In which ear does it buzz in my place?

From September 9 to 11 in Moscow, St. Petersburg and Yekaterinburg will show the remasted hits of the 80s: “fly”, as well as “predator” and “something” (each film will be shown once!). In his essay about the fantasic picture of Kronenberg, Inna Kushnarev understands, what is interesting for us today to the transformation of Dr. Brandla.

When you look at the “fly” of Kronenberg today, the hero’s bodily transformations are interesting, but the logic of the machine that carried these metamorphoses. Since the release of the film, no radical physical changes have happened to us, but relations with the cars have changed. In general, the main question of the “fly” now is a matter of movement in a wide, almost antique sense: how to move, from a dead point, to become different.

The “crazy scientist” Seth Brandl (Jeff Goldbbum) can move only inanimate objects, things. He himself is excluded from this movement, more than once is emphasized that he is too statistical: he does not know how to communicate, infrequently goes on dates, wears strange civil clothes-forms. A man in a case who wrote himself off with Einstein even walks in a suit at home, although he looks not so much solemn (eternal readiness for an official frame, here is the theme of the Nobel Prize), how much is sloppy (dressed on the bed). Personal static is also marked with a disgust for transport: Brandla is sick in a car.

The car he was invented - according to the logic of the “central conflict”, it must solve the personal problems of the hero - was intended for teleportation and consisted of a computer and two “telepodes”, similar to telephone booths and at the same time microwaves. By the way, in old science fiction, the teleportation act quite often required the presence of a telephone booth (for example, Larry Niven had such a story). Teleportation as a stage in the development of not so much transport as communication systems; It seemed that it would be carried out according to a kind of telephone line. So, in fact, it turned out with the invention of the Internet, which made the teleportation of excessive itself. But communication technologies are “clean” and ethereal, and this, of course, is not interesting to Kronenberg. “The computer goes away from the flesh,” explains the set of his failure with the teleportation of Babuin. With inanimate objects, everything went fine. True, to demonstrate the capabilities of the car, journalist Veronika Kluf (Gina Davis) was not used a neutral object, but a fetish - a stocking that Veronica pulled off his feet with a provocative gesture.

The problem of Brandla's car is that he himself cannot properly figure out what it is. Either teleportation involves disassembling and assembling the original object, or its destruction in one place and cloning in another. Several absolutely identical costumes in the cabinet at Brandl are not only a way to save on cognitive costs when choosing clothes. Brandl is already subconsciously closing. If the car worked correctly, it could calmly disassemble Brandla and the fly in one television and assemble/clone them in another.

But it turns out to be not a teleportation machine, but a genetic machine that fused Brandla and fly "at a genetically molecular level." Instead of the reproduction of two independent objects, an unit, a hybrid, monster was produced. An example of machine logic: realizing that there are two, and not one, the machine made one creature, as it should be according to the instructions. A kind of savings: where there were two, one should become one, since one is easier. Although what happened in it is so incomprehensible. Perhaps Brandl literally internalized the fly. At first, unintentionally made himself a connector in the back when he was injured about the microcircuit, and then a fly stood in this slot.

Therefore, the first manifestation of future changes is the buzz that he has inside, but from which he waves off, as if a fly is outside. (Here, by the way, you understand that the famous series “All Great”, where Walter White catches the fly flying into the laboratory for a whole hour, is, of course, Ommage Kronenberg.) After that, not suspecting the irreversible mutation, Brandl begins to eat sugar with spots and excitedly “buzz” about the prospects of his invention.

Prospects not only in the "destruction of distances, borders and customs." The machine gives cleansing the body: teleported a couple of times - and as the bathhouse went. She, like the orgon of Wilhelm Reich, increases libido and potency. And Brandl immediately begins to abuse her as Viagra and persuade Veronica to try to keep up. Why suddenly such properties formed in a neutral machine - maybe she was infected with fetishism from Veronica's stocking? However, hypersexuality has consequences. 1986 - the height of an epidemic of HIV. Some critics found the corresponding allusions in Croenenberg before, for example, in “cramps”. In the “Flok”, as it seemed then, a hint of an acutely -actual topic HIV is obvious. So it was this film that it is believed that the rehabilitation of Kronenberg in the eyes of the intellectual public served.

But if the merger of the DNA of Brandla and the fly occurred, why does the fly begin to replace him? Because the fly is so tenacious? Or because Brandl was already a fly? Jeff Goldbbum from the very beginning has some resemblance to the fly. Then the teleportation machine simply reveals its “true” nature. “I am an insect who dreamed that it was a man,” says the hero, quoting Zhuang Tzu. If you apply here the theory of the Brazilian anthropologist Wiverush di Kashtro, the fly wants to be a man, because she, like all living things, is already a man. A fly sees a person in himself, and in a person-someone else: maybe God, spirit, or even just meat. A person sees a man in himself, and in a fly - a fly, not recognizing her humanity. The problem is not in every individual point of view, but in their incompatibility: a fly cannot simultaneously see himself as a person and a person as a person. Brandl is a monster because it combines these prospects.

On the other hand, why did telepodes need at all - strange household devices that do not understand what to do: either to move objects, or to cross them, or to wrap the fish, and to fry the steak? Movement/transportation is only the first modus of movement in general, in itself already controversial. The basic opposition here is to move vs transport. It is one thing when you go yourself, make a decision where to move, and another - when you are transported, to the limit as a completely inanimate object. Then the problem is not that the transport is not able to cope with the flesh, but that in it any flesh is equivalent to non -living, just the body, “sending”, writing, dead cargo, etc. Accordingly, the inability of the set is transported-only the limit of its initial static, which he is trying to overcome at the expense of “zero-traffic”: you do not need to return to the archaic of the car or dates, you need, on the contrary, to turn yourself into an even more inhabitant body, a bander for this zero traffic. Molecular rebuilding and splashing in a telepod is the limit of passiveness, which can only turn active/existential movement, extreme tourism.

The second modus of movement is experience, awakening, standard American AWAKENING , including sexual. In this case, the success of one movement (teleportation) should mean success and the second: you need to move only in order to move off the dead point, to become different. Seth opens the opportunity to get into a personal shambhala without getting up from the couch. One movement should run the second and vice versa.

The third moment is the adventures of the transfer movement, the guarantee of the ligament of the first with the second: a simple forwarding of yourself by mail within the same room and existential trip. Seth says that the computer is not programmed to ensure that there are “two” objects in the camera, but how does it even distinguish objects? For example, does he move the object or the entire “volume” actually, which in this chamber, along with air, dust, etc.? In addition to flies, there is always a certain biom, bacteria, etc. Man is not only a person, but also a lot of all kinds of living creatures that is on him and next to him. The desired flesh is actually a collage from different types. The task of molecular detox is faced with the problem of disinfection: the chamber should be absolutely sterile (and not just naked), but where to get it? Due to the non-sterility, the “experience” is unclean. At first it seemed that this was a pure revival, but then it turns out that it was hybridization. In one case, the acquired force is a sign of purity, in the other - a sign of distortion, pollution and corruption (fly as doping). At first, as the set says, something is lost in the “translation” (“carnal” of the flesh), then something is in the translation (a fly, inseparable from cutlets-with which Seth and Veronica are also experimented). To work two forms of movement (“just teleportation” and “awakening”), you need an disappearing mediator, the “carnal” of the flesh still needs to be distinguished, added as a partial, but extremely living/living object. The fly acts as an agent of life as such, separated from the actual flesh. A fly “tougher” of a person, but at the same time “softer”, is plasma, since it, as it is more than once emphasizes, cannot eat hard. It consumes not raw or boiled, but already digested. In fact, it is a certain volume of the Delusian “plasma pool”, enclosed in a rigid chitin shell. Shell, cartridge or ampoule with plasma.

The last half an hour of the “flies” seem somewhat excess: monstrous is perceived as an integral state without gradations. All these fifty shades of ugly are alien to human and spectator eye. Ugly - once and for all the reached point, the climax of development. But Brandl is culminated and culminated. In the end, it seems to him that now only the production of the “Trinity” from himself, Veronica and her fetus can humanize him. There is a prospect of further merging with everything: not only individuals and animals, but also objects, which, in fact, occurs in the last movement, where some iron giddle is captured. There are no FUZHNU limits: you just need to push everything in the television and cover and close it with a lid. But after such a molecular kitchen, it remains only to shoot himself.