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When LeCilaire was meeting the man from the Japanese film company, that scene leapt into his head. A big fan of Mondo Cane, he had been particularly struck by a scene that took place in a death house in China, where the sick and elderly were taken to spend their final days. “They were the first shockumentaries,” says LeCilaire. Why not do something about humans getting killed?
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LeCilaire said he was tired of doing films about animals. In the original, vengeful sailors shove poison sea urchins down a shark’s throat until it dies. Mondo films often featured graphic scenes of animal slaughter. Mondo films took their cue from the 1962 Italian film Mondo Cane, a compilation of travelogue vignettes – from tribal rituals in Africa to women in America using strange flesh-jiggling machines as part of a health craze. This was a “mondo” film, a genre of exploitation documentary popular at the time. “People killing animals all over the world,” says LeCilaire.
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He’d brought a print of a documentary called The Great Hunt, full of footage of animals dying. One day in the mid-1970s, a man from the Japanese film company Tohokushinsha showed up at LeCilaire’s office with a strange offer. His dad owned a nature film company and gave him his first job when he was 14. Like Forget and Feese, LeCilaire is from southern California. ‘I have compiled a library’ … Dr Gross, who introduces Faces of Death. “But in my brain at that age, I just thought it was clever.” “It does not mean that at all,” he says now. He insists on being referred to by his directing pseudonym, Conan LeCilaire, a name he picked in his 20s because he thought it meant “Conan the Killer” in French. Unlike the stone-faced doctor who introduces the movie, he’s laidback and affable, with a streak of blond left in his long grey hair. “It’s kind of cool to think that, you know, I actually created a cult film,” he says. I started wondering how the director felt – and began hunting him down too, eventually finding him living with his family in Colorado, where he now runs a gun store. I also knew MPI’s owners felt uneasy about the film. I knew that MPI Media Group, the company that produced Henry, had distributed Faces of Death.
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I’d heard rumours about the film while working on a project with John McNaughton, director of Henry: Portrait of a Serial Killer. I tracked down Feese and Forget, whose families sued their high school, while working on a feature about Faces of Death for the podcast Snap Judgment. Even today, in the age of police body cameras and Islamic State execution videos, it retains its power. In the 40 years since its 1978 release, Faces of Death has earned a reputation as one of the most shocking films ever made. “I was like, ‘Why are they filming this? Why are they doing this? What is wrong with people?’” “That was what was so weird,” adds Feese.
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“We went into the movie knowing this was real,” says Forget.
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The documentary approach was what made the film so upsetting. Graphic footage … the plane crash in the 1978 film. “Over the years,” he proclaims grimly, “I have compiled a library of the many faces of death.” It opens with a pathologist, who introduces what follows as his own personal collection of clips gathered from around the world. They were watching Faces of Death, a film containing footage of humans and animals, either dead or in the process of dying, usually brutally. Mr Schwartz said no and when Feese also tried to go, he forced her to sit down, grabbing her chair and spinning it aggressively towards the screen. Then they cut the top of its head off and ate its brains.” As an animal-lover, she found the film deeply disturbing and asked to leave. “The people at the table,” says Forget today, “beat this monkey over the head with a hammer until it died. Dead bodies are sliced open in an autopsy, people at an occult orgy smear themselves in human blood, a man is electrocuted, sheep writhe on meathooks and there is an awful scene at a restaurant involving a monkey. What follows is a parade of grotesque images. Lessons are meant to be over for the day but, rather than let his students go home, Mr Schwartz is insisting the teenagers watch a movie.
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T he year is 1985 and two California schoolgirls called Diane Feese and Sherry Forget are watching uncomfortably as their teacher wheels out a TV on a stand.
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