David Cronenberg’s The Fly: Feminist Horror? (3/4/19)

In the 1980s, complex female characters were not something the horror genre was known for. Ever present was the one-dimensional blonde slasher victim, whose promiscuity would lead to her inevitable demise. The message in these kind of films was clear: have sex, and you will suffer the consequences. And yet, the same year as the Friday the 13th franchise’s sixth instalment was released, David Cronenberg released his sci-fi body horror spectacular, The Fly. And while scientist Seth Brundle’s experiment may be the central focus on the film, it is the journey of Geena Davis’s character, Veronica Quaife, who really captures my attention.

           Veronica, most often referred to as Roni, remains to this day one of the most interesting female characters in classic horror. As the audience surrogate in this film, it is Roni whom the audience is meant to identify with most while watching The Fly, and the messages sent to us through her character are impossible to ignore. From the very start of the film, it is Roni’s determination to be successful professionally which drive her to approach Seth, and begin documenting his work. Despite her complicated relationship with her possessive ex-boyfriend/boss Stathis Borans, Roni asserts herself with agency in all her relationships with The Fly’s male characters.

          The way Roni’s sexuality is presented in this film is an interesting point to explore. While she does serve as a catalyst for the discovery which allows Seth to succeed in transporting living beings, she is more than just his sexual awakening. Up until the point where Seth Brundle becomes Brundlefly, Roni is the initiator of all their sexual interactions; she holds the power in their relationship. Roni also asserts her sexual independence in the public confrontation at the clothing store with Stathis. Despite his attempts to degrade her for only having professional interest in Seth because they are sexually and romantically involved, Roni refuses to be put down, insisting that she will sleep with whoever she pleases. It is notable to point out that a declaration of sex-positivity this strong in an 80s movie was relatively unheard of.

           However, the most radical message sent in The Fly was one of pro-choice. After Roni discovers she is pregnant with a fetus containing Seth’s fused fly/human DNA, she insists on having an abortion. Normally when abortion is brought up in a film from this era, or even from today, it is demonized. And yet, Roni is not shamed for her choice by a single character in the film, save Seth, who is relatively out of his mind at this point. While Roni does not actually receive the abortion in the film, outside of a nightmare she has about the offspring, it is strongly implied that she intends to get one. I find the representation of abortion to be revolutionary in this film. Roni’s character comes to represent having control over one’s own body through the entirety of the movie, and the control over her reproductive rights is a logical extension of that.

          At the end of the day, Roni is a fundamentally feminist character. She refuses to have her life be ruled by the patriarchal power dynamics she contends with, and demonstrates a clear desire for control over her own sexuality and reproductive rights. While some have made the claim that her character revolves around her romantic relationship with Seth, I don’t see that as a nuanced interpretation of her character. It in spite of her love for Seth that Roni prioritizes her own safety. By shooting the Brundlefly/telepod fusion at the end, putting the man she loves out of his misery, it is with Roni that The Fly ends. She is the one who possesses the power to terminate his disastrous experiment.