Last year’s “Halloween Havoc” took a bug-eyed look at THE FLY , so this year we’ll buzz in on it’s sequel. RETURN OF THE FLY was done on a much lower budget and trades in the original’s Technicolor for black and white, but it’s got a lot going for it. A creepy atmosphere and a strong performance from Vincent Price help lift the movie above it’s admittedly ‘B’ status, and while not wholly successful, it is fun for “Bug-Eyed Monster” fans.
The film opens at the rain-soaked graveyard burial of Helene Delambre, widow of Andre and mother to young Philippe, who’s now all grown up. Uncle Francois (Price) finally relates the truth about Andre’s mad experiments with matter disintegration/reintegration to Philippe, and the brooding youngster now wants to resume his father’s work and vindicate his legacy. Together with his fellow scientist Alan Hines, Philippe begins to reassemble his father’s machinery, moving the lab to his late grandfather’s secluded country estate, where he’s in a relationship with the housekeeper’s daughter Cecile.
Francois cautions Philippe not to mess with things beyond the realm of man, but reluctantly agrees to finance his work. What neither man knows is that Alan is actually Ronald Holmes, a wanted British industrial spy who plans on stealing Philippe’s plans and selling them to the highest bidder to shady fence Max (operating out of a funeral parlor!). Alan/Ronald sneaks into the lab late one night and begins to take microfilm pics of the blueprints when he’s surprised by a British detective assigned to hunt him down. He conks the cop on the noggin, places him in the disintegration machine, and poof! he’s gone.
Philippe hears a commotion in the lab and goes downstairs, where Alan/Ronald gives him a lame explanation about attempting to bring back a rat they’d disintegrated earlier. Philippe leaves, and the spy brings back the cop’s body… who’s atoms have meshed with the rat’s, and their hands have switched! Alan/Ronald squishes the human handed rat underfoot and calls Max to help dispose of the body. Returning to the lab to finish his dirty deed, Alan/Ronald is confronted by Philippe, and a fight ensues. Alan/Ronald overpowers Philippe and puts him in the machine, tossing a fly in for spite (“I’ve always hated them”, Philippe says earlier in a bit of foreshadowing).
He turns some dials and flips some switches, the machinery whirs and hums to life, and… well, you know what happens next! Philippe is now Philippe/Fly, and after Alan/Ronald shoots Francois and steals his car, Philippe/Fly seeks revenge! Hunted by the police, Philippe/Fly dashes through the woods (his large headpiece almost falling off at one point!), and tracks down Alan/Ronald and Max, killing his former friend in a gruesome scene at the funeral parlor (you can hear Alan/Ronald’s neck go “crunch”), then nonchalauntly putting him in an empty coffin and flipping the lid shut.
This is writer/director Edward Bernds’ best feature film, which isn’t saying much. I’ve covered his work before (see QUEEN OF OUTER SPACE and HIGH SCHOOL HELLCATS ), so I won’t rehash his career; suffice it to say the former Three Stooges/Bowery Boys director made an eerie little flick with the budget he was given to work with. Bernds even recreates the original’s famous “Help me!” scene to good effect. Brooding young Brett Halsey (later a star of Spaghetti Westerns under the nom de screen Montgomery Wood) does well in the role, Price is always good in these things, and John Sutton (BULLDOG DRUMMOND’s Inspector Tredennis) replaces Herbert Marshall’s Inspector Charros as Inspector Beacham. Dan Seymour, the poor man’s Sydney Greenstreet, adds some fine villainy as the crooked Max. All in all, RETURN OF THE FLY is a few notches below it’s predecessor, but enjoyable enough on a “Saturday afternoon at the Monster Movies” level for some Halloween fun.