Faces (I) (1968)

R  |   |  Drama  |  June 1968 (UK)
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Ratings: 7.8/10 from 6,441 users  
Reviews: 54 user | 60 critic

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.



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Nominated for 3 Oscars. Another 5 wins & 6 nominations. See more awards »



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Cast overview, first billed only:
Richard Forst
Jeannie Rapp
Lynn Carlin ...
Maria Forst
Fred Draper ...
Freddie Draper
Jim McCarthy
Dorothy Gulliver ...
Joanne Moore Jordan ...
Louise Draper
Billy Mae
Gene Darfler ...
Joe Jackson
Elizabeth Deering ...
Ann Shirley ...
(as Anne Shirley)
Dave Mazzie
Anita White
Julie Gambol


Richard Forst has grown old. One night, he leaves his wife for Jeannie Rapp, a young woman who does not like friendship. Meanwhile, Richard's wife, Maria, is seduced by Chet, a kind young man from Detroit... A film about the meaningless of life for a certain kind of wealthy middle-aged people. Written by Yepok

Plot Summary | Add Synopsis




R | See all certifications »

Parents Guide:





Release Date:

June 1968 (UK)  »

Also Known As:

The Dynosaurs  »

Filming Locations:

Box Office


$275,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

Aspect Ratio:

1.66 : 1
See  »

Did You Know?


Probably one of the first films in cinema history to talk openly about cunnilingus. See more »


Richard Forst: What do you want to drink?
Maria Forst: Well, whatever it is, I want it on the rocks, straight and dirty, because I feel very very bitchy tonight.
Richard Forst: Well, I feel very, very bitchy too. That makes two of us.
See more »


Featured in A Decade Under the Influence (2003) See more »


Music and Lyrics by 'Bob Leonard'
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User Reviews

Exceptional performances, but film is fatuous, irritating, and occasionally meandering...
5 June 2011 | by (las vegas, nv) – See all my reviews

In reviewing writer-director John Cassavetes' cinema verite-styled "Faces" for the New Yorker, film critic Pauline Kael was more interested in the theater audience's reaction to the picture than the picture itself. She noted that everyone in the crowd seemed to accept this "bad office party" with the utmost seriousness, as if what they were witnessing was extremely personal and important. "Faces" is probably still quite important to revolutionary filmmakers, but it doesn't feel very personal. Cassavetes views a sad, crumbling, upper-class marriage between a businessman and a housewife in Los Angeles with blank eyes. The conversation between the two is vapid and disconnected--and later, when the couple separates and he finds company with a prostitute while she brings home a gigolo, the dialogue remains flat and monotonous. Is Cassavetes trying to say that some marriages become zombie-fied to the point where no amount of conversation breaks through? The wife overdoses on pills and is rescued by the stud, but when the husband comes back and sees the bottle and the mess in the bathroom, he doesn't even ask her about it. The film is stultified by its need to be raw and uncompromising in an arty fashion (with Mount Rushmore-like close-ups of the four principals, a gambit which gets tiresome). Flickers of truth permeate the production, though it isn't very well-shot or lighted, and the editing (purposefully) allows scenes to ramble on passed their emotional peak. ** from ****

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