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The Fly (George Langelaan)
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"The Fly"

Author
George Langelaan
Country
United Kingdom
Language
English
Genre(s)
Science fiction short story
Published in
Playboy
Publication date
June 1957
"The Fly" is a short story by George Langelaan that was published in the June, 1957 issue of Playboy magazine. It was first filmed in 1958, and then again in 1986. An opera of the same name by Howard Shore premiered at the Théâtre du Châtelet, Paris, in 2008.
The short story 'The Fly' is included in Langelaan's short story collection: 'Out of Time' (1964).


Contents  [hide]
1 Plot summary
2 Adaptations 2.1 Screen adaptations
2.2 Opera
2.3 Miscellaneous
3 Honors
4 References

Plot summary[edit]
The story begins late at night when François Delambre is awoken by the telephone. On the other end of the line is his sister-in-law Helene who tells him that she has just killed his brother and that he should call the police. He does and they find the mangled remains of his brother in the family factory, his head and arm crushed under a hydraulic machine press.
Helene seems surprisingly calm throughout the investigation, willing to answer all questions except one: she will not give the reason for killing him. Eventually she is sent to a mental asylum and François is given custody of his brother's young son, Henri. François goes to visit her often, but she never provides the explanation for the question that he most desperately wants to know. Then one day she inquires how long a housefly's life span is. Later that evening, he hears Henri mention something about a fly with a funny white head. Realizing that this might somehow hold a clue to the murder, François confronts her with the news that Henri spotted a strange fly, and Helene becomes extremely agitated at this news. François threatens to go to the police and give them the information about the insect if she does not tell him what he wants to know. She relents and advises him to come back the next day, at which time he will receive his explanation. The next day she gives him a handwritten manuscript, and later that night he reads it.
His brother, André Delambre, was a brilliant research scientist who had just found an amazing discovery. Using machines that he called disintegrator-reintegrators, André could instantaneously transfer matter from one location to another through space. He had two such machines in his basement, one being used as a transmitter pod, the other as a receiver. Helene's manuscript reveals that at first André encountered several flukes, including an experiment in which he transmitted an ashtray that reintegrated in the receiver pod with the words "Made in Japan" on the back written backwards. He also tried transmitting the family cat, which disintegrated perfectly but then never reappeared. Eventually, however, he ironed out the mistakes and found that the invention worked perfectly. Then one day André tried the experiment on himself. Unbeknownst to him, a tiny housefly had entered the transmitter pod with him, and when he emerged from the receiver, his head and arm had been switched with that of the insect.
André tells Helene that his only hope of salvation is for her to find the fly so that he can transmit himself with it again in the hopes of regaining his missing atoms. A search of the house proves fruitless, and in desperation Helene begs him to go through once more in the hopes that the transformation might reverse itself. Not believing it will work, but wanting to humor her, he agrees and goes through. When he steps out of the receiver Helene excitedly pulls off the cloth sack that he has been covering his head with, and she is greeted with a truly horrifying sight. Not only is his head now that of a fly, but some of the missing particles from the family cat were also mixed in with his scrambled anatomy during the last experiment. Now realizing that he has been transformed beyond all hope, André destroys the pods and all of the work in his lab and devises a way to commit suicide while at the same time hiding from the world what he had become. He shows Helene how to operate the hydraulic press and then places himself under it. Obeying his last wish, Helene pushes the button to lower the press and kills her husband.
François goes to see Helene the next day but receives heartbreaking news. Unable to live with her memories, she committed suicide during the night. Later that evening François invites Inspector Charas, the policeman in charge of the case, over to his house for dinner. After finishing their meal, François allows him to read Helene's manuscript. After reading it, Charas declares that Helene must have been mad, and they both decide to destroy the "confession." But just as the story ends, François tells Charas that earlier that day he buried a fly at his brother's graveside. It was a fly with a white head and arm.
Adaptations[edit]
Screen adaptations[edit]
The following movies were based on this short story):[1]
The Fly is a 1958 film which started David Hedison as Andre Delambre, Patricia Owens as Helene Delambre, and Vincent Price as François Delambre.
Return of the Fly is a 1959 film which is the first sequel to the 1958 film. While Vincent Price reprises his role of François Delambre, Brett Halsey stars as Andre Delambre's son Phillipe Delambre.
Curse of the Fly is a 1965 film second and final sequel to the 1958 film which stars George Baker as Martin Delambre, Brian Donlevy as Henry Delambre, and Carole Gray as Patricia Stanley.
The Fly is the 1986 remake of the 1958 film which stars Jeff Goldblum as Seth Brundle (who is in the same role as Andre Delambre), Geena Davis as Veronica Qualife, and John Getz as Stathis Boranz.
The Fly II is the 1989 sequel to the 1986 film. While John Getz was the only one to reprise his role from the first film, Eric Stoltz stars as Martin Brundle (the son of Seth Brundle and Veronica Qualife) with the supporting cast consisting of Daphne Zuniga as Beth Logan and Lee Richardson as Anton Bartok.
Opera[edit]
There is also a Fly opera:
The Fly is 2008 opera by Howard Shore which is based on the 1986 film
Miscellaneous[edit]
In the Hanna-Barbera cartoon Gravedale High, the character Busby is based on the Fly.
The Fly appears in Hotel Transylvania voiced by Chris Parnell. He works as Hotel Transylvania's fitness coordinator. The Fly can also understand "frozen" languages as seen when he translate a magically-frozen Quasimodo's language which revealed that a disguised Jonathan is actually a human. A recurring gag in the film is that the Fly would spit in his hands and rub it as he tells those following his exercise moves not to do that.
Honors[edit]
The story received Playboy magazine's Best Fiction Award for the year, and was selected for inclusion in the Annual of the Year's Best Science Fiction.
References[edit]
1.Jump up ^ George Langelaan at the Internet Movie Database


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1957 short stories
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Works originally published in Playboy





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The Fly (opera)
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The Fly is an opera in two acts by Canadian composer Howard Shore, with a libretto by David Henry Hwang. It was commissioned by the Théâtre du Châtelet in Paris, France, where it premiered on 2 July 2008, and by Edgar Baitzel, then director of the Los Angeles Opera, where the opera was first performed on 7 September 2008. The work was broadcast by Radio France's station France Musique on 2 August 2008.[1]
The opera is loosely based on David Cronenberg's 1986 film The Fly, which was based on the short story of the same name by George Langelaan. Shore also wrote the musically unrelated score of that film.[2]
Roles[edit]

Role
Voice type
Premiere cast,[3][4] 2 July 2008
Conductor: Plácido Domingo
Seth Brundle, scientist bass-baritone Daniel Okulitch
Veronica Quaife, journalist mezzo-soprano Ruxandra Donose
Stathis Borans, editor tenor David Curry in Paris[5]
Gary Lehman in Los Angeles[6]
Officer/Medical Analyst/Cheevers mezzo-soprano Beth Clayton
Marky tenor Jay Hunter Morris
Scientist #1 mezzo-soprano Sophie van de Woestyne in Paris
 Silvia Vasquez in Los Angeles
Scientist #2 baritone Jean-Gabriel Saint-Martin in Paris
 Nicholas Hartley in Los Angeles
Scientist #3 mezzo-soprano Louise Callinan in Paris
 Anna Jablonski in Los Angeles
Scientist #4 baritone Frederic Goncalves in Paris
 Matthew Moore in Los Angeles
Scientist #5 baritone Luc Lalonde in Paris
 Andrew Wilkowske in Los Angeles
Director David Cronenberg
Set designer Dante Ferretti
Costume designer Denise Cronenberg
Lighting designer A.J. Weissbard
Associate conductor/Chorus master Grant Gershon
Makeup and creature design Stephan L. Dupuis
Makeup, creature and puppet fabrication Mark A. Rappaport's Creature Effects, Inc.
The opera runs approximately two hours. As of 2011, no recording of the opera has been released.
References[edit]
1.Jump up ^ Héro, Florian (30 June 2008). "Histoire d'une oeuvre: Howard Shore: The Fly" (in French). Radio France. Retrieved 21 August 2008.
2.Jump up ^ Tommasini, Anthony (8 September 2008). "The Song of the Brundlefly". The New York Times. Retrieved 8 September 2008.
3.Jump up ^ "Howard Shore: The Fly – The Opera: The Creative Team". Los Angeles Opera. 2008. Retrieved 4 June 2008.
4.Jump up ^ "Howard Shore: The Fly – The Opera: The Cast". Los Angeles Opera. 2008. Retrieved 4 June 2008.
5.Jump up ^ Riding, Alan (5 July 2008). "Trying to Teach ‘The Fly’ to Soar Operatically". The New York Times. Retrieved 9 July 2008.
6.Jump up ^ "LA Opera – The Fly (playbill)". Los Angeles Opera. Archived from the original on 11 May 2008. Retrieved 10 September 2008.
External links[edit]
"Howard Shore: The Fly The Opera (homepage)". Los Angeles Opera. 2008. Retrieved 4 July 2008.
"Théâtre du Châtelet: The Fly" (in French). Théâtre du Châtelet. 2008. Retrieved 4 July 2008.
Davies, Lizzy (3 July 2008). "The Fly lands on Paris stage as a Cronenberg opera". The Guardian. Retrieved 4 July 2008. (a review)


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Return of the Fly
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 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2012)

Return of the Fly
Returnoftheflymp.jpg
Promotional film poster

Directed by
Edward Bernds
Produced by
Bernard Glasser
Written by
George Langelaan
Edward Bernds
Starring
Vincent Price
Brett Halsey
Music by
Paul Sawtell
Bert Shefter
Cinematography
Brydon Baker
Edited by
Richard Meyer
Distributed by
20th Century-Fox
Release date(s)
1959
Running time
80 minutes
Country
United States
Language
English
Return of the Fly is the first sequel to the 1958 horror film The Fly. It was released in 1959, and directed by Edward Bernds. Unlike the preceding film, Return of the Fly was shot in black and white. The film was followed by another sequel in 1965, Curse of the Fly.
It was intended that Herbert Marshall reprise his role as the police inspector, but due to illness he was replaced by John Sutton.[1]


Contents  [hide]
1 Plot
2 Cast
3 References
4 External links

Plot[edit]
Phillipe Delambre (Brett Halsey) is determined to vindicate his father by successfully completing the experiment he had worked on. His uncle Francois (Vincent Price) refuses to help. Phillipe hires Alan Hines from Delambre Frere and uses his own finances, but the funds run out before the equipment is complete. When Phillipe threatens to sell his half of Delambre Frere, Francois relents and funds the completion. After some adjustments, they use the transporter to "store" and later re-materialize test animals.
Alan Hines turns out to be Ronald Holmes, an industrial spy. Holmes tries to sell the secrets to a shadowy cohort named Max. Before Holmes can get away with the papers, a British agent confronts him. Holmes knocks him out and uses the transporter to "store" the body. When rematerialized, the agent has the paws of a guinea pig that had been disintegrated earlier, and the guinea pig has human hands. Holmes kills the rodent and puts the dead agent in his car, which he sends into the Saint Lawrence River.
Phillipe confronts Holmes about all the oddities, with a fight ensuing and Phillipe being knocked out. Holmes hides Phillipe the same way he did the agent, but in a twist of malice he catches a fly and adds it to the transporter with him. Francois re-materializes Phillipe, but with a fly head, arm and leg while the fly has his head, arm and leg, becoming "PhillipeFly". PhillipeFly runs into the night, tracking down and killing Max. He waits for Holmes to arrive and kills him, too. PhillipeFly returns home, where Inspector Beecham has found and captured the PhillipeFly. Both are placed in the device together and successfully reintegrated.
Cast[edit]
Vincent Price as Francois Delambre
Brett Halsey as Philippe Delambre
David Frankham as Ronald Holmes / Alan Hinds
John Sutton as Inspector Beecham
Dan Seymour as Max Barthold
Danielle De Metz as Cecile Bonnard
Jack Daly as Granville
Janine Grandel as Mme. Bonnard
Michael Mark as Gaston
Richard Flato as Sgt. Dubois
Barry Bernard as Lt. MacLish
Pat O'Hara as Inspector Evans
Ed Wolff as The Fly
References[edit]
1.Jump up ^ p.122 Weaver, Tom Brett Halsey interview in Eye on Science Fiction: 20 Interviews with Classic SF and Horror Filmmakers McFarland, 2007
External links[edit]
Return of the Fly at the Internet Movie Database
Return of the Fly at Rotten Tomatoes
Return of the Fly at AllMovie


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 The Fly II (1989)
 

Other
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 Short story
 

 


Categories: English-language films
1959 films
American science fiction horror films
1950s science fiction horror films
1950s horror films
Films directed by Edward Bernds
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Curse of the Fly
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 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2014)

Curse of the Fly
Curseofthefly.jpg
1965 Theatrical Poster

Directed by
Don Sharp
Produced by
Robert L. Lippert
 Jack Parsons
Written by
Harry Spalding
Starring
Brian Donlevy
Carole Gray
George Baker
Music by
Bert Shefter
Cinematography
Basil Emmott
Edited by
Robert Winter
Production
   company
Lippert Films
Distributed by
20th Century Fox
Release date(s)
1965

Running time
86 minutes
Country
United Kingdom
Language
English
Curse of the Fly is the second and final sequel to the 1958 version of The Fly. It was released in 1965, and unlike the other films in the series was produced in England. The film was directed by Don Sharp and the screenplay was written by Harry Spalding.
This film was rarely seen for many years, as it was the only entry in the entire Fly film franchise that did not receive a videotape or laserdisc release. It did not receive its home video premiere until 2007, when it was released in a boxed set with the original series of films.


Contents  [hide]
1 Plot
2 Cast
3 Backstory
4 Reception
5 References
6 External links

Plot[edit]
Martin Delambre (Baker) is driving to Montreal one night when he sees a young girl by the name of Patricia Stanley (Gray) running in her underwear. They fall in love and are soon married. However, they both hold secrets: she has recently escaped from a mental asylum; he and his father Henri (Donlevy) are engaged in radical experiments in teleportation, and they have already had horrific consequences. Martin also suffers recessive fly genes which cause him to age rapidly and he needs a serum to keep him young.
In a rambling mansion in rural Quebec, they have successfully teleported people between there and London. However, there had been many failures producing horribly disfigured and mad people who are locked up in the stables. Martin's first wife is one of them. The police and keeper of the asylum trace Stanley to the Delambre place where they find out she has married Martin but it comes out that he had a previous wife whom he did not divorce. Inspector Charas, who had investigated Andre Delambre and is now an old man in the hospital, tells the policeman about the Delambre family and their experiments.
As the police begin to close in, a mixture of callousness and madness afflicts the Delambres and people are killed and more monstrosities are produced. The Asian couple (Burt Kwouk and Yvette Rees) who were helping them have had enough and leave. Martin sends Henri to London not knowing the re-integrator has been destroyed. Stanley has had enough and she tries to escape. Martin tries to stop her but starts aging again and he is without his serum so he dies. The police arrive.
While teleportation errors can easily be gruesome, this movie is particularly so at the late point in which several of the afflicted people where transported away from the police encroachment and ended up fused together in a revolting and pathetic monstrosity. The person at the receiving station felt the only response was to kill the resultant "thing" with an axe. While the act is not shown, the result is, and is sufficiently gruesome (in color!)[citation needed] for any taste.
The film ends with the words: "Is this the end?"
Cast[edit]
Brian Donlevy as Henri Delambre
George Baker as Martin Delambre
Carole Gray as Patricia Stanley
Burt Kwouk as Tai
Yvette Rees as Wan
Michael Graham as Albert Delambre
Mary Manson as Judith Delambre
Charles Carson as Inspector Charas
Jeremy Wilkins as Inspector Ronet
Rachel Kempson as Madame Fournier
Backstory[edit]
Although a sequel to the The Fly and Return of the Fly, the backstory used for Curse of the Fly does not match the continuity of the first two films. It does, however, build its narrative on elements and characters from those films.
Curse of the Fly centers on Henri and Martin Delambre, identified as the son and grandson of the Andre Delambre character depicted in The Fly. Andre's invention of a teleportation device and subsequent accidental integration with a housefly remain within the backstory. However, his resultant assisted suicide is removed; instead, his son — apparently a different character from the boy Phillipe Delambre depicted in The Fly — was able to put both the altered man and the altered fly back into the teleportation chamber and successfully reverse the integration, as was done with an adult Phillipe in Return of the Fly. The dialogue within Curse of the Fly contains no mention of Phillipe, although a picture shown in the film, which is supposed to be of Andre in his altered form from The Fly, is actually a still photo from Phillipe's transformation in Return of the Fly.
Reception[edit]
The film was a box office disappointment.[1]
References[edit]
1.Jump up ^ John Hamilton, The British Independent Horror Film 1951-70 Hemlock Books 2013 p 132-136
External links[edit]
Curse of the Fly at the Internet Movie Database
Curse of the Fly at AllMovie


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The Fly II
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The Fly II
Fly2Poster.JPG
Theatrical release poster

Directed by
Chris Walas
Produced by
Steven-Charles Jaffe
Mel Brooks (uncredited)
Screenplay by
Mick Garris
 Jim Wheat
Ken Wheat
Frank Darabont
Based on
Characters
 by George Langelaan
Starring
Eric Stoltz
Daphne Zuniga
John Getz
Music by
Christopher Young
Cinematography
Robin Vidgeon
Edited by
Sean Barton
Production
   company
Brooksfilms
Distributed by
20th Century Fox
Release date(s)
February 10, 1989

Running time
105 minutes
Country
United States
Language
English
Box office
$38,903,179[1]
The Fly II is a 1989 science fiction horror film starring Eric Stoltz and Daphne Zuniga. It was directed by Chris Walas as a sequel to the 1986 Academy Award-winning film The Fly, itself a remake of the 1958 film of the same name. Stoltz's character in this sequel is the adult son of Seth Brundle, the scientist-turned-'Brundlefly', played by Jeff Goldblum in the 1986 remake. With the exception of stock footage of Goldblum from the first film, John Getz was the only actor to reprise his role.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Makeup/creature effects
5 Reception
6 Production notes
7 References
8 External links

Plot[edit]
Several months after the events of The Fly, Veronica Quaife is about to deliver the child she had conceived with scientist Seth Brundle. Anton Bartok, owner of Bartok Industries (the company which financed Brundle's teleportation experiments), oversees the labor. Veronica dies from shock after giving birth to a squirming larval sac, which splits open to reveal a seemingly normal baby boy. The orphaned child, named Martin Brundle, is taken into Bartok's care. Bartok is fully aware of the teleportation accident which genetically merged Seth Brundle with a housefly, a condition that Martin has inherited, and he secretly plans to exploit Martin's unique condition.
Martin grows up in a clinical environment, and is constantly subjected to studies and tests by compassionless scientists. His lifespan is quickly accelerated as a result of his mutant genes, but he also possesses a genius-level intellect, incredible reflexes, and no need for sleep. He knows that he is aging faster than a normal human, but he is unaware of his insect heritage, having been told that his father suffered from the same rapid aging disease that Martin himself is afflicted with. As Martin grows, Bartok befriends him, amusing him with magic tricks, and tells him that a "magic word" needs to be a secret word that can never be confided to anyone or else it would spoil the magical effect. When Martin is three years old, he has physically aged into a child of around ten. He frequently sneaks out of his quarters and explores the limited confines of the Bartok complex. One night, he finds a room full of laboratory animals, where he befriends a Golden Retriever. The next night, he sneaks out again to bring the dog some of his dinner, only to find the animal is missing. Searching for the dog, Martin makes his way into an observation booth overlooking Bay 17, which contains Seth Brundle's two surviving Telepods. Bartok's scientists are attempting to replicate Brundle's experiments, and are using the Golden Retriever as a test subject. The teleportation fails, leaving the dog alive but horribly deformed. The mutated animal attacks and maims one of the scientists, and young Martin is horrified by the spectacle.
Two years later, Martin's body has physically matured to that of a twenty-five year old adult, and his intellect has grown perhaps even faster. On his fifth birthday, Bartok presents Martin with a bungalow on the Bartok facility's property, and offers him the chance to perfect his father's Telepods. In the past five years, Bartok and his scientists have not made any progress in getting them to work successfully again after they were damaged on the night Seth Brundle died. Bartok expresses his hope that Martin will be able to finish what his father started, and apologizes for the dog, stating that the animal was quickly put out of its misery after the failed teleportation experiment.
As he begins work on the Telepods, Martin befriends Bartok employee Beth Logan. They grow closer as Martin tries to get the Telepods to function correctly. Eventually, Beth invites Martin to a party at Bartok's specimens division. Breaking away from the party, Martin discovers that Bartok lied to him; the mutated dog has been kept alive as a specimen for the past two years. He runs out of the party and later sneaks down to the animal's holding pen. The deformed dog, in terrible pain, still remembers Martin, who ends its misery by euthanizing it with chloroform. The next day, Bartok asks if Martin is aware of the break-in at the specimen pit. Martin coldly says "No," and Bartok smiles (realizing Martin is lying) as he states that Martin is finally growing up.
Eventually, Martin gets the Telepods to function properly (after realizing that the computer's programming required creative thinking, just as his father had), and he and Beth Logan become lovers. However, he also learns the horrible truth of his father's fate, his own biology, and of a possible cure to his condition. Unfortunately, the cure, which involves swapping out Martin's insect genes for healthy human genes, requires the sacrifice of another human being, who will in turn suffer a grotesque genetic fate. By this time, Martin's dormant insect genes have awakened, and the signs of his transformation into a human-insect hybrid have begun. Martin escapes from Bartok Industries after Bartok reveals his plans—he intends to use Martin's unique biology as the model for a new method of genetic engineering that Bartok believes the Telepods can provide. Although Martin had successfully repaired the Telepods, Bartok is unable to use them, as Martin has installed a password and a booby-trap computer virus, which will erase the Telepods' programming if the wrong "magic word" is entered. Bartok knows Martin had indeed been listening to him when he was a child, and that they will never figure out the password without Martin.
Martin and Beth flee and go on the run. They visit Veronica Quaife's old confidant, Stathis Borans, who is now a reclusive, embittered drunk as a result of Veronica's death. Borans confirms for Martin that the Telepods are his only chance for a cure. Martin and Beth borrow Borans' Jeep and check into a motel, but Martin's physical and emotional changes become too much for Beth to handle, and she surrenders them both to Bartok in desperation. Before Martin becomes fully enveloped within a cocoon, Bartok tries to get him to reveal the password, but Martin refuses. As Martin enters the final stages of his transformation, Beth is brought to Bay 17, where Bartok interrogates her about the "magic word." Meanwhile, the fully transformed "Martinfly" emerges from his cocoon and ruthlessly stalks and kills the scientists and security guards who try to subdue him, as well as taking revenge on his betrayers, as he seeks a healthy human donor to swap genes with. Despite the brutal methods he uses to eliminate the security team dispatched to recapture him, a trace of Martin's former humanity remains, as demonstrated by his refusal to harm a rottweiler that was sent to sniff him out.
After arriving in Bay 17, Martinfly grabs Bartok, types in the password "DAD", and forces himself and Bartok into Telepod 1, gesturing for Beth to activate the gene-swapping sequence. Despite Bartok's pleas for mercy, Beth activates the sequence, and when the two are reintegrated in the receiving pod, Martin is restored to a fully human form, the fly genes now removed from his body, while Bartok suffers the fate of becoming a freakish monster. Ironically, the mutated Bartok is placed in the same specimen pit he had kept the mutated dog, where he is now forced to live as a subject of scientific curiosity.
Cast[edit]
Eric Stoltz as Martin Brundle
Daphne Zuniga as Beth Logan
Lee Richardson as Anton Bartok
John Getz as Stathis Borans
Frank C. Turner as Shepard
Ann Marie Lee as Jainway
Garry Chalk as Scorby
Jerry Wasserman as Simms
Lorena Gale as Woman
Saffron Henderson as Veronica Quaife
Jeff Goldblum (uncredited archive footage) as Seth Brundle
Production[edit]
On the DVD commentary track, the film's director, Chris Walas, states his belief that screenwriter Frank Darabont wrote Bartok to represent the worst aspects of corporate America.
Makeup/creature effects[edit]


 This article may contain an excessive amount of intricate detail that may only interest a specific audience. Please help relocate any relevant information, and remove excessive detail that may be against Wikipedia inclusion policy. (October 2011)
As with the first film, special makeup and creature effects were provided by Chris Walas, Inc. As opposed to Seth Brundle's diseased deterioration into "Brundlefly", in The Fly II, Martin's metamorphosis is much more of a natural evolution (as a result of the fact that Martin was already born with human-insect hybrid genes instead of being accidentally fused with a fly the way his father was).
Here is a breakdown of Martin Brundle's transformation into the creature dubbed "Martinfly" by the CWI crew (behind-the-scenes information is in italics).
STAGE 1 (on view in the scenes where Martin confronts Dr. Shepard and then attempts to telephone Beth Logan): Martin's face is slightly discolored, and he's looking haggard. Worse, a bizarre cavity in his left arm has appeared, and sticky, web-like threads are being excreted from it. Eric Stoltz's face was subtly discolored with makeup, and a gelatin makeup appliance was affixed to his left arm. The webbing coming out of Martin's arm was made from Halloween-style decorative spider-webbing.
STAGE 1-A (on view when Martin views the various Bartok surveillance tapes, and when he subsequently escapes from the Bartok complex): Martin is looking even more haggard, and the skin beneath his eyes is puffy. This is an accentuated version of the Stage 1 makeup, with gelatin eyebags added under Stoltz's eyes.
STAGE 2 (on view when Martin talks to Beth inside her houseboat, as well as in the deleted "Stopping for Food" scene which can be seen on the 2005 The Fly II: Collector's Edition DVD): Martin's bone structure has started to shift, and his face is rapidly becoming deformed. Gelatin appliances were added to Stoltz's face to give the impression that Martin's brow and cheekbones were becoming distorted.
STAGE 3 (on view when Martin and Beth visit Stathis Borans, as well as when they arrive at the motel): Martin's entire head is deformed, his hairline is receding, and his voice is deepening. Also, the stringy white webbing is being excreted from his face now. Gelatin makeup appliances were added to Stoltz's entire head, and his voice was artificially lowered in post-production.
STAGE 4 (on view inside the motel, and when Bartok arrives to retrieve Martin): Martin (his voice now even deeper) has begun to instinctively pull the webbing out of his own body and wrap it around himself. As it hardens, the webbing begins to form a cocoon. At this point, Martin's legs have been enveloped by said cocoon. Now that Martin is no longer wearing clothes, a hideous assortment of lumps and bumps can be seen on his discolored body, his face and head are even more distorted, and his teeth and ears are receding. Some of his fingers are webbed together with flaps of skin, and claws are growing on his knuckles. Martin removes his human right eye in this stage to reveal an orange insect eye behind it. The most complex makeup, this stage took some 12 hours to apply to Eric Stoltz, and he was required to remain immobile on the motel couch (with his legs inside the partial cocoon) all that time, as well as during the additional hours of filming that immediately followed. Body makeup and gelatin bumps were added to Stoltz's arms and torso, in addition to the makeup appliances covering his face and head.
Soon, Martin is fully enveloped by the cocoon (which begins as slightly transparent, with the next stage becoming opaque and iridescent). The scene featuring Bartok talking to the cocooned Martin involved a Martin rod puppet—transformed from the waist-down—being operated inside a transparent composite cocoon that was filled with water.
After a brief gestation period, the final "Martinfly" creature is revealed when it bursts out of the cocoon and goes on a rampage around the Bartok complex. The iridescent creature has four arms (the top pair featuring two large, clawed digits, and the other pair having four webbed digits), two digitigrade legs, and its green body is covered with insect hairs. Martinfly is also tall and slender, with a segmented torso. Its head has piercing, orange insect eyes (with pupils), distorted nostrils, and two flexible mandibles with sharp teeth covering a mouth full of even more teeth. The interior of the creature's mouth contains a pseudo-proboscis, which can spray corrosive enzymes at high velocity. Whereas the Brundlefly creature in the first film was deformed and sickly-looking, Martinfly possesses better symmetry and is very strong, very fast, and very deadly. The final Martinfly creature was created as a series of cable-controlled and rod-operated puppets.
Reception[edit]
The Fly II fared well in the box office making $20,021,322 at the US box office and a further $18,881,857 worldwide.
The Film recevied generally negative reviews with 27% positives critics according. Many believe that Walas (who was the special effects engineer for the Oscar-winning make-up and creature effects in the first film) set out to repeat the success of the original by relying more on heavy gore and violence than on plot and atmosphere. However, it is appreciated by many fans of the horror genre for its great visual impact. Walas has stated that the film was designed to be much more of a traditional (albeit gory) monster movie than Cronenberg's horror/tragic love film.
The scene of a character's head being crushed by an elevator aroused some controversy with the MPAA: they originally gave the film an "X" rating due to its graphic nature.[citation needed] Ultimately Chris Walas was able to gain a more audience friendly "R" rating after reediting the sequence. The VHS and DVD versions retain the full scene.
The film received a certain amount of backlash regarding the 'mutant' dog, in particular, the scene where Martin mercifully euthanizes the dog, which is hideously deformed and kept in a large observation room. Many viewers were disturbed by the dog's appearance and sad fate as mentioned by Chris Walas in the documentary for the Special Edition DVD. He said the audience would feel more sympathy for a mutated animal than a human.
Production notes[edit]


 This article may contain an excessive amount of intricate detail that may only interest a specific audience. Please help relocate any relevant information, and remove excessive detail that may be against Wikipedia inclusion policy. (November 2011)
The following are events related to film production:
An early treatment for a sequel to The Fly, written by Tim Lucas, involved Veronica Quaife dealing with the evils of the Bartok company. Seth Brundle's consciousness had somehow survived within the Telepod computer, and the Bartok scientists had enslaved him and were using him to develop the system for cloning purposes. Brundle becomes able to communicate with Veronica through the computer, and he eventually takes control of the Bartok complex's security systems to gruesomely attack the villains. Eventually, Veronica frees Brundle by conspiring with him to reintegrate a non-contaminated version of his original body. David Cronenberg endorsed this concept at the time. Geena Davis was open to doing a sequel (and only pulled out of Fly II because her character was to be killed in the opening scene), while Goldblum was not (although he was okay with a cameo), and this treatment reflects that. However, a later treatment written by Jim and Ken Wheat was used as the basis for the final script, written by Frank Darabont. Mick Garris also wrote a treatment, with elements incorporated into the final film.
The first videotape of Seth Brundle is actually part of a deleted scene from the first film (with Geena Davis' dialogue redubbed by Saffron Henderson, who played Veronica Quaife at the beginning of the sequel).
The film contains a subtle reference to David Cronenberg, writer-director of the previous film. In an early scene where Martin sneaks out of his room to explore the Bartok Industries facility, a guard is seen asleep at his post, and resting on the desk in front of him is a copy of The Shape of Rage, a book which discusses the films of David Cronenberg (and the book's cover features a photo of Cronenberg himself).
The script for The Fly II explained that Stathis Borans lived in such a fancy home because he had taken hush money from Bartok (and had been told that Brundle's baby died in childbirth along with Veronica), but this was never mentioned on-screen. In an early treatment for The Fly II, it was revealed that the Telepods were not working because Stathis had taken the computer's information storage discs (which contained the Telepods' programming) before Bartok took possession of the pods. However, this detail was dropped from the final film, and it is left unclear as to why the Telepods suddenly aren't working at the beginning of the sequel.
Chris Walas mentioned on the DVD documentary that he was very displeased with the marketing of the film as he warned them not to use the "Like Father, Like Son" tagline as it sounded too "corny." The marketing executives still went ahead with the tagline. Producer Steven Charles-Jaffe says that he hates the marketing process as it could kill a movie with too much hype.
References[edit]
1.Jump up ^ The Fly II at Box Office Mojo
External links[edit]
 Wikiquote has quotations related to: The Fly II
The Fly II at the Internet Movie Database
The Fly II at AllMovie
The Fly II at Box Office Mojo
The Fly II at Rotten Tomatoes


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Beware! The Blob
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 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2010)

Beware! The Blob
Bewaretheblob.jpg
Directed by
Larry Hagman
Produced by
Anthony Harris
Screenplay by
Anthony Harris
Jack Woods
Story by
Richard Clair
Jack H. Harris
Starring
Robert Walker, Jr.
Carol Lynley
Godfrey Cambridge
Gwynne Gilford
Richard Stahl
Richard Webb
Marlene Clark
Gerrit Graham
J. J. Johnston
Danny Goldman
Music by
Mort Garson
Cinematography
Al Hamm
Edited by
Tony de Zarraga
Distributed by
Jack H. Harris Enterprises Inc.
Umbrella Entertainment
Release date(s)
June 21, 1972

Running time
91 minutes
Country
United States
Language
English
Beware! The Blob (alternately titled as Beware the Blob, Son of Blob, Son of the Blob or The Blob Returns) is a 1972 (copyrighted 1971) sequel to horror science-fiction film The Blob. The film was directed by Larry Hagman. The screenplay was penned by Anthony Harris and Jack Woods III, based on a story by Jack H. Harris and Richard Clair. The film originally earned a GP rating from the MPAA, though it is now unrated.


Contents  [hide]
1 Plot
2 Production
3 Release
4 Home Media
5 Cast
6 References
7 External links

Plot[edit]
An oil pipeline layer named Chester (Godfrey Cambridge) returns to his suburban Los Angeles home from the North Pole, bringing with him a small sample of a mysterious frozen substance uncovered by a bulldozer on a job site. Prior to taking the blob to a lab to be analyzed, he places the storage container with the substance in his freezer, but he and his wife accidentally let it thaw, releasing "the Blob". It starts by eating a fly, then a kitten, Chester's wife, and then Chester himself (while he is watching a television broadcast of the film The Blob).
Lisa (Gwynne Gilford), a friend, walks in to see Chester being devoured by the Blob. She escapes, but cannot get anyone to believe her, not even her boyfriend Bobby (Robert Walker, Jr.). Meanwhile the rapidly growing creature quietly preys upon the town. Some of its victims include a police officer and two hippies (Cindy Williams and Randy Stonehill) in a storm drain, a barber (Shelley Berman) and his client, transients (played by director Hagman, Burgess Meredith and Del Close), a Scout Master (Dick Van Patten), a farm-full of chickens, and a bar full of people.
At one point, Lisa and Bobby find themselves trapped in Bobby's truck with the creature attempting to find a way inside. In the panic, the truck's air conditioning is accidentally switched on and the Blob retreats because of its vulnerability to cold.
The now-massive blob then invades a bowling alley and a skating rink (consuming dozens more people in the process). It is finally stopped when Bobby activates the rink's ice mechanism, freezing it. While the frozen blob is being filmed by a television crew, one of the crew's bright lights is positioned on the ground, melting a small portion of it, which oozes toward the sheriff and envelopes his feet as he is speaking on camera.
Production[edit]
Filming took place during the summer of 1971, primarily in and around Diamond Bar, California and Pomona, California, both 30 miles east of Los Angeles. The ice skating rink scene was filmed at the Rollerdrome on Washington Boulevard in Culver City, California immediately prior to the building being torn down in August, 1971 to make way for Tellefson Park. The party scene was filmed in a loft in Venice, California.
As in the original 1958 film, the Blob was largely portrayed by gallons of dyed red silicone. In this film, in certain scenes the Blob was alternately created from other materials including a large red plastic balloon, semi-transparent red plastic sheeting, and a large rotating red drum of hard silicone placed in front of the camera lens (referred to among fans as the "Blob-Cam" shot).
Larry Hagman had previously directed episodes of I Dream of Jeannie and The Good Life and went on to do the same for several episodes of Dallas and In the Heat of the Night (the only series he directed for that he never acted on). This would be his only feature film as a director. In an interview in Fangoria magazine, screenwriter Anthony Harris stated that a good portion of the filmed material was improvised on the set and that the script was ignored.
Dean Cundey, who would later go on to be a cinematographer on such films as Halloween, The Thing, the Back to the Future series and Jurassic Park, worked on Beware! The Blob as one of the three special effects technicians (alongside supervisor Tim Baar and Conrad Rothmann) responsible for creating the blob effects. Cundey was also the camera operator on second unit shots of the blob eating the fly, the kitten, etc.
Cast member Del Close later appeared in the 1988 remake of The Blob.
Release[edit]
In 1982, the film was re-issued with the tagline "The film that J.R. shot!" in an attempt to capitalize on the success of Hagman's television series Dallas.
Home Media[edit]
Son of Blob together with The Blob was released on DVD by Umbrella Entertainment in September 2011. The DVD is compatible with all region codes.[1]
Cast[edit]
Robert Walker as Bobby Hartford
Gwynne Gilford as Lisa Clark
Richard Stahl as Edward Fazio
Richard Webb as Sheriff Jones
Marlene Clark as Mariane Hargis
Gerrit Graham as Joe, Ape-Suited Party Guest
J. J. Johnston as Sheriff's Deputy Kelly
Dick Van Patten as Scoutmaster
Tiger Joe Marsh as Soviet Dong
Fred Smoot as Pinsetter Repairman
Randy Stonehill as Guitar player, singer
Cindy Williams as Hippie
Preston Hagman as Preston, a Boy Scout
Larry Norman as Party guest, coffee shop customer
Bill Coontz as William B. Foster
Shelley Berman as Hair Artist
Godfrey Cambridge as Chester Hargis
Larry Hagman as Hobo
Carol Lynley as Leslie
Burgess Meredith as Hobo (uncredited)
Conrad Rothmann as Fireman (uncredited)
Danny Goldman as Party Guest, coffee shop customer (uncredited - Goldman is often confused for similar-looking actor Bud Cort, who does not appear in the film)
Rockne Tarkington Sheriff's Deputy
Tim Baar
Del Close as Hobo (uncredited)
John Houser
Robert N. Goodman
Patrick McAllister
Byron Keith
Margie Adleman
References[edit]
1.Jump up ^ "Umbrella Entertainment". Retrieved 28 May 2013.
External links[edit]
Beware! The Blob at the Internet Movie Database
Beware! The Blob at the TCM Movie Database
Beware! The Blob at AllMovie
Beware! The Blob at Rotten Tomatoes
 


Categories: 1972 films
English-language films
1972 horror films
1970s comedy horror films
1970s science fiction films
American science fiction horror films
American comedy science fiction films
American comedy horror films
Directorial debut films
Monster movies
Films directed by Larry Hagman
Films set in Los Angeles, California






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The Blob (1988 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Blob
Blobposter.jpg
Promotional film poster

Directed by
Chuck Russell
Produced by
Jack H. Harris
Elliott Kastner
Screenplay by
Chuck Russell
Frank Darabont
Story by
Irving H. Millgate
Based on
The Blob
 by Theodore Simonson
Kay Linaker
Starring
Kevin Dillon
Shawnee Smith
Donovan Leitch
Jeffrey DeMunn
Candy Clark
Joe Seneca
Music by
Michael Hoenig
Cinematography
Mark Irwin
Edited by
Tod Feuerman
 Terry Stokes
Production
   company
Palisades, California Inc.
Distributed by
TriStar Pictures
Release date(s)
August 5, 1988

Running time
95 minutes
Country
United States
Language
English
Budget
$19 million
Box office
$8,247,943
The Blob is a 1988 monster horror film written by Chuck Russell and Frank Darabont, and directed by Russell. It stars Kevin Dillon, Shawnee Smith, Donovan Leitch, Jeffrey DeMunn, Candy Clark and Joe Seneca. This film is a remake of the 1958 film The Blob, which starred Steve McQueen.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Analysis
5 Release
6 Reception
7 Home media
8 Sources
9 References
10 External links

Plot[edit]
A meteorite crashes near the town of Arborville, California; an elderly transient discovers, within the sphere, a jelly-like substance (the Blob) that attaches itself to his hand. Three high school students, Brian Flagg, Meg Penny and Paul Taylor, encounter the man and take him to a hospital. After Brian leaves, Paul witnesses the lower half of the transient melting from exposure to the Blob. As he calls for help, the Blob drops on top of him. Meg arrives to see Paul being devoured by the growing Blob. While trying to free him, his arm dissolves off, Meg is thrown against a wall and knocked unconscious, and the Blob oozes out of the hospital.
After Brian and Meg have unsatisfactory encounters with the police, they meet at a diner where Meg tells Brian about the Blob. Brian's disbelief is shattered when the diner's handyman is grabbed and pulled head first through the sink drain by the Blob. It pursues them to the diner's walk-in freezer, but the Blob suddenly retreats once it enters the freezer. After eating the diner's owner and the town's sheriff, the Blob reenters the sewers. Meg and Brian return to the police station, where the dispatcher tells them Deputy Briggs is near the meteor-landing site. They discover a military operation led by a scientist, Dr. Meddows, who orders the town quarantined. Brian escapes a military van and collects his motorbike. Meg is taken to town where she learns her younger brother, Kevin, is missing. Meg learns he and his friend, Eddie, have sneaked into the local theater to see a slasher film thanks to Eddie's usher brother, Anthony. The Blob infiltrates the theater and attacks the staff and then the audience. Meg arrives as the audience is fleeing the theater and manages to rescue Eddie and Kevin.
Brian eavesdrops on Meddows and learns that the Blob is a biological warfare experiment created during the Cold War. Learning that the Blob has entered the sewers, Meddows decide to trap it there, even if that means allowing Meg, Kevin, and Eddie to die. Brian is discovered listening in and evades military personnel by driving his motorcycle into the sewers. In the sewers, Meg and Kevin flee from the Blob when it emerges and devours Eddie. Kevin escapes to the surface by scaling a pipe and squeezing through a grate. Meg is saved by Brian, who confronts Meddows in front of the townsfolk and Briggs. After failing to convince everyone Brian is contaminated and must die, Meddows attempts to shoot Brian, but is killed by the Blob as it oozes into his chemical suit and drags him into the sewer. The Blob proceeds to feast upon the population, proving impervious to the military's attempts to stop it (getting shot multiple times while in the sewer and blown up, which only angered it). In the ensuing panic, the town's Reverend Meeker proclaims the scene to be the prophesied end of the world, after which a failed flamethrower attack on the Blob sets him ablaze. Meg saves him with a fire extinguisher, and in the process blasts the Blob with it. The monster backs off. Remembering that it left them alone in the walk-in freezer and again with the fire extinguisher, she realizes that it cannot stand cold.
The surviving humans retreat to the town hall and hold the Blob at bay with furniture-barricades and fire extinguishers, but it's a losing battle, as a result with the Blob engulfing half of the building and devouring Briggs. Brian goes to the town's garage and gets a snow maker truck that has canisters of liquid nitrogen attached. Just as the Blob is about to devour Meg and her family, Brian drives to town hall and shoots snow at the creature, which is angered and knocks the truck over. As the Blob surges toward Brian, Meg lures it away from him toward the canisters. She has rigged the canisters with an explosive charge taken from a dying soldier. She tries to get clear, but snags her foot between two pieces of metal, leaving her dangling upside down. Brian regains consciousness and runs over to free her. The Blob is about to overrun them when the charge goes off, blowing up the canisters and covering the Blob with liquid nitrogen. The creature is flash-frozen, shattering into a mass of crystallized pieces. Moss Woodley (Beau Billingslea) has its remains hauled away to the town ice house.
The film cuts to a tent-meeting church service in a field, where Meeker, disfigured by his burn injuries, is now crazed, preaching a doomsday sermon sounding like the Blob's attack. Asked when the time of reckoning will come, he replies "Soon... Madame... soon... the Lord will give me a sign." He holds up a glass jar containing a fragment of the Blob, which is slowly moving.
Cast[edit]
Kevin Dillon as Brian Flagg
Shawnee Smith as Megan "Meg" Penny
Donovan Leitch as Pauljoseph "Paul" Taylor
Jeffrey DeMunn as Sheriff Herbert "Herb" Geller
Candy Clark as Francine "Fran" Hewitt
Joe Seneca as Dr. Christopher Meddows
Del Close as Reverend Jacob Meeker
Paul McCrane as Deputy William "Bill" Briggs
Robert Axelrod as Jennings
Beau Billingslea as Moss Woodley
Douglas Emerson as Edward "Eddie" Beckner
Jamison Newlander as Anthony Beckner
Art LaFleur as Thomas "Tom" Penny
Sharon Spelman as Debra Penny
Billy Beck as Homeless man
Bill Moseley as Soldier
Erika Eleniak as Victoria "Vicki" De Soto
Ricky Paull Goldin as Prescott "Scott" Jeske
Frank Collison as Hobbs
Michael Kenworthy as Kevin Penny
Jack Rader as Col. Hargis
Clayton Landey as George Ruit
Noble Craig as Puddle Soldier
Production[edit]
Screenwriter Frank Darabont first met director Chuck Russell in 1981, while working as a production assistant on the film Hell Night.[1] Before working together on The Blob, the two also collaborated on the script for A Nightmare on Elm Street 3: Dream Warriors.[1]
Actor Del Close had been scheduled to direct a "mock opera" about Ronald Reagan at New York's Lincoln Center for the Performing Arts during the filming of The Blob.[2] The opera, entitled Ron Giovanni, was to feature the writing of Tony Hendra and the music of Paul Jacobs in a story that combined details of Reagan's life with the story of Don Juan.[3] Rehearsals were to run during November and December of 1987, with an opening date of January 22, 1988.[3] However, the production was cancelled by Lincoln Center's artistic director Gregory Mosher, out of concern that the show's satire was not as funny and unbelievable as some recent actions performed by the real Reagan, such as the controversy over his visit to the German cemetery at Bitburg housing the bodies of members of the Waffen-SS.[4] As a result, the Chicago-based Close was unexpectedly available to audition for The Blob in New York at a time when Russell was conducting auditions in the city.[5] Fortuitously for Close, he had recently written a blob-themed story for the DC Comics horror anthology Wasteland, while Russell had just watched an example of Close's work as the in-flight movie on his flight in to New York, Brian DePalma's The Untouchables.[6] Close had worked in the past as a fire eater and human torch, and he was set on fire for some insert shots within the film.[7] He also lost a substantial amount of weight at the request of Russell, dropping from 198 pounds to 173 pounds during the course of the production.[8]
Production began on January 11, with the cast and crew of approximately 150 staying at a Travelodge in Abbeville, Louisiana.[9] Due to the large amount of night shooting, the cast often slept during the day.[10] On off days, they watched videos at the hotel and ate crawfish, a popular item of local cuisine.[10]
Special effects in the film were handled by Tony Gardner.[11] Gardner was originally supposed to provide only a few small effects, but after personnel changes he ended up running a crew of 33, including artist Chet Zar and mechanical effects designer Bill Sturgeon.[11] Close's makeup for his role as Reverend Meeker required extensive preparation time: five and a half hours for scenes where Meeker had fresh burns, and seven and a half hours for scenes after his burns had healed.[10]
Analysis[edit]
The film functions as a conspiracy theory film. The threat of the original film was an alien entity from outer space. The remake differs in making the threat a biological weapon, created by a secret government agency. The Blob is closely followed by soldiers and scientists in protective suits. The change reflects the mentality of a more cynical era. [12] The sinister government agents are opposed by rebellious teenager Brian Flagg (Kevin Dillon). His depiction as a rebel and a "tough guy punk" includes wearing a leather jacket, sporting long hair, driving a motorcycle, and distrusting authority figures. [13]
Jacqueline Foertsch argues that the blob of the original film served as a symbol of communist ideology. The more "deathlike" 1980s version served as a metaphor for the AIDS pandemic. [14] The dull-red colors of the original changes here to a glistening, pearly grey. The change makes the creature resemble a mucous membrane. [14] While the original creature rolled and lumbered on, the newer version slides and strikes aggressively, using phallic tentacles. [14] The original blob was a singular organism which increased its size, strength, and velocity by feeding. The newer version not only enlarges itself, but also splits into multiple parts. Allowing for simultaneous attacks in multiple locations. Indeed the largest part of the creatures is eventually frozen and contained. But a crazed preacher hoards a few shards, implying the survival of the threat. [14]
Foertsch calls attention to another significant shift from the original. The blob invades the bodies of its victims. Then springs from the remnants of a previous host to seize a new victim. For example, Vicki is infiltrated by the creature and becomes its host. When Scott reaches to touch her breast, the creature emerges to engulf him. [14]
Release[edit]
The film was released theatrically in the United States by TriStar Pictures in August 1988. It grossed $8,247,943 at the box office.[15]
Reception[edit]
The Blob received mixed reviews from critics. As of January 17, 2014, it holds a 61% 'Fresh' rating on Rotten Tomatoes, with an average rating of 5.8/10.[citation needed]
Home media[edit]
The film was released on DVD in the United States by Sony Pictures Home Entertainment in September 2001.[16]
It is also scheduled to be released on Blu-ray by Twilight Time on October 14, 2014.[17]
Sources[edit]
Donovan, Barna William (2011), "Aliens, Rugged Individualists, and Incompetent Conspirators: Conspiract Films of the 1980s", Conspiracy Films: A Tour of Dark Places in the American Conscious, McFarland & Company, ISBN 978-0786486151
Foertsch, Jacqueline (2001), "Two Takes on a Scare: Cinematic Plague Texts and their Remakes", Enemies Within: The Cold War and the AIDS Crisis in Literature, Film, and Culture, University of Illinois Press, ISBN 978-0252026379
O'Neill, William L. (2007), "The "Good" War: National Security and American Culture", in Bacevich, Andrew J., The Long War: A New History of U.S. National Security Policy Since World War II, Columbia University Press, ISBN 978-0231505864
References[edit]
1.^ Jump up to: a b Emery, Robert J. The Directors - Take Four. Allworth Communications, Inc., 2003, p. 201. ISBN 1581152795
2.Jump up ^ Johnson, Kim "Howard". The Funniest One in the Room: The Lives and Legends of Del Close. Chicago Review Press, 2008, p. 300. ISBN 1556527128
3.^ Jump up to: a b Gerard, Jeremy. "Lincoln Center Drops Play", The New York Times, December 24, 1987.
4.Jump up ^ Johnson, pp. 301-302.
5.Jump up ^ Johnson, p. 303.
6.Jump up ^ Johnson, pp. 303-304.
7.Jump up ^ Johnson, pp. 305-306.
8.Jump up ^ Johnson, p. 306.
9.Jump up ^ Johnson, p. 304-305.
10.^ Jump up to: a b c Johnson, p. 305.
11.^ Jump up to: a b Timpone, Anthony. "Men, makeup, and monsters". Macmillan, 1996, p. 187. ISBN 0-312-14678-7
12.Jump up ^ O'Neill (2007), unnumbered pages
13.Jump up ^ Donovan (2011), p. 129
14.^ Jump up to: a b c d e Foertsch (2001), p. 182-184
15.Jump up ^ "The Blob". boxofficemojo.com. Retrieved 1 April 2011.
16.Jump up ^ "The Blob". dvdempire.com. Retrieved 1 April 2011.
17.Jump up ^ Twilight Time Release Schedule
External links[edit]
The Blob at the Internet Movie Database
The Blob at AllMovie
The Blob at Box Office Mojo
The Blob at Rotten Tomatoes
Retrospective article in Cinefantastique magazine
Good Bad Flicks review


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The Blob
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This article is about the 1958 film. For the 1988 remake, see The Blob (1988 film). For other meanings of this term, see Blob (disambiguation).


 This article's lead section may not adequately summarize key points of its contents. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. (October 2013)

The Blob
The Blob poster.jpg
Original film poster

Directed by
Irvin Yeaworth
Produced by
Jack H. Harris
Written by
Kay Linaker
 Theodore Simonson
Story by
Irving H. Millgate
Starring
Steve McQueen
Aneta Corsaut
 Earl Rowe
Olin Howland
Music by
Ralph Carmichael
Burt Bacharach
Cinematography
Thomas E. Spalding
Edited by
Alfred Hillmann
Distributed by
Paramount Pictures
Umbrella Entertainment
Release date(s)
September 12, 1958
Running time
82 minutes
Country
United States
Language
English
Budget
$110,000[1]
Box office
$4 million[1]
The Blob is an independently made 1958 American horror/science-fiction film that depicts a growing alien amoeba that crashes from outer space in a meteorite and eats and dissolves citizens at the small community of Downingtown, Pennsylvania. In the style of American International Pictures, Paramount Pictures released the film as a double feature with I Married a Monster from Outer Space.
The film was Steve McQueen's debut leading role, and also starred Aneta Corsaut. The film's tongue-in-cheek title song was written by Burt Bacharach and Mack David and became a nationwide hit in the U.S. It was recorded by studio group the Five Blobs – actually singer Bernie Knee overdubbing himself.[2]


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Reception
5 The Blob: The Musical
6 Sequel
7 Remake
8 Home media
9 Legacy
10 References
11 External links

Plot[edit]
The film takes place during one long night in a small rural Pennsylvania town in July 1957. Teenager Steve Andrews (Steve McQueen) and his girlfriend Jane Martin (Aneta Corsaut) are kissing on a lovers' lane when they see a meteorite crash beyond the next hill. Steve decides to look for it. An old man (Olin Howland) living nearby finds it first. When he pokes the meteorite with a stick, it breaks open, and the small jelly-like blob inside attaches itself to his hand. In pain and unable to scrape or shake it loose, the old man runs onto the road, where he is nearly struck by Steve's car. Steve and Jane take him to Doctor Hallen (Stephen Chase).
Doctor Hallen is about to leave for a medical conference, but anesthetizes the man and sends Steve and Jane back to the impact site to gather information. Hallen decides he must amputate the man's arm since it is being consumed by the growing Blob. Before he can, however, the Blob completely consumes the old man, then Hallen's nurse, and finally the doctor himself, all the while increasing in size.
Steve and Jane return to the office in time for Steve to witness the doctor's death. They go to the police station and return to the house with Lieutenant Dave (Earl Rowe) and Sergeant Bert (John Benson). However, there is no sign of the creature or its victims, and Bert dismisses Steve's story as a teenage prank. Steve and Jane are taken home by their parents, but they later sneak out.
In the meantime, the Blob consumes a mechanic at a repair store. The Blob grows in size every time it consumes something. At the Colonial Theater, which is showing a midnight screening of Daughter of Horror, Steve recruits Tony (Robert Fields) and some of his friends to warn people about the menace. When Steve notices that his father's grocery store is unlocked, he and Jane go inside. The janitor is nowhere to be seen. Then the couple are cornered by the Blob; they seek refuge in the walk-in icebox. The Blob oozes in under the door but retreats. Steve and Jane gather their friends and set off the town's fire and air-raid alarms. The townspeople and police still refuse to believe Steve. Meanwhile, the Blob enters the Colonial Theater and engulfs the projectionist before oozing into the auditorium consuming an unknown number of people. Steve is finally vindicated when screaming people flee from the theater.
Jane's young brother, Danny (Keith Almoney), fires at the Blob with his cap gun before running into the nearby diner. Jane, Danny, and Steve become trapped in that diner, along with the manager,and a waitress. The Blob–now an enormous red mass from the people it consumed–engulfs the diner. Dave has a connection made from his police radio to the diner's phone, telling those in the diner to get into the cellar before they try to bring a live power line down onto the Blob.
When it sounds quiet over the phone line, Bert shoots the wire, it falls onto the Blob, but the Blob is unaffected and the diner is set ablaze. The manager uses a CO2 fire extinguisher on the fire. Steve notices that it also causes the Blob to recoil, then remembers that the creature also retreated from the freezer. Shouting in hopes of being picked on the open phone line, Steve manages to tell Dave about the Blob's vulnerability to cold. Jane's father, Mr. Martin (Elbert Smith), knows there are twenty such extinguishers at the school, and leads Steve's friends to the high school to retrieve them. Returning, the brigade of extinguisher-armed students and police first drive the Blob away from the diner, then freeze it, saving Steve, Jane and the others.
Dave requests an Air Force heavy-lift cargo plane to transport the Blob to the Arctic, where it is parachuted to the ice as the film ends with a question mark.
Cast[edit]
Steve McQueen as Steve Andrews (credited as Steven McQueen)
Aneta Corsaut as Jane Martin
Earl Rowe as Lt. Dave
Olin Howland (in his last film role) as Old Man
Stephen Chase as Dr. Hallen
John Benson as Sgt. Jim Bert
George Karas as Officer Ritchie
Lee Payton as Kate
Elbert Smith as Mr. Martin
Hugh Graham as Mr. Andrews
Production[edit]
The film was originally titled The Molten Meteor until producers overheard screenwriter Kay Linaker refer to the movie's monster as "the blob."[3] Other sources give a different account, saying that the film went through a number of title changes (even the monster was called "the mass" in the shooting script) before the makers settled on The Glob, then hearing that cartoonist Walt Kelly had used The Glob as a title for his children's book, and mistakenly believing that they could no longer use it as a title, they changed it to The Blob.[4]
The Blob was directed by Irvin Yeaworth, who had directed more than 400 films for motivational, educational, and religious purposes. Though the budget was set at $120,000 it ended up costing $110,000.[1]
The Blob was filmed in and around Valley Forge, Pennsylvania. The primary shooting took place at Valley Forge Studios, and several scenes were filmed in the towns of Chester Springs, Downingtown, Phoenixville and Royersford, including the basement of a local restaurant named Chef's. (The setting is apparently Downingtown Pennsylvania itself as the one policeman identifies his department's office as "Downingtown HQ to East Cornwall HQ" over the two-way radio during his chess game, and the final scenes take place in a restaurant that is clearly labeled "Downingtown Diner".) It was filmed in color and widescreen.
For the diner scene a photograph of the building was put on a gyroscopically operated table with cameras mounted. The table was shaken and the Blob rolled off. When the film was run in reverse it appeared to be oozing over the building.
McQueen received only $3,000 for this film; he had turned down an offer for a smaller up-front sum with 10 percent of the profits because he did not think the movie would make any money and he needed the money immediately to pay for food and rent; it ended up grossing $4 million.[1]
Though legend has it that the opening novelty song was composed by a young and unknown Burt Bacharach (along with Hal David, Burt's famous songwriting partner), Bacharach had already achieved some measure of success by the time the film was released, and the lyrics to the song were composed by David's brother Mack.
The background score for The Blob was composed by Ralph Carmichael. It was one of just a few film scores that Carmichael wrote. Carmichael is best known for his musical associations with Billy Graham and for arranging the popular Christmas album by Nat King Cole. Carmichael also composed the original theme for the film, entitled "Violence" on the soundtrack album, which started the film on a serious and frightening note. It was against the director's wishes to replace the original theme song with that by Bacharach/David. However, because the latter encourages audiences to view The Blob as campy fun, it has contributed to the film's enduring popularity. Both Carmichael's score and Bacharach/David's song were released in 2008 by the Monstrous Movie Music soundtrack label.
Reception[edit]
The review aggregator Rotten Tomatoes records that modern critics give The Blob mixed to positive reviews earning an approval rating of 69%.
In a discussion with biologist Richard Dawkins, astrophysicist Neil deGrasse Tyson stated that among all Hollywood aliens, which were usually disappointing from a scientific perspective, The Blob was his favourite. [5]
The Blob: The Musical[edit]
Written and produced by Dan Kehde and Mark Scarpelli Featuring Songs “Duck and Cover” “A Boy To Hold Me” “Midnight Monster Marathon” "It Ate Nurse Kate" “Too Young To Ever Fall In Love” “Rocket Route Forty” “Little Moon"
Sequel[edit]
A sequel, Beware! The Blob, was made in 1972, directed by Larry Hagman. Home video releases used the tagline "The Movie That J.R. Shot", in reference to his character's near-demise in the television series Dallas.
Remake[edit]
In 1988, a remake of the same name was made, and directed by Chuck Russell. In August 2009, it was revealed that musician turned director Rob Zombie was working another remake,[6][7] but is no longer working on this project.[8]
Home media[edit]
The film has been released as part of the Criterion Collection on three formats. First in 1988 on Laserdisc, then in 2000 on DVD and in 2013 on Blu-ray.
The Blob together with Son of Blob was released on DVD in Australia by Umbrella Entertainment in September 2011. The DVD is compatible with all region codes and includes special features such as audio commentaries with Jack H. Harris, Bruce Eder, Irvin Yeaworth and Robert Fields.[9]
Legacy[edit]
Since 2000, the town of Phoenixville, Pennsylvania – one of the filming locations – has held an annual "Blobfest". Activities include a re-enactment of the scene in which moviegoers run screaming from the town's Colonial Theatre, which has recently been restored.[10] Chef's Diner in Downingtown is also restored, and is open for business or photographs of the basement on weekday mornings only.
The Blob itself was made from silicone, with increasing amounts of red vegetable dye added as it "absorbed" people. In 1965, it was bought by movie collector Wes Shank,[11] who has written a book about the making of The Blob.[12]
According to Jeff Sharlet in his book The Family, The Blob was "about the creeping horrors of communism" only defeated "by freezing it – the Cold War writ small and literal."[13] Rudy Nelson, one of the scriptwriters for the film, has denied many of Sharlet's assertions, saying "What on earth can Sharlet say about the movie that will fill 23 pages – especially when what he thinks he knows is all wrong?"[14]



References[edit]
Notes
1.^ Jump up to: a b c d Weaver, Tom. Interview with Russ Doughton in Science Fiction Confidential: Interviews with 23 Monster Stars and Filmmakers McFarland, 2002. p.91
2.Jump up ^ TCM Meteor Night – The Blob. Retrieved from [1][dead link].
3.Jump up ^ Hevesi, Dennis. "Kate Phillips, Actress Who Christened The Blob, Is Dead at 94", New York Times, (Apr 27, 2008)
4.Jump up ^ Biodrowski, Steve. "Retrospective: The Blob" Cinefantastique (January 1989). "During the production, crewmembers were invited to write any title they could imagine for the film. 'The one that used to get all the laughs when people repeated it,' recalled Harris, 'was THE GLOB THAT GIRDLED THE GLOBE. We had another one: ABSORBINE SENIOR. I liked that. And, THE NIGHT OF THE CREEPING DREAD. We were really serious about that one, because it was a ‘tuxedo’ title; THE GLOB THAT GIRDLED THE GLOBE was a ‘dumb’ title. I love one-word titles, having distributed many of them, so I said, ‘Let’s call it THE GLOB.’ Finally everybody agreed. We were applying for copyright, and somebody had done a little investigation and found there was a book called The Glob, by Walt Kelly, the cartoonist. I didn’t know any better then. Today, I know I could have called the picture THE GLOB, because you can’t copyright titles.'"
5.Jump up ^ Richard Dawkins and Neil deGrasse Tyson on Aliens
6.Jump up ^ Fleming, Michael. "Rob Zombie to remake 'The Blob'" Variety (Aug 27, 2009)
7.Jump up ^ "Horror Nights '09: Rob Zombie on 'The Blob' and Making Music". BloodyDisgusting. Oct 5, 2009.
8.Jump up ^ "ROB ZOMBIE: First Image From 'The Lords Of Salem' Movie Released". BlabberMouth. Apr 26, 2011.
9.Jump up ^ "Umbrella Entertainment". Retrieved 28 May 2013.
10.Jump up ^ Lidz, Franz (June 10, 2007). "The Blob – Movies – New York Times". Nytimes.com. Retrieved November 11, 2012.
11.Jump up ^ "Wes Shank". Theblobbook.com. Retrieved March 7, 2012.
12.Jump up ^ Wes Shank (2009). From Silicone to the Silver Screen: Memoirs of the Blob (1958) (Paperback). Wes Shank (2009). p. 120. ISBN 978-0578047287.
13.Jump up ^ Sharlet, Jeff. The Family: The Secret Fundamentalism at the Heart of American Power (New York: Harper, 2008), p.181.
14.Jump up ^ Judd, Orrin (Oct 28, 2008). "Does Anyone Else Find It Peculiar ...". BrothersJudd Blog. Retrieved July 22, 2011.
Bibliography
Magrì, Antonio. Di Blob in Blob. Analisi di semiotica comparata. Cinema Tv e Linguaggio del corpo, Aracne editrice, Roma, 2009
External links[edit]


 This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (September 2013)
 Wikiquote has quotations related to: The Blob
The Blob (1958) at the Internet Movie Database
The Blob at the TCM Movie Database
The Blob at AllMovie
Blobermouth (1990) at the Internet Movie Database The Blob (1958) redubbed with a comedy soundtrack.
The Blob Site – Location tour, trivia, Blobfest
Criterion Collection essay by Bruce Kawin
The Colonial Theatre in Phoenixville, PA – An historic, non-profit theatre and location in The Blob
Monstrous Movie Music, a soundtrack label that released the complete music score from The Blob in 2008
From Silicone To The Silver Screen – Book about the making of The Blob


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Categories: English-language films
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