Faces (1968/I)

Note des utilisateurs:

7.7/10   

Réalisateur:

John Cassavetes

Scénariste:

John Cassavetes (written by)

Release Date:

24 novembre 1968 (USA)

Genre:

Drame

Plot:

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.

Plot Keywords:

Prostitute | Handheld Camera | Suicide Attempt | Divorce | Dance Scene

Awards:

Nominated for 3 Oscars. Another 3 wins & 2 nominations

Avis des utilisateurs:

favorite Cassavetes film I've seen so far

Ensemble

John Marley	...	Richard Forst
Gena Rowlands	...	Jeannie Rapp
Lynn Carlin	...	Maria Forst
Fred Draper	...	Freddie Draper
Seymour Cassel	...	Chet
Val Avery	...	Jim McCarthy
Dorothy Gulliver	...	Florence
Joanne Moore Jordan	...	Louise Draper
Darlene Conley	...	Billy Mae
Gene Darfler	...	Joe Jackson
Elizabeth Deering	...	Stella
Ann Shirley		(as Anne Shirley)
Dave Mazzie
Anita White
Julie Gambol

Autre(s) titre(s):

The Dynosaurs (USA) (working title)

Durée:

130 min

Pays:

USA

Langue:

Anglais

Couleur:

Noir et Blanc

Aspect Ratio:

1.66 : 1

Son:

Mono

Classification:

Iceland:L | Australia:M | UK:15 (video rating) (1992) | UK:X (original rating) | USA:PG-13 (DVD re-rating)

Emplacements De Pelliculage:

Los Angeles, California, USA

Anecdotes:

While filming a part on "Bob Hope Presents the Chrysler Theatre" (1963), John Cassavetes saw Steven Spielberg lurking around the set, as he was then in the habit of doing. Cassavetes approached Spielberg and asked what he wanted to be. When Spielberg replied he wanted to be a director, Cassavetes allowed the young man to direct him for the day. He later invited Spielberg to work on this film (Faces), Spielberg serving as an uncredited production assistant for two weeks.

Guillemet:

Jim McCarthy: Do you realize that ex-convicts and jailbirds are the ones that write all the limericks?
Stella: Not all of them.
Joe Jackson: Aw, don't argue with Mr. McCarthy, miss.
Stella: Jimmy Arno, he wrote a couple that were really funny. Didn't he, Jeannie?
Jeannie Rapp: That's right. He did.
Jim McCarthy: Jimmy Arno?
Jeannie Rapp: Mm-hmm.
Jim McCarthy: Jimmy Arno? Not the Jimmy Arno?
Stella: Do you know him?
Jim McCarthy: Never heard of him.

Movie Connections:

References La dolce vita (1960)

favorite Cassavetes film I've seen so far

Though my insight into the remarkably independent career of John Cassavetes as a director is limited to this, Shadows, and A Woman Under the Influence, what Faces offers just on its own as a character based drama is almost enough to see what the director is all about. No big budgets, no fake sets, just people on the screen who have real personalities and histories with each other, and conflicts that are given just enough light in the film to get an idea of what they're about. But what is given, shot in a grainy 16mm feel by Cassavetes, using mostly theater actors (and Cassavetes's wonderful wife Gena Rowlands), are compelling enough to stay with them, through their flaws and difficulties with one another, and through this we get a look into their small world. Film-making like this is rare, where the director- also as writer- can work with so little to provide so much emotionally for a viewer. It's definitely a certain kind of world shown, of New Yorkers with relationship crises and psychological complexes that may go a bit beyond some viewer's expectations. That how they communicate is so raw is also a little unnerving at times, and some scenes deserve to be seen twice to grasp everything that's going on.

But Faces, for all its moments of improvisation, is a work that is alive, because it has characters who question their own excesses and escapes while not being able to really escape them. There's adultery, alcohol, an overdose, and lots of talking at times. But there's also moments of true compassion, and reality that likely could be found in few exceptions of films at the time it was made (especially about the middle class). And at times what the filmmaker gets us to feel for these completely imperfect and almost damaged people (underneath their middle class side) is a bit shattering. Take the scenes involving Seymour Cassel and the woman he's found in the morning unable to really wake up. This whole set of events as he tries to wake her up is a true knockout kind of cinema, where there's no pretense between what is being shown on the screen and what the audience is receiving. Arguably, there are at times scenes that feel nearly too theater-based, as if we might as well see this on an off-Broadway production.

But in this kind of independent film, where there really aren't limits, Cassavetes is interested in characters and situations that Hollywood would just take as stereotypes or more conventional forms. And with the professionals like John Marley, Rowlands, Cassel, and especially Lynn Carlin (who along with Cassel got richly deserved Oscar nominations), Cassavetes at times just lets his script go with them and the conviction they bring is, at times, shocking. This is the sort of film that influenced Scorsese, though his style has also influenced a good chunk of what are American independent films, where the limits of budget, time, and Hollywood perks like staged sets and special effects, can sometimes be used for an advantage with a good enough script and cast. To put it mildly, I can't wait to see this film again.