CD Review: The Fly Trilogy
by John Takis
The Fly Trilogy ****
Percepto 008
The Fly ****
PAUL SAWTELL & BERT SHEFTER
12 tracks - 20:45
Return of the Fly *** 1/2
PAUL SAWTELL & BERT SHEFTER
16 tracks - 40:02
The Curse of the Fly **** 1/2
BERT SHEFTER
24 tracks - 38:16
Monstrous movie music indeed! There is, in fact, nothing minuscule about
Percepto's release of the complete original scores to all three classic
Fly movies, almost 100 minutes of music. The case itself is of the
large variety, doubtless to accommodate the massive 56-page booklet, which
itself is packed with copious liner-notes and analysis by Tom Weaver and
Randall D. Larson, and about a gazillion pieces of artwork in the form
of stills from the film, behind-the-scenes photos, and international promotional
material...all thoughtfully arranged by FSM's own Joe Sikoryak.
Percepto's website lists this release as "extravagant." They could be accused
of understatement.
Before I go any further, it should be noted that this release has nothing
to do with the 1986 Cronenberg/Goldblum thriller or its disappointing sequel.
These are the scores to the 1958 classic film and its disappointing sequels.
Some of you may never have been exposed to these films. Nevertheless, who
hasn't absorbed, via pop-culture osmosis, the unforgettable image of David
Hedison's tiny head shrieking "Help meeeeee!"
Perhaps the most startling thing about the original The Fly (and
also the Cronenberg remake, for that matter) is its unexpected romantic
character. At heart, The Fly is a tragic love story, where one partner
is forced to stand by as their lover is consumed by an increasingly horrifying
condition. In the original Fly score there's a surprising abundance
of light and romantic writing in the Golden Age tradition. No less than
three of the film's handful of motifs are of this character: a kittenish,
sing-song movement; an almost Arabic-sounding melody; and the principal
love theme, a sweeping series of ascending figures. (All three of these
ideas can be heard in "Happy Couple/Matchbox.") That said, the horror aspect
of the score is most definitely present, punctuated by heavy brass, revolving
around a six-note figure that thrashes about, crashing musically downward
before leaping back up, appearing amidst passages thick with suspense.
The score reaches its climax in "Helene's Discovery," where horror finally
overtakes romance. The unsettling resolution of the concluding tracks is
offset by a gorgeous "End Title." It's a succinct score, ringing in at
around 20 minutes, but it remains a work of outstanding craftsmanship.
Return of the Fly (1959) is the longest score of the three, but
not quite as interesting as its fellows. Less of a romance and more of
a horror/suspense outing, the score uses the same basic archetypes as the
original film (while adding a few new ones), but avoids directly quoting
the old themes. New elements include a fluttery musical "buzzing" in high
strings, and a less pronounced love theme that virtually vanishes after
the score's first few minutes -- this film has no upbeat epilogue. While
ultimately the least satisfying of the three scores, ROTF is a more-than
competent exercise in monster movie scoring.
Given the creative denigration of the franchise, and the loss of Paul
Sawtell as a collaborator due to illness, one might expect The Curse
of the Fly (1965) to suffer accordingly. Not so! Whatever difficulties
Bert Shefter may have encountered, he responded by giving the series its
finest score. Whether by choice or necessity, the wealth of thematic material
from the original film makes a welcome return. Not simply a re-hash, Shefter
expands on his initial ideas, wrapping them around a completely new theme:
a romantic piano-led melody that is first heard in the "Main Title" and
remains a key element throughout the score. The undercurrent of horror
and suspense, revealed in cues like "London Lab," provides a striking and
effective contrast to moments of exquisite beauty. As with the other scores,
the "horror quotient" increases as the music draws near its conclusion.
Careful listeners will notice the same climactic figure in "Pat in Trouble"
as appeared in the original's "Helene's Discovery." And as with the original,
the "End Titles" wrap up on a romantic note.
I should point out that in my criticism of Return of the Fly
as the least of the three scores, I do not mean to suggest that horror
scores must necessarily contain a strong romantic presence in order to
be wholly satisfying. The middle score is fine in its own right, but a
large part of what makes the others so enjoyable is their striking contrast
of musical moods and ideas.
Ultimately, this 2-CD release is more than the sum of its parts. Outstanding
music aside, it would get a high rating based on value, collectibility
and presentation alone. The recording quality shows its age, but the remastering
is excellent. This is music that belongs in every serious film music fan's
collection, and as a comprehensive resource, it will be worthwhile to classic
horror devotees and film buffs in general. It's a limited pressing of 3000
copies, so you'll have to order it from a specialty dealer. It's worth
the effort, and the $30 price-tag is more than fair. Unconditionally recommended.
-- John Takis
MailBag@filmscoremonthly.com
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