Film #48: The Fly (1986)

David Cronenberg's unique take on the 1958 sci-fi staple The Fly stands as one of the few remakes that actually improves upon its predecessor, chiefly because of its superb lead performances and the infusion of Cronenberg's singular, biology-obsessed worldview into the story. Jeff Goldblum expertly portrays eccentric scientist Seth Brundle, whose invention of "telepods" goes horribly awry when he decides to test the invention out, unaware that a housefly has joined him for the journey. When their atoms are all lined up in the other pod...well, "Seth Brundlefly" is born, right in full view of his new journalist girlfriend (played equally well by Geena Davis).

Alternately moving, disgusting, terrifying and funny, The Fly packs an emotional and visceral jab that transcends the genre's emotional chill factor and enters into true tragedy. The love story here is more effective than perhaps in any other movie of its kind; you really get the feel that Davis and Goldblum have hit on something really special (which, actually, they had, since they were married for a few years after this film was released). When it comes time for Brundlefly to start falling apart, I am extremely sorry for the fella; no one deserves to see his teeth and fingernails fall out, or to sink to throwing up acid on their food in order to digest it ("Oh, that's disgusting," Brundle says to his girl, embarrassed at his tableside manners). And I'm extra-sorry for Davis's character, who has to stand by and watch this go forth while coming up with some pretty heavy concerns of her own. Somehow, Davis and ESPECIALLY Goldblum were passed up for Oscar nominations, but the gloriously ghastly make-up effects from Chris Walas and Stephen Dupuis had no match in 1986 and won the award hands down. Icy dark photography from Mark Irwin and bombastic music from Cronenberg regular Howard Shore round out the form of this magnificent genre entry. And, hey, look for Cronenberg in a memorable cameo as a horrified gynecologist! NOTE: Cronenberg is currently mounting a staged opera based on The Fly, to open in America in 2009!!!

Film #47: Dragonslayer

This Disney/Paramount co-production was almost completely overlooked when released in the summer of 1981--it was eclipsed by a little film called Raiders of the Lost Ark. But it deserves an unearthing, and a nicer DVD release that acknowledges its quality. In it, then-newcomer Peter MacNichol plays an inept sorcerer's apprentice who takes on the responsibility of slaying the massive fire-breather who's been terrorizing his medieval village. After a lifetime of great film performances, Sir Ralph Richardson was somehow denied an Oscar nomination playing MacNichol's magical master, but he got one in 1984 for portraying the patriarch in Greystoke: The Legend of Tarzan, Lord of the Apes (which was very nearly his final film performance).


The direction and scripting by Matthew Robbins is crisp, the moody Industrial Light and Magic special effects are phenomenal (especially the stop motion animation by Phil Tippett), the accurate art direction and photography provide a convincing backdrop for the action, and Alex North's music is quite menacing. This was one of the final works from North, the man who gave us the music for Spartacus, Who's Afraid of Virginia Woolf, and A Streetcar Named Desire. His forboding score is a big reason why Dragonslayer is as fine a fantasy movie as it is. Here's a pretty good fan-made trailer that gets the movie down pat (though it doesn't feature the music from the film, darn it).

Film #46: Coal Miner's Daughter

Sissy Spacek rightfully won an Oscar for her portrayal of country music legend Loretta Lynn in this smartly-produced bio-pic directed by British filmmaker Michael Apted (the man behind the 7 Up series of documentaries). The film follows her from her life as the oldest of a brood of kids belonging to a Kentucky coal miner and his wife, to her marriage at 14 to a self-assured WWII vet named Doolittle Lynn (Tommy Lee Jones, in a performance equal to Spacek's) who lovingly guides her to success as the most popular female country singer/songwriter of all time.

 It's a perfect bio-pic in that it covers only a small portion of Lynn's life, but it really hits the stratosphere because it chooses to focus on the love affair the Lynns shared together, rather than the usual music bio trappings--you know, drugs, affairs, that sort of thing (which do make small appearances here, I must admit). With the two leads at the top of their game, it's easy to believe we witnessing one of the greatest partnerships ever, filled with passion and respect. Spacek is completely believeable as both a 13- year-old and a 30-year-old woman (the makeup and hairstyling here is a very important element, though); I find her incredibly adorable in this film, particularly the scene where she makes her stage debut singing "There He Goes" at a local honky tonk. Photographed in a smoky haze by Ralf Bode, this is my absolute favorite scene in the movie, because we get the whole story here: Loretta's nervousness, Doo's confidence, and then Loretta's willingness to be the great performer she is.

Levon Helm, the former lead singer and drummer for The Band, makes a lasting impression as Loretta's stern but loving father (Helm would go on to do a few more roles, most notably as Chuck Yeager's second in The Right Stuff, but we haven't gotten nearly enough on-screen action from this amazingly natural performer). And Beverly D'Angelo also excels as Loretta's best friend Patsy Cline. Both Spacek and D'Angelo did their own singing for the film, and did so superbly (D'Angelo used to be the lead singer for a rock band back in the late 60s, and Spacek had released a solo album three years before Coal Miner's Daughter was shot, so they were both well-prepared). For die-hard country fans, the film even has cameos by Grand Ole Opry staples Ernest Tubb and Minnie Pearl. Nominated for seven additional Oscars including Picture, Adapted Screenplay, Cinematography, Art Direction, Editing and Sound, Coal Miner's Daughter is a must for all fans of great music and great filmmaking.

Here, we have Sissy Spacek performing the title song, with the actor playing her father, Levon Helm, at the drums. This is transcendent.