all this would not be possible without the acting of both Goldblum and Davis, their chemistry together is remarkable and their performances carry the film with the power enough to give us insight in the tragedy that slowly gets in the middle of their love.

David Cronenberg's direction is outstanding and this is one of his best works. "The Fly" truly shows his progression as an artist and it is an important step in his career. In "The Fly" he successfully mixes the character study of previous works like "The Brood" or "The Dead Zone" with the SFX-packed action of "Scanners" and "Videodrome". this is without a doubt one of his most accomplished pictures.

Overall, I could go on praising this film and yet it would not be enough. "The Fly" is not only a modern classic of the horror genre (so much that it has casted a shadow over the original), it is a perfect example of the art of film-making. 10/10


Long before the business of remaking old scare films became an industry unto itself, David Cronenberg (then-author of "The Brood" and "Scanners," among other low-budget shockers) took a 1950s B movie and (literally) transformed it into a relevant and compelling horror film. Now, I'll admit that I have never been a big fan of "The Fly," and always viewed it as one of Cronenberg's more underwhelming efforts--an FX spectacular starring then-lovers Jeff Goldblum and Geena Davis--but upon recent inspection, was taken aback by its terror, romance, and tragedy. While most of his films are marked by a cold, detached tone, Cronenberg finds a classical despair within the characters of Seth Brundle (Goldblum), a fidgety scientist who invents a teleportation device, and Veronica (Davis), a reporter for a scientific journal who follows his progress. In a fit of jealousy one evening, Brundle--who has only recently met with success in teleporting a living ape--steps into the pod-like contraption, unaware that a housefly is trapped inside with him; afterward, he exhibits an abnormally stunning physical range, and undergoes a transformation that is truly horrific (Cronenberg, with the assistance of makeup artist Chris Walas, spares us no small detail). "The Fly," like "The Phantom of the Opera" and "The Hunchback of Notre Dame," shows us a monster who is reduced to a grotesque (and in the case of Brundle, inhuman) appearance, while still endowed with the bare instincts of love, morality, and fear; under increasingly heavy makeup, Goldblum retains his trademark sardonic wit, but it connects with a plaintive sorrow that is truly affecting. The chemistry he and Davis share is something truly rare in the horror genre, which gives "The Fly" its transcendent tone; Cronenberg offers a story with humanity, jelled with a metaphor of human decay, and brilliant special effects that assist in bringing this fantastic tale to life. Well done.