A straightforward exposition reveals a surprisingly tender tragedy which doesn't dwell on cod-scientific detail, instead the implications of disease, decay and death. A noticeable emotional refinement of the raw meat body-horror of earlier Cronenberg despite the quantities of gloop. It's not too fanciful to draw lineage with Quasimodo, Elephant Man and Metamorphosis for societal attitudes to perceived deformity.
For decades, "The Fly" has maintained a reputation as the most commercial and accessible of David Cronenberg's 'body horror' canon - which might be true, but it's also ironic that a film this somber, this truly sad could be called commercial. "The Fly" proves an ideal fit for Cronenberg's mad genius - his patented themes of body transmorphism anchored, for a change, to a relationship that registers as warm and human.
Cronenberg's reinvention of the classic horror film was truly astounding on release and still impresses thoroughly now. What makes this examination of the body in revolt so special is the love story at the very root of it. Goldblum was at his very best here well supported by Geena Davis. The Oscar winning makeup is exceptional as is the scripting. "You can't penetrate beyond society's sick, gray, fear of the flesh"