The fruitfly serum transforms her into a femme fatale!
US / 78 minutes / bw / Regal, TCF Dir & Pr: Kurt Neumann Scr: Carroll Young, Kurt Neumann Story: “The Adaptive Ultimate” (1935 Astounding) by John Jessel (i.e., Stanley G. Weinbaum) Cine: Karl Struss Cast: Mari Blanchard, Jack Kelly, Albert Dekker, John Archer, Fay Baker, Blossom Rock (i.e., Marie Blake), Paul Cavanagh, Helen Jay.
Dr. Richard Bach (Dekker)—who appears to be both a brilliant surgeon and president of Grand Mercy Hospital—arrives home from a foreign business trip to discover that his protege, close friend and housemate, medical researcher Dr. Dan Scott (Kelly), has developed a new serum, one that in animal tests has effected miraculous cures for what should have been terminal illnesses/injuries.
Hannah Blossom Rock (i.e., Marie Blake) welcomes Richard (Albert Dekker) home.
The theoretical underpinning of Dan’s work could be regarded as a sort of bastard offspring of various pseudo-Lamarckian theories of evolution:
Dan: “. . . the new research I mentioned before you left. It’s a project designed to prove that the cure of any disease or injury is essentially a product of adaptation.”
Richard: “Oh, yes. You were proceeding on the theory that all living organisms possess the ability, in more or less degree, to heal themselves.”
Dan: “By adapting themselves to any harmful change in their environment. A lizard, for example, will shed an injured tail—grow a new one. A chameleon will change its color for self-protection.”
Richard: “And you hope to develop a cure-all serum from insects, since they are the most adaptive of all living organisms?”
Dan: “Exactly. So I have developed a serum from the most highly evolved and most adaptive of all insects—the fruitfly. It’s the one insect that’s known to produce a higher percentage of mutants—or changelings—than any other.”
A fruitfly (uncredited).
Incidentally, that sentence of Dan’s—“It’s a project designed to prove that the cure of any disease or injury is essentially a product of adaptation”—contains multiple misunderstandings of the way that science works. First, unlike mathematics, science doesn’t deal in proofs. Second, any project that decides its desired result from the outset is profoundly unscientific, for reasons enlarged upon in my book Corrupted Science: Fraud, Ideology and Politics in Science (2007; new, revised and vastly expanded edition expected *koff koff plug plug* in March/April 2018 from See Sharp Press).
Dan (Jack Kelly) explains his breakthrough to Richard (Albert Dekker).
Likewise, fruitflies are not at all “the most highly evolved of all insects” (it’s precisely because they’re so rudimentary that insecticides are so ineffective against them) and I don’t think it’s the case that they’re especially adaptive: it’s just that individuals have short lifespans and thus there are more generations within any particular period of time; more generations per (say) month means more mutations per month, making fruitflies a good experimental subject for students of heredity.
But I digress.
Returning to the plot: As noted, Dan’s experiments on animals have been highly successful, the only oddity being that the leopard he cured has now turned black. He’s keen to experiment on a human subject. Despite initial concerns about the ethics, Richard agrees to set him up with a patient who, while facing imminent, inescapable death, is yet compos mentis enough to give consent to the experiment.
Kyra (Mari Blanchard) was on the brink of death . . .
. . . but now look at her!
That patient proves to be Kyra Zelas (Blanchard), at death’s door because of tuberculosis. Within hours she’s not just cured but Continue reading