After the huge success of the first Faces of Death film in 1978, John Alan Schwartz wasn't going to turn down the opportunity to capitalise on audience's unquenchable thirst for death and returned to the 'director's' chair in 1981 to make another collection of grisly events. Michael Carr returns once again as our host Dr. Francis B. Gross, this time sporting a shirt and jeans combination, rather than his doctor's jacket (he was fooling nobody). We have more animal slaughter, decomposing bodies, shoot-outs and executions, as well as a large focus on stunt accidents, a fatal boxing match, animal experimentation, and the aftermath of an avalanche.
While the first entry was mainly a collection of badly-filmed and thoroughly unconvincing staged scenes, the sequel has much more real footage, and only the police shoot-out scene, where director Schwartz plays one of the criminals and proves himself to be as useless at acting as he is at directing, is seemingly faked. While the staged scenes was the main factor I criticised from the first film, the distinct lack of them takes the (should I say it?) charm out of the film. The clips are simply thrown in together, lacking the first's narrative structure, taking whatever 'meaning' the FOD series tries to convince us it has and coming across as simply low-rent exploitation.
One of the longest scenes focuses on the boxing match between Welsh Bantamweight boxer Johnny Owen being knocked into a coma by Mexican champion Lupe Pintor. Gross' narration fails to really acknowledge Owen as anything other than a face of death, but knowing that Owen's statue stands in Merthyr Tydfil not far from where I live where he is fondly remembered (the statue was unveiled by Pintor), it hammers home how bad taste this film really is. So, certainly not as 'good' (I've never used so many inverted commas) as the first, which at least provided some unintentional laughs, but this series will still remain a curiosity to me, and will no doubt reluctantly seek out the rest of the series in time.
The morbid human fascination with on-screen death and all things grisly began as early as 1962, with the release of the hugely successful Mondo Cane, a 'documentary' that explored the bizarre traditions and practises of obscure sub-cultures that were, at the time, relatively unknown to Western audiences. The film was nominated for the Palme d'Or and even received an Academy Award nomination, and this success spawned a rather repulsive sub-genre known as mondo films, which generally exploited audiences ignorance and their undeniable thirst for death. Thankfully, mondo quickly became unfashionable and had all but died out by the early 1970's, with the exception of a few z-grade obscurities that passed under the radar. Yet it seemed that audiences weren't done with their lust for real cadavers, and the genre saw a resurgence in 1978 amidst an influx of midnight movies and cheap, gory horrors. This came in the form of Faces of Death, the cinematic equivalent of slowing down while passing a car accident.
We are first greeted by Dr. Francis B. Gross (Michael Carr), a surgeon who talks directly to camera and ponders the various 'faces of death' he has experiences throughout his career - that being the various ways in which a person can meet their doom. We are then taken on a journey throughout Gross's 'career', in which we meet an African tribe, a Satanic ritualistic cult, a man being eaten alive by a crocodile, slaughterhouses, a pitbull fight, and state executions, amongst others. It is presented as a genuine documentary, with the various vignettes trying to be palmed off as being genuine footage. The vast majority is fake and rather terribly done, and some is genuine, resulting in the more disturbing aspects of the film.
I've always been somewhat reluctant to watch Faces of Death, as although I was assured by Marc that the majority of the film is laughable, I have always found scenes of real violence genuinely unsettling. With the rise of the Internet occurring in my teens, I found myself unable to resist the lure and treated myself to endless photographs of gunshots, stabbings and car accidents, yet maturity seemed to have muted my curiosity. Yet after finally sitting through the (somewhat exhausting) 100 minutes of Faces of Death, I was dumbfounded by the approach of director John Alan Schwartz and his complete ineptness in the staged scenes, cancelling out the impact of the real footage, and making the entire film disappointingly laughable.
It may have convinced audiences back in 1978, but the film has badly dated. While it may still boast the tag of 'banned in 46 countries!', it is now desperately tame. Of course, there are some distressing scenes in the genuine footage (mainly in the scenes of seal clubbing and the suicide of Mary Ellen Brighton), Schwartz makes many mistakes in the staged scenes. I mean, did it not occur to him that a shot from inside an active gas chamber may just give the game away, or narrating "in the country of Africa..." may cause the film to come across as, well, plain stupid? Maybe I'm being a bit too harsh, as although the film is rather risible, it is still one of the most popular cult horror films of all time, and Dr. Gross's occasionally amusing narration does make some interesting observations, and at least attempts to form a coherent narrative. Time will tell as to where Faces of Death will remain in horror history, but for now it will remain a subject of curiosity, and nothing more.
While the first entry was mainly a collection of badly-filmed and thoroughly unconvincing staged scenes, the sequel has much more real footage, and only the police shoot-out scene, where director Schwartz plays one of the criminals and proves himself to be as useless at acting as he is at directing, is seemingly faked. While the staged scenes was the main factor I criticised from the first film, the distinct lack of them takes the (should I say it?) charm out of the film. The clips are simply thrown in together, lacking the first's narrative structure, taking whatever 'meaning' the FOD series tries to convince us it has and coming across as simply low-rent exploitation.
