Thursday, October 16, 2014

'Faces Of Fire' Prejudice Against Deformity And Fear Of It By Horror Writer Terry Sherwood

FACES OF FIRE Article by Terry Sherwood

The altering of the human form has been an omnipresent theme of Horror pictures. Whether that is being tossed into something or off something, made into something, or having something removed, the result is a change that does not make us or those that love us the same.  The face is a key to human identity, a door to human love so if that changes, sometimes we change.   
(left) [Original Theatrical Teaser Poster] FACE OF FIRE (1959), directed by Albert Band is not really a Horror film, more a narrative of our prejudice against deformity and the fear of it.  It was based on a story by American Stephen Crane called "The Monster." Crane was considered to be one of the most influential writers of his generation who wrote in the naturalist mode. Crane’s other major work that is more familiar is the Civil War story THE RED BADGE OF  COURAGE  (1895), which he wrote without having battlefield experience yet went on to become an American classic. Crane’s hallmark was to show small town life as neither good nor evil. The story of FACE OF FIRE is a simple one, yet again like the best films, the story is about those affected by events not an actual creature. The setting is  a small town in late 1800s America where a lowly handyman Monk Johnson (played by James Whitmore) whom women want to be with, children want to befriend, animals love him.

Original 8 piece 11 x 14 US Lobby card Set

Cameron Mitchell is the town doctor Ned Trescott, whom Monk works for, and also takes his son Jimmie (Miko Oscard) he takes of fishing trips. All is pastoral till one night a fire erupts at Trescott’s residence and Monk charges into the burning building to save a sleeping Jimmie. Overcome by smoke from chemicals, Monk collapses. The boy escapes through a nearby door. Monk is pulled from the building with severe burns removing his facial features, and what is later revealed as brain damage.

The townspeople that once revered him now shun him. He sits in his room slumped over, face covered by a black cloth. The farmer whose house he has moved into asks for more money.  The farmer’s children do not eat, his wife refuses to go in the room and social isolation takes place as friend refuse to call. The farmer, however, does find time to try on Monk’s disused jacket and boots that he covets and eventually gets.
Direction wise the photography is very stark in black and white with effective use of foreground and background action plus light and shadows. The people move throughout the film in an almost sleep like trance along the streets.   
No, this is at heart a drama, and a painful and devastating one at that. It takes a long, hard look at how people would react to a man suffering such extreme deformities, and often their reactions are just as ugly as his visage. It is quite harrowing to see their reactions, especially when they think Monk is dead and begin hypocritically praising him for his bravery. What makes it most painful is its air of truth; it is quite easy to see people acting this way when you know that they (and we) are capable of it when we let fear take control of us. James Whitmore and Cameron Mitchell are both excellent as the deformed handyman and the doctor (whose son it was that was rescued from the fire) who cares for him, even when he himself becomes a pariah and has to watch his son cope with the situation.  
There are strong influences of FRANKENSTEIN (1931) and BRIDE OF FRANKENSTEIN (1935) as Monk is well enough to be outside, sheds his hood and tries to join in a dance with the townspeople but is shunned. He approaches the woman who once tried to get him interested in her - she runs screaming from him now. We only see his back in the sequence as again its effect on the people that is important. The one constant is a collie dog who will still give him a stick which is a repeat from earlier in the film showing that animals love unconditionally, unlike humans. There is a plot of kill Monk by the townspeople as he is not human which is stopped when the Sherriff intervenes. Monks is offered a free house away from the town by one person all in an effort to keep him away.
Character actor Royal Dano as townsman Jake Winter battles his own feelings as opposed to his families. A young Lois Maxwell (Her pre Miss Moneypenny days) as Trescott’s incipient appearance loving wife are standouts
I remember FACE OF FIRE on television years ago and the one sequence that stuck with me is when Trescott’s son brings Monk his breakfast.  Monk slowly turns and his face is seen in profile causing the boy to run. PHANTOM did not do well at the box office and actually caused Terence Fisher to fall out of favor as a director. Shades of FRANKENSTEIN both the book at the 1931 James Whale version and later David Lynch’s THE ELEPHANT MAN (1980) as all films are in black and white and deal with an ‘outsider’ by appearance.  It is interesting to note both these pictures were done by non- horror genre directors. FACE OF FIRE was done by Albert Band who did also produced I BURY THE LIVING (1980) and the cult classic TROLL (1986) amongst other titles,  including HONEY I BLEW UP THE KIDS (1992), as Executive Producer.
FACE OF FIRE (1959) is often neglected but  very much worth a look for  the  effect of a simple change upon not only the person but the people around them. Article by Terry Sherwood


Directed by 

Albert Band

Writing Credits

Albert Band...(writer)
Stephen Crane...(story "The Monster")
Louis Garfinkle...(writer)


 (in credits order)  

Cameron Mitchell...
Ned Trescott
James Whitmore...
Monk Johnson
Bettye Ackerman...
Grace Trescott
Miko Oscard...
Jimmie Trescott
Royal Dano...
Jake Winter
Robert F. Simon...
The Judge (as Robert Simon)
Richard Erdman...
Al Williams
Howard Smith...
Sheriff Nolan
Lois Maxwell...
Ethel Winter
Jill Donohue...
Bella Kovac
Harold Kasket
Althea Orr...
(as Aletha Orr)
Charles Fawcett
Vernon Young
Robert Trebor
Doreen Denning
Lorena Holmin
Hjördis Petterson...
Mrs. Kovac
Annabelle Lee
Calvert Cross

Produced by 

Albert Band...producer
Louis Garfinkle...producer
Gustaf Unger...associate producer

Music by 

Erik Nordgren

Cinematography by 

Edward Vorkapich

Film Editing by 

Ingemar Ejve

Art Direction by 

Edward Vorkapich

Set Decoration by 

Rolf Boman

Makeup Department 

Börje Lundh...makeup artist

Production Management 

Gustav Roger...production manager

Second Unit Director or Assistant Director 

Carl-Henry Cagarp...assistant director

Sound Department 

Per-Olof Pettersson...sound editor

Camera and Electrical Department 

Lasse Björne...camera operator
Björn Thermænius...assistant camera

Costume and Wardrobe Department 

Britta Sylwander...wardrobe

Editorial Department 

Frank Sullivan...supervising editor

Music Department 

Eskil Eckert-Lundin...conductor

Other crew 

Ulla Furås...script supervisor
Albert Jaeger...production coordinator

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