I: Introduction
The Fly is a 1958 horror/science fiction film produced and directed by Kurt Neumann. It stars Vincent Price, Patricia Owens, David Hedison, and Herbert Marshall. The screenplay was written by James Clavell, based on the 1957 George Langelaan short story of the same name.
The Fly had a mixed-to-positive critical reception on release, and it was a commercial success, boosting Price into a major star of horror films. Now, criticism of the movie is more uniformly positive. Two black-and-white sequels followed: Return of the Fly (1959), and Curse of the Fly (1965). A superb remake, starring Jeff Goldblum and Geena Davis, was directed by David Cronenberg in 1986, with its own sequel in 1989.
Here is a link to quotes from the 1958 film, here’s a link to the complete script, and here is a link to the short story.
II: My Radical Reinterpretation
What ought to be emphasized about the story isn’t the notion of scientist André Delambre (Hedison) bring transformed into a fly-human hybrid, the result of a freak accident in his attempt to teleport himself (and, without his knowing, a housefly that got into his “disintegration-reintegration” machine), but rather what such a notion could be seen to symbolize.
What is far more apparent in the short story, if its contents are not naïvely taken at face value, is that its narration–by André’s brother François (played by Price in the film) in the outer frame, then in the middle by André’s wife Hélène (played by Owens in the film) as she tells it in a handwritten manuscript–is given by traumatized people whose reliability is in question.
The film relates the story in a manner implying that everything happened just as told, though, by the end, no proof survives of the more fantastic elements of the story. Still, there are subtle indicators, in the behaviour of François and Hélène, that suggest that affairs aren’t as they look on the screen, implying that the narrative unreliability of the short story has been translated to the cinematic medium.
In the film, François admits to having romantic feelings for beautiful Hélène; though she denies ever having paramours (or André having had them) to Inspector Charas (Marshall), we can easily regard her words as dishonest. Could there have been an affair between her and François, a result of workaholic André’s neglect of his family? Claims of a husband and wife being perfectly happy together can easily be dismissed as a façade.
III: Unconscious Guilt
It is insisted throughout the story that Hélène could have killed André only out of madness. Where could such a madness have originated? Guilt feelings over an affair? Families in France (where the short story is set), or in Montréal (where the film is set), in the 1950s would have been Roman Catholic ones, in which adultery would have been regarded as a serious sin (a sin compounded by a man betraying his brother and, as her son’s uncle, committing incest of a Hamlet-like sort). The mind tries to repress guilt as best it can, but the repressed returns to consciousness in unrecognizable forms.
In the case of this story, the return of the repressed has come in the form of imagining André as having his head and arm traded with the head and leg of a housefly. Such a hybrid symbolizes the bestial side of human nature. His experiments are done in the basement, symbol of the unconscious. In contrast, the ground floor of the house, the upstairs, and outside can be seen to correspond to the conscious mind and the world of superficiality, appearance, what only seems to be true.
IV: Appearance vs Reality
There is much to note in the contrast between the illusory surface and hidden reality in The Fly. The marriage of the Delambres only seems perfectly happy. Similarly, André seems to be the kind, gentle husband who’d never hurt an animal. Yet his workaholic obsession with his basement experiments means neglecting his wife and son, Henri in the short story, or Philippe (played by Charles Herbert) in the film. Furthermore, this supposed animal lover overconfidently and recklessly puts the family cat, Dandelo, in the teleportation machine and disintegrates it.
Hélène, after killing her husband, confesses to the killing with perfect calmness, though François and Charas conclude that she must be mad; indeed, in the short story, she even kills herself in despair. And when François answers the phone at the beginning of the film to learn that she has just killed his brother, he’s quite calm; whereas at the beginning of the short story, he speaks of being “uneasy” from telephones, having to restrain his agitation when answering them.
In fact, in Cronenberg’s remake, this theme of appearance versus reality is revisited in how Seth Brundle (Goldblum), upon emerging from the teleportation machine as “Brundle-fly”–far from being the shocking monstrosity André is with his fly’s head and leg for an arm–looks exactly the same as before on the outside–in fact, he’s also physically superior. It’s only later that we realize that Seth is a monster hiding inside, that inside showing itself more and more to the end of the remake.
V: Implausible Science
Now, this difference between the 1958 and 1986 movies brings me to a point that I hope will help explain the particular angle at which I’m interpreting the original movie and the short story. I don’t believe André has actually had his head and arm swapped with the head and leg of a housefly–I believe this transformation really is a fabrication of his wife’s mad imagination, just as Charas does. The reason for my disbelief should be obvious: the science behind the transformation is preposterous. Hardly anyone apart from Hélène even believes it!
How do a fly’s head and leg grow to the comparable sizes of a man’s head and arm, while the latter two shrink to the sizes of a fly’s equivalent body parts? How is the man’s intelligence maintained in the giant fly’s head, even if only temporarily? And how is there a comparable intelligence, enough to squeak “Help me!” because of an approaching spider, in the miniature head of the fly caught in the web?
Small wonder that in the 1986 remake, the writers wisely spread the fly’s DNA equally throughout Brundle’s body. Surely even Langelaan and Clavell realized that the swapping of heads and limbs, as given in their respective versions of the story, is unbelievable scientifically. Hence my contention that Hélène is genuinely insane, an insanity brought on by the trauma of her husband’s violent death, a suicide with her assistance (as she describes it). François is similarly addled by this trauma. I believe his confession of love for her provides the vital clue to the reason for their narratives’ unreliability, something easily maintained in prose writing, but not so easily translated onto the big screen, since we, the watchers of the movie, tend to have credulous eyes.
VI: Unreliable Narration, in the Text, and Onscreen
Though his confession of love for Hélène isn’t found in the short story, I believe there are plenty of subtle hints of an affair between him and her in Langelaan’s words, however carefully the two guilty ones try to tiptoe around any mention of their guilt. Such tiptoeing is also evident in the film, in their innocent conversations throughout.
I see the visuals of the film as representing their unreliable narrations, and since the film is largely faithful to the short story (except for such–mostly minor–changes as the setting, Henri’s name becoming Philippe, which of André’s arms is switched with the fly’s leg, his head being revealed as all housefly or as a mix of fly and the cat, whether or not Hélène kills herself, and whether it’s François or Charas who kills the fly in the spider web), I feel it isn’t too far out of place to assume that François is (unreliably) telling the outer frame of the story through visuals, and her telling of the inner narration, instead of writing it in a manuscript, is unreliable.
VII: The Telephone
I’ll come to those subtle hints of an affair later, as they arrive in the sequence of the plot. For now, I’ll start with François’s answering of the phone. In the film, he’s calm enough, though in the short story, this calmness disguises a terrible agitation from hearing the phone ring, especially in the middle of the night, as happens at the beginning.
The reason for his unease comes from a feeling that the caller is coming into the room, intruding on his private space, breaking into his home to talk right into his ear. It seems odd that the short story should begin this way, yet if one compares this transmission of a voice–instantaneously from one place, far away, to another–to the teleportation of whatever (or whoever) is in André’s “disintegration-reintegration” machine, such a beginning of the story, along with François’s agitation, becomes explicable. The one instantaneous transmission is associated in his mind with the other.
Recall that I don’t take the human/fly hybrid story literally; also, François is beginning a narration–one after the events of Hélène’s story have been made known to him–with a discussion of the, if you will, ‘teleportation’ of the human voice. This aural teleportation feels like a frightening intruder to him, like the intrusive fly in André’s machine, and like the human/fly monster he becomes, which is an intrusion into the lives of François and Hélène.
VIII: Nothingness
The pertinent thing about teleportation, like the instant movement of the human voice from here to far away, or vice versa, is the sense of no intermediate area for teleportation to move through. The displaced entity–be it a voice on the phone, or a plate, a newspaper, a cat, a guinea pig, or a man (mixed with a fly)–disappears, vanishes in the place of origin and reappears in the destination. That lack of an in-between route to travel through, that gap, feels uncanny, a land of nothingness. This gap, I believe, is what frightens François so much.
Similarly, when André’s body is discovered in the Delambre brothers’ factory, his head and arm crushed under the steam hammer, it isn’t so much the blood that is horrifying, but how the head and arm are so thoroughly flattened as to have been reduced to nothing. The hammer’s impact has been set at zero, a setting the drop is never given. François notes in the film that zero “means level with the bed”; such a setting “would squeeze the metal to nothing,” as has been done to André’s head and arm.
The purpose of this extreme setting is ostensibly to annihilate even the slightest hint of a fly’s head and leg, instead of André’s head and arm; I’d say, though, that it’s that very nothingness, revealed when the hammer is raised, in “the ghastly mess bared by the hammer,” that causes François (in the short story) to be “violently sick.”
IX: Resistance
When Charas questions Hélène about the killing of André, she is fully cooperative about explaining what she did, and in detail (except for her odd forgetting about having dropped the steam hammer twice, to crush his fly-leg/arm). She adamantly refuses, however, to explain why she killed him.
In the short story, François describes Charas as being “more than just an intelligent police official. He was a keen psychologist and had an amazing way of smelling out a fib or an erroneous statement even before it was uttered.” So his questioning of her puts him in the role of psychoanalyst, and her in the role of analysand. Her insistence that she cannot explain why she killed André can be seen as a form of resistance.
Of course, she eventually does explain why, but in the form of a bizarre monster story that hardly anyone can believe; certainly the science behind the story is so ludicrous that even Langelaan and Clavell must have had their own doubts about it, as I’ve explained above. This fly-human hybrid story must be a case of the return of the repressed in an unrecognizable form…but what could the fly-hybrid monster symbolize for mad Hélène? I’ll come to this soon enough.
X: The Gap In-between
It is insisted that her marriage with André was a perfectly happy one…but we are suddenly ‘teleported,’ if you will, from perfect marital bliss to her killing of him, and with the refusal of a proper explanation, except for this bizarre fly-monster story. Just as there’s a gap between the caller’s voice at one end of a phone call, and his voice heard by the receiver on the other end; and just as there’s the gap of the disintegration of what’s teleported at one end, and its reintegration at the other end; so is there a gap between the couple’s marital bliss and the killing…that dreaded, uncanny nothingness in the middle.
Above, I wrote of André’s basement laboratory as symbolic of the unconscious, where the “disintegration/reintegration” machine causes that in-between gap of nothingness. In the short story, the laboratory isn’t in his basement, but in a separate building right by the factory with the steam hammer. Now, the laboratory doesn’t have to be underground to represent the unconscious…or the “subconscious,” where Charas imagines the fly to have meaning for Hélène. Psychoanalysts don’t speak of the repressed as being ‘beneath’ consciousness, but as being unknown to consciousness, for the repressed comes right back to the surface and hides in plain sight, as it were. A fly is buzzing around, in the air, much of the time in the movie.
XI: The Lacanian Unconscious, and the Gap as Lack
In The Four Fundamental Concepts of Psychoanalysis, Lacan speaks of how “the Freudian unconscious is situated at that point, where, between cause and that which it affects, there is always something wrong…what the unconscious does is to show us the gap through which neurosis recreates a harmony with a real–a real that may well not be determined…and what does [Freud] find in the hole, the split, in the gap so characteristic of cause? Something of the order of the non-realized.” (Lacan, page 22)
This gap is between cause and effect, like the gap between disintegration and reintegration, the empty space replacing a path on which something, otherwise not disintegrated and reintegrated, would travel, rather than be teleported, from A to B. This gap is also the Lacanian lack that gives rise to desire, and discovering what the desire is in this story is key to understanding the symbolic meaning of the fly.
XII: Freudian Slips
We must fill in this gap to determine what is being repressed, what is not being said or shown in the short story or the film, but what is rather hinted at through the occasional Freudian slip, or symbolic interpretation of whatever in the story is described as something otherwise mundane or in a matter-of-fact physical way.
One such a slip, as I see it, occurs when Henri/Philippe is not regarded by Hélène as her son. In the short story, François in his narration calls the six-year-old boy, his nephew, “the very image of his father”; but as I’ve said above, this narration is unreliable. Because of André’s death and Hélène’s declared madness, François has been made the boy’s guardian, in effect, his new father; yet any suggestion that he really is the boy’s father will be guiltily denied.
In the film, François even says to Charas, “She acts as if the boy were mine and not hers.” Charas speculates that Hélène is trying to protect her son, or that perhaps she fears or hates him, something François dismisses as an insane idea, and it is at this point in the film that Charas asks if François is in love with her, to which he immediately replies, “Yes.”
Why would a scriptwriter of Clavell’s obvious ability add this element to the story without developing it, if it didn’t serve much of any purpose? Note that François’s declaration of love comes immediately after a claim that Philippe is supposedly his son and not hers. Could he be her love-child by François in a love affair, one she feels so guilty about that, in her mad guilt, she denies her own maternity? The way the film ends–with François, in effect, as the boy’s new father, and Hélène having not committed suicide but being, also in effect, his new wife–looks suspiciously like wish-fulfillment. Such wish-fulfillment reinforces the visual presentation of the film as really being François’s unreliable narration.
XIII: Forbidden Desires and the Fly
Naturally, François rules out even the possibility of an affair with her by saying, “I don’t think she ever noticed me,” though a close look at Charles Herbert, the child actor chosen to play Philippe, looks more like he could be a son of Vincent Price than of David Hedison. Finally, during the scene when Philippe has caught the fly with the white head, and he sees his mother with his uncle, he is annoyed to be told by her to let the fly go; but as he is going outside and closing the front door, he looks back at her and his uncle with a split-second look of suspicion in his eyes, as if he sees the two adults acting a little too familiar at that particular moment.
That this suspicious moment happens on the very day when the heads and limbs of André and the fly are switched is significant. Here we come to the very symbolism of the fly. Male houseflies, during their short lives, have a voracious sexual appetite and are constantly on the lookout for females to mate with. In this we can see a symbolic link with my suspicions of a guilty sexual tryst between François and Hélène.
This guilt results in feelings of shame, disgust, and worthlessness, which can all be associated with houseflies. André’s constant preoccupation with his work, even to the point of writing out a new formula for teleportation on the program pamphlet to a ballet he’s supposed to be watching with his wife, means he’s emotionally neglecting her, which not only can drive her into the arms of his brother (who we already know is amorously infatuated with her), but which also makes André as worthless to her as a fly. So the exchanging of his head and arm with the head and leg of a fly is symbolic of this depreciation of his worth to her.
XIV: The Buzzing
With the guilt and shame that an adulteress feels, especially as one who, according to the short story, “had ever been a true Catholic, who believed in God and another, better life hereafter,” Hélène would have been desperately afraid of anyone finding out about her extramarital affair. Hence, her agitation whenever hearing the buzzing of a nearby fly.
Let’s recall the multiple meanings of the word buzz. Apart from the insect noise, buzz has been used to refer to the sound of telephones (remember in this connection the irritation François feels at the sound of a phone ringing), and also to refer to rumours. These additional meanings had existed long before the writing of the short story and the making of the movie. So her agitation at the sound of buzzing symbolically suggests her fear of gossip, or rumours from people knowing about her affair.
XV: Obsessions with Flies
Also, her nervous breakdown at the asylum after seeing a nurse swatting flies can be attributed to a triggering of her guilt over an affair that, in betraying André, reduced him to the worth of a fly, and so killing flies feels like a killing of him again. She also speaks of wanting François to destroy the white-headed fly if she tells him why she killed André; this contradiction suggests an emotional conflict in her–killing it kills evidence of her guilty affair, yet it also represents killing André again.
Now, she is not the only one to raise her eyebrows at the idea of houseflies. François, after hearing about her obsession with them, is curious to hear Henri/Philippe bring up the fly with the white head during lunch with the boy. Previously, Charas brought up her fly obsession immediately before he and François discuss her denial that the boy is her son, and François’s admitting he loves her. So we see here a significant juxtaposition of houseflies with the boy’s parentage and François’s love for Hélène: I don’t think this juxtaposition is coincidental.
XVI: Love Triangles, and the Remake
My speculation of a hidden, repressed love triangle between André, Hélène, and François can be seen overtly in the equivalent three main characters in the 1986 remake–respectively, Seth Brundle, Veronica “Ronnie” Quaife (played by Davis), and Stathis Borans (played by John Getz). Brundle, knowing Ronnie has had a relationship with Stathis prior to her current relationship with him, gets jealous when he suspects that her reason for leaving him early to meet Stathis, when she’s supposed to be celebrating the recent success of his teleportation pods, is to get back together with Stathis. (Actually, she’s meeting Stathis to confront him over a veiled threat he’s made out of a jealousy of his own, over her new relationship with Brundle.)
And right when all of this jealousy is building, Brundle gets drunk, a fly is buzzing around, and both of them go into one of the pods to be teleported…and fused. Again, we have the juxtaposition of a buzzing fly with a love triangle; it’s as if the scriptwriting of the remake subliminally picked up on the veiled rivalry between the Delambre brothers and Hélène.
Another theme picked up from the 1958 movie and put into the remake is the relationship between external, illusory appearance and inner, hidden reality. When Brundle first comes out of the second pod, we of course don’t see a fly’s head and leg replacing his head and arm, but he looks as perfectly human as before. It’s only later, as his body parts start corrupting and falling off, leading climactically to the outer human shell all coming off and he’s revealed to be a giant bug, that we see he isn’t human anymore.
When Hélène begins telling François and Charas her story, in the film we see a scene of what appears to be the perfectly happy family. André is seen tickling Philippe, playing like a loving father, and all seems well. The shot is so ideal that it looks a bit too perfect. A hint already as to how things are actually not so good is in how André tells the boy he can’t play with him at the moment. It will become increasingly apparent that he is so obsessed with his work that he’s spending more time in that basement laboratory than with his family.
Yet another element shared between the 1958 and 1986 movies is the narcissistic grandiosity the inventor feels on seeing the amazing success of his teleporting machine. André boasts of having made the greatest invention since the wheel; he imagines that his “disintegration-reintegration” machine will allow food to be sent anywhere immediately, at minimal cost, thus ending world hunger.
Brundle’s narcissism is a bit different. On having unwittingly fused himself with the fly, he mistakenly imagines his pods have given him superhuman abilities: increased strength, agility, stamina, and sexual potency (recall what I said above about the sexual symbolism of the eager-to-mate housefly). Yet both André and Brundle are about to see their pride fall and crash.
With André, this fall is immediate upon his reintegration: we see no intermediate, transitional process–only the gap in between is understood to be there. With Brundle, however, the transitional process is slowly, agonizingly shown to us, inch by inch. We see his physical fragmentation, as well as his corresponding psychological fragmentation (against which he had only his initial narcissism as a defence), a fragmentation that’s a direct result of jealousy–a result I also see in André.
XVII: Fall of Pride
Now, André’s fall of pride upon reintegration as a fly/human hybrid should be seen as symbolic of his pride as an obsessive scientist and neglectful husband/father, which has led to Hélène’s affair with François (the shame of which, being too intense to bear, causes it to be erased from memory, repressed, and therefore never shown on screen or in the pages of the short story), and which has in turn led to André (as I imagine it) finding out about the affair, making him feel humiliated, cuckolded, and reduced to feeling the worthlessness of a fly. He kills himself.
Recall my association of Hélène’s incestuous affair with her brother-in-law with that of Hamlet’s mother and uncle. The notion of a fly’s worthlessness can also be associated with Hamlet in how the Danish prince derisively refers to foppish, buffoonish Osric as a “water-fly” (V, ii, 83).
The trading of André’s head and arm with the head and leg of a housefly reinforces this sense of worthlessness in how the head houses the brain, and either of the hands (the switched arms, remember, are different from short story to film) represents the skillful manipulation of scientific instruments and equipment with the hands, thus making his wife’s devaluation of him based on her dislike of his obsessive work, which has left her feeling so neglected.
XVIII: Nothingness and the Real
The nothingness of the gap between disintegration and reintegration represents more than just the repression of the unconscious. That void also represents Lacan’s Real Order, a traumatic realm where experience cannot be symbolized or expressed in language, because the differentials of the Symbolic Order (the realm of language, society, culture, etc.) no longer exist. Lacan called the Real “impossible,” just as Hélène calls André’s disintegration and reintegration “impossible.” Disintegration leads to a world of undifferentiated atoms, the Real (as experienced psychologically), Bion‘s O, Milton‘s “void and formless infinite,” or the Brahman of the Hindus. It’s nothing, yet everything; it’s heaven and hell, nirvana and samsara… ineffable.
XIX: Monstrosity
The hellish aspect of the gap manifests itself especially for André, in the short story, when he goes through the teleportation device again and reappears not only with the fly’s head, but with a mix of fly and the head of their cat, Dandelo! He’s now more bestial than ever, an aggravating of monstrosity that is paralleled in the 1986 remake when Brundle reappears as part man, part fly, and part teleportation pod.
This sense of the fly as representing self-hating monstrosity and worthlessness is intensified in Brundle’s “Insect Politics” speech, as well as in André’s sense of his brain deteriorating towards the end of the story. Ultimately, André’s self-hate, as symbolized in his monstrous transformation, drives him to commit suicide–as I reimagine it, by putting a pistol to his head and blowing his brains out, right in front of Hélène who, his laboratory being near the factory in the short story, has only to move the body a short distance to the steam hammer.
XX: Destroying Evidence of Suicide
As I see it, she needs to crush his head and arm (i.e., with the pistol in his hand, in order to destroy it, too) to destroy all evidence of a suicide that, if investigated, will lead to a revelation of her affair with François. Since her guilt has driven her mad, her faulty reasoning will lead her to believe that it’s better to be thought mad from delusions of a human/fly monster than to be known an adulteress with her husband’s brother (adultery and incest), driving André to suicide.
Her needing to use the steam hammer twice, because she forgot to put the arm (in my interpretation, holding the pistol) under with André’s head, represents her psychological conflict: part of her wants to be punished for her guilt in the affair by being found out, while the other part of her wants still to conceal that guilt. Later, she forgets the second use of the steam hammer out of a Freudian parapraxis, again, an expression of her conflict between wanting to be found out and wanting to conceal the guilt.
François’s own guilt over the same sin would have driven him over the edge, too, to the point of entertaining her fly delusion as true, to assuage his guilt. In this connection, it’s important to consider the ending of the story, especially in terms of how Clavell changed it from Langelaan’s short story. (Ironically, in the film François and Charas rationalize a conclusion to the case as, indeed, André’s suicide, freeing Hélène from guilt or commitment to an insane asylum. The reason for the suicide remains a mystery; she and François, thus, can privately entertain the fly-human hybrid story to help them forget the guilt of their affair.)
XXI: The Ending
The fly that is understood to be the one that got André’s head and arm is referred to as a fly with a white head. By “white head,” it’s assumed to be André’s head, though it’s never explicitly called such. In the film, we see a fly with a white spot on its head, and only in the scene with the spider’s web do we see a tiny human head and arm poking out of the web trapping the fly’s body, with the hybrid’s faint squeals for help.
Part of the reason for these differences, of course, is the limitations of the technology of the time; but I believe something else is going on. First, when François is sitting on the bench by the spider’s web, he doesn’t notice the squeals of the fly-human, begging anyone nearby to save it. They should be audible enough: after all, Charas later can hear them. François thus seems to be willingly deaf to its cries, part of his wish, symbolically speaking, to avoid responsibility for the consequences of his affair (in my speculation), and how it’s led to his brother’s suicide.
Later, when he and Charas see the fly about to be eaten by the spider, François can’t pretend it isn’t there. As a symbol of his guilt, the fly is something he cannot bear.
Now, an important distinction must be made: in the short story, it’s François who kills the fly, not Charas. As I’ve said above, I consider François’s narration to be as unreliable as Hélène’s, and that the film is their narration given in visuals. Having Charas kill the fly is thus, in my interpretation, François projecting his guilt onto Charas. Clavell’s changes to the presentation of the story are to give us an ambiguous way of thinking about it: is it an unreliable narration, or did the fly-human hybrid story really happen?
I believe François has hallucinated the fly with his brother’s head and arm, due to the stress of his guilt and what his beloved Hélène has gone through (and in his unreliable narration in movie visuals, Charas has shared his hallucination). Philippe/Henri, in this interpretation, has really only found a fly with a white head and leg, an ‘albino-like’ one, if you will, which his mother’s and uncle’s imaginations have turned into a fly/André hybrid.
Clavell’s changes to the short story included removing François’s opening narrative frame (and his dislike of ringing telephones); such an omission doesn’t prove he hasn’t been narrating, but only that we don’t see explicit proof of him telling the story. I believe that having Charas see the fly/André hybrid, thus opening up the possibility that outsiders have seen the proof of Hélène’s story–that what she has narrated is reliable after all–was Clavell’s way of making the story more intriguing: could this otherwise scientifically implausible story have happened, and should the audience just willingly suspend their disbelief?
I don’t think we should, or need to. The ending of the film, with François as Philippe’s new guardian, and with living Hélène present, comes off as wish-fulfillment for François. As with Claudius vis-à-vis King Hamlet and Gertrude, he got his brother’s wife, he can directly be a father to Philippe, and in his and her shared delusion, their folie-à-deux of the disastrous teleportation/fusion of André and the housefly, François can tell the boy that the lesson to be learned from his father’s death is how dangerous scientific experimentation, coupled with overweening pride, can be, rather than how dangerous incestuous adultery can be.
Infinite Ocean 