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Archipp Konovalov
Archipp Konovalov

Blu Charas Movie !!TOP!!


Since I was a kid, 'The Fly' has remained a long-time favorite, and it wasn't only because Vincent Price starred in it either although at the time I did think him the coolest, most elegant actor in all of horror cinema. Okay, so maybe Price did have some small part to do with my love for the movie, but he's not the whole reason since he's only on screen for maybe a third of the running time. The same goes for Herbert Marshall. The two character actors are, of course, wonderful additions to the cast, and Price's performance here is just prior to his becoming the cherished horror icon he's remembered as today. They bring a level of seriousness and solemnness to a production that would normally pass as B-movie material.




blu Charas movie



Watching the film as a kid and being genuinely disturbed by it is one thing, but it would be years later until I finally understood and could appreciate what makes the experience effective. 'The Fly' is one of those movies that hinges on the success of its final reveal, a shocking finish that mixes horror with a subtle trace of sadness. The last few minutes are the ultimate clincher to everything preceding it, and the ride before arriving at it is a splendid buildup of consternation and concern, especially since we already how it ends. The film is as much a twisted gothic mystery tale as anything else, one where we desperately want to know why Helene (Patricia Owens) killed her scientist husband Andre Delambre (David Hedison). She gruesomely crushed him with a hydraulic press but insists she's not a murderer and behaves oddly in order to hide her motives.


Price's Francois and Marshall's Inspector Charas are basically us, the audience, trying to piece together what happened. What would drive a happily married couple to murder the other, and why is Helene obsessed with flies, especially a unique one with a white head and arm? The answer to that last question doesn't arrive until the very suspenseful end, the big payoff which has since become a familiar sight in the history of movies, making it bit more comical today than the ultimate shocker it once was. Neumann does exceptionally well generating confusion and anticipation in scenes where Helene frantically attempts to capture the fly, and the stress brings out a hidden temper towards her son Philippe (Charles Herbert) and their housemaid (Kathleen Freeman).


In the audio department, the movie makes a scarily terrifying buzz with this excellent DTS-HD Master Audio soundtrack. Not sure if the people at Fox went to the original four-track magnetic stereo strip for this, but what we have sounds fantastic and remains to faithful to its original design.


Although cheaply made independent monster movies about mutated bugs had already been packing the drive-ins for a couple of summers, it wasn't until 1958 that the major studios stepped in looking for easy pickings. Paramount hired William Alland away from Universal to produce The Space Children and Colossus of New York, and made a killing by distributing Jack H. Harris's chiller The Blob. Independent producer Robert L. Lippert made several science fiction thrillers for 20th Fox release (such as She-Devil) under the Regal Films banner. His box office hit The Fly originated with a 1957 short story by George Langelaan, first published in Playboy. The writer probably found his inspiration the moment he heard an explanation of the workings of television. If images can be broadcast from one location to another, why not objects? Langelaan's disturbing story was an obvious choice for the big screen. Presented in color and stereophonic sound, The Fly was promoted with mysterious ads promising horrors unknown. The genuinely icky concept definitely had legs: Fox followed it up with two cheap sequels. David Cronenberg's remake 28 years later is a minor masterpiece that expands on the original's concept. Although given third billing, the real star on view is Vincent Price. His sincere and committed performance lends credibility to the fantastic story concept.


Unlike some features of the 1950s, The Fly survived with its original 4-track stereo audio intact. The movie exercises its classy CinemaScope and color by having Helene and Andre briefly visit the ballet. But the show also includes a color, 'Scope close-up of a dirty trash can, complete with buzzing flies in stereophonic sound. The stereo audio is mixed with the vintage directional method, which pans voices from speaker to speaker instead of leaving them in screen center. Paul Sawtell's soundtrack score makes a strong stereophonic statement.


The Fly still manages to pack a punch despite its biggest twists becoming part of the pop culture lexicon. The film was an instant hit and within a year a sequel was in production with Price returning as François. Creature features were all the rage in the 1950s, with a vast array of giant radioactive critters set out to destroy society. This movie tells a much more intimate story that brings the terror home in the form of a tragic love story in the vein of Beauty and the Beast. Strong performances and an excellent script make this one a highlight of the era.


Curse of the Fly is a much better movie than you might expect and would benefit from a different title. The teleportation element is central to the story, but forcing a family connection to the previous films is unnecessary. There are some decent moments of suspense and even a good scare or two that keeps viewers engaged as the story moves at a decent pace to its downbeat ending.


The Fly (1958) is a classic genre movie catering to the fears of science and technology. Based on the short story by George Langalaan, the tale is simple and effective, building to a haunting finale. Nearly thirty years later, the material was revisited by acclaimed filmmaker David Cronenberg (Scanners), who created something truly special. The script was originally penned by Charles Edward Pogue (Psycho III), but Cronenberg did a complete rewrite that takes audiences on the long, painful journey of losing your identity as your body slowly betrays you. In the original picture the effect is immediate, but Cronenberg draws out the emotional pain to operatic levels.


Chris Walas does a fine job of directing but appears more comfortable working with puppets than people. The effects take over the third act and are given plenty of time in the light to leave an impression. Once the fly creature is unleashed, the picture takes on a mean-spirited tone that undercuts the good faith audiences have invested to this point. The monster is intelligent and vengeful as it attacks the doctors who raised Martin and spits corrosive fluids on the heavily armed security team responding to the emergency. The gore content level is relatively low, but jarring and over the top. The Fly II is an uneven movie that is a weak follow up lacking the humanity of the previous film.


There are two audio commentaries on this disc, starting with a newly-recorded track with film historians Steve Haberman and Constantine Nasr, who share their thoughts on the short story by George Langalaan and the changes made for the movie. They continue with background information on director Kurt Neumann and discuss the benefits of casting Vincent Price. There is discussion on the themes and philosophy of the picture as well as praise for the powerful ending.


Big and Gothic (2019, 19 minutes) catches up with composer Christopher Young who is eager to discuss his work on this movie. He remembers working with Walas as a positive experience and the challenges of writing both tragic themes balanced with some of a lighter tone. Young tells a very entertaining story about Mel Brooks that will make you smile.


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