hy is it that so many science-fiction fans recall the 1958 film The Fly far more fondly than similar productions such as The Alligator People, The Wasp Woman or Sssssss? Well, along with an engaging storyline, solid acting and years of television reruns, one possibility might be the musical accompaniment. Hollywood veterans Paul Sawtell and Bert Shefter collaborated on a haunting score that superbly accentuated the adventure's sorrowful and shocking scenes. A new two-CD set spotlights not only their work on this classic SF movie, but also their contributions to a pair of less-well-remembered sequels: Return of the Fly and Curse of the Fly.
The collection opens with a dozen tracks penned for the original picture. "Main Title" fuses a sweet, violin-saturated love theme with a harsh, trumpet-fueled motif. Throughout the tale these two components actively play off one other, with heartfelt moments dominating pieces like "Happy Couple/Matchbox" and more horrific elements governing such numbers as "Helene's Discovery." Similar tones are balanced on 16 subsequent cues from Return of the Fly. "Amen/To the Foundry" and "Goodnight Phil" are imbued with a tender yet funereal air, while the aptly named "Fly Fright/The
Heavy" offers a jittery, ominous ambiance.
Melodies from Curse of the Fly comprise the entire second disc. Penned solely by Shefter, the 24 works here are comparatively contemplative, providing affecting interludes during "The Romantic Week" and "The First Night" that are offset by agitated junctures on troubling, tension-packed pieces like "The Creature" and the surprisingly schizophrenic "The Cage/Pat Discovers the Cages." The music is augmented by a 56-page booklet outlining, in incredible detail, the production history of all three films.
Melodies that meld heartbreak and horror
From the fearsome transformation of scientist Andre Delambre (Al [David] Hedison) to the anguished "Help me! Help me!" pleas of a human-headed insect trapped in a spider web, The Fly is a film filled with frightening and unforgettable imagery. Yet it's also a touching love story, essentially told in retrospect by Delambre's grief-stricken wife, Helene (Patricia Owens). Sawtell and Shefter majestically interweave these opposing sentiments, generating charismatic compositions that, throughout the initial motion picture and its two follow-ups, remain gripping and gratifying.
In the first movie, this emotional fusion is perhaps best exemplified in "The Claw," a wonderful cue that launches with sharp brass and strained strings before metamorphosing into a heartbreaking track driven by sad violins and a soft harp. It's a remarkable selection that, in less than 90 seconds, conveys not only horror and revulsion, but tenderness and compassion, too. The lengthy "Allen Dies/Righting Matters" from Return of the Fly accomplishes a similar feat, blending tension and terror with sympathy and resolve, just as "Rat Monster/Getting Rid of the Car" smoothly integrates an arresting arrangement of sneaky and startling notes.
Although substantially more extravagant, Shefter's creations for Curse of the Fly are relatively derivative, emphasizing practical but pedestrian motifs accented with harp, woodwind and piano flourishes. The audio quality of all three scores is also slightly uneven, with minor distortion in some sections and, on occasion, rather obvious edits. Fortunately, all through both discs the melodies are reliably expressive, serving as a valuable and vibrant reminder that the music of The Fly—and, to a somewhat lesser extent, its sequels—assuredly influenced the forceful and enduring impact of this inimitable SF franchise.
