Volti

When I began watching Faces, I realized that I never knew just when the present scene was going to end. I then realized that I wished that it would last forever. I found myself so engrossed in the scene that I was fascinated with it by itself. Then the next scene began, and the next scene, and within each one, there is a whole single movie with characters and a story arch. Faces is a film that does not allow any given scene to simply be a communication of plot information. Cassavetes created an entire universe for his actors in every scene. Each scene is a million years of passion spliced together, each demonstrating brazenly his brilliant recognition of human exchange and in conversation and conflict what is exchanged and what is left to be desired.

The film has moments of great pain because miniature struggles are so real and they tend to be vocalizations of a person's deeper fears in social interactions and in the structure of life. The film has scenes of furious drama because characters will experience blind unleashing of their ids as middle-aged people. Faces also delivers highly during moments of happiness and fun because, the situation's comfort level gracefully allowing, the characters will show the fieriest, grandiose, extroverted parts of themselves.

The movie's message, ironically, is not about the inner self and the unleashing of it but about the naiveté with which people carry out their normal married lives and don't care to face their flaws and problems and, though they gradually strip their personalities down bare throughout interactions, they continue not knowing themselves or each other. Faces is now among my favorite films of all time and places John Cassavetes on a pedestal as an idol of mine. The movie is a supreme demonstration of powerhouse acting, wherein each performance can be cherished by the performer with a feeling of ownership. There is a bit of real actor in each character played, and that can be seen in each and every powerhouse scene in a row.

I have only recently become acquainted with Cassavetes films and I am continually impressed. This film was made on a shoestring budget filming primarily at night because the actors had day jobs. The working title, I understand, was "Dinosaurs" which sums up things up nicely. This is an important film since it shows flawed human beings especially in a time that was truly in upheaval - the late `60's. But Cassavetes was already anticipating the attempt at overthrowing the status-quo. This is a hard but fascinating film to watch. The masks, the self-loathing, the fear, the confusion of intimacy, the now tired slogan of the war between the sexes with entertainment all driven by prescription pills, alcohol and cigarettes...it's all here. Is it "real" or is it "contrived"? Even a well acted scripted play still can penetrate us. The people and conversation "inane"? You bet. Go to work or a club and listen closely -- we live lives that should never be filmed. Cassavetes films as if he's eavesdropping. Lastly - I could not imagine this film or 'Shadows' in anything but b/w....even if he COULD have afforded color stock. Excellent film.

An old married man leaves his wife for a younger woman. Shortly after, his ex-wife also begins a relationship with a younger partner. The film follows their struggles to find love amongst each other.

This was one of the most influential films of the 1960s, if you consider how it inspired Robert Altman and Woody Allen, as well as employing Steven Spielberg as a production assistant while he was still making short films and had not yet broken into feature films.

How well the film has aged is debatable. While its influence is clear, the film itself is not necessarily the most fun. Some have called it "meandering", and it is hard to believe that at one point Cassavetes had a six-hour cut (allegedly).

So this is the work of John Cassavetes? Pretty good, I must say. I definitely can appreciate good conversations and witty dialogue any day.

This film, I would say is another one of those indie films (sort of foreign-filmmaking- esque) from how it is much ado about NOTHING. I love these films. They are like a breath of fresh air. That, and they always seem so personal. I wonder if it was actually scripted or if it was improvised like most Cassavetes projects.

The only work I have seen of Mr. John Cassavetes was his depute film, Shadows, which was mainly all improve, or so he says in his interviews. I take a strong liking to these films because of how slow they are, yet SO INVITING; so UN-American, if you will. - People have said that Cassavetes brought the indie film movement to the states. So far I have not been proved wrong so far. His films, such as Faces, are all so unique and timeless. Like literally, I believe this movie will be studied until THE END OF TIME.

I like seeing people celebrating. It is nice. Gives one the feeling of calmness; like nothing extreme is happening so we don't have to waste any time stressing about it. Does that make sense?

Our main protagonist, Richard Forst (played by John Marley), is a (so called) businessman who has an affair with a much younger woman. Little does he know that his wife has some plans of her own.. You can really tell what kind of man Robert is when he says:

"I'm just a mild success in a dull profession, and I want to start over again. And I've got a bad kidney!"

This just shows what kind of person he is as he says it to the younger girl, Jeannie (played by the beautiful Gene Rowlands).

I really like the acting and love the struggles and conflict that this husband and wife go through. Both are trying to find happiness in so many ways, but is only making it worse for themselves. .

-- Michael Mendez

This film is one of the supreme masterworks of all of American cinema. It is absolutely essential. Yes, it is "difficult." Yes, it is "slow." But those standards are for enterainment. Cassavetes wants to take us out of our ordinary ways of viewing. He wants to deny us the escapism of "entertainment." That's the point. If you have trouble with this film--good! If you find it infuriating--good! If you find it not entertaining--good! It wants to get under your skin. It wants to shake you up.

It is a deep exploration of manhood in America, of the power games that men play with women, and of the other kinds of games women victimize themselves with. Deeper than Citizen Kane, more abrasive than Magnolia or American Beauty, Faces turns the camera on the ordinary, everyday ways men and women treat each other. It wants to get under your skin, and if you allow it to, without giving up or shutting your mind to it, it will profoundly enlighten you.

I also want to highly recommend a stunning book about Cassavetes that makes a nice companion piece to a viewing of the film. Ray Carney's Cassavetes on Cassavetes book (or his web site devoted to Cassavetes) has almost 100 pages about the making of this film. Both throw more light on how Cassavetes got the amazingly intimate and exposed performances he did.

But trust me, this film can change your life. It is one of the greatest works of art in all of film. And the resistance it meets with is proof of it