7.7/10
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53 user 63 critic

Faces (1968)

R | | Drama | June 1968 (UK)
A middle-aged 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

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

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

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The Acclaimed Motion Picture

Genres:

Drama

Certificate:

R | See all certifications »

Parents Guide:

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Details

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Release Date:

June 1968 (UK)  »

Also Known As:

The Dynosaurs  »

Filming Locations:


Box Office

Budget:

$275,000 (estimated)
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Company Credits

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Technical Specs

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Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Actress Gena Rowlands and writer-director John Cassavetes in real life were married. See more »

Quotes

Chet: Like Christ said, you know, Help thy neighbor, man.
Billy Mae: He's the one that said that?
Louise: Billy Mae, what difference does it make who said it?
Chet: What difference does it make who said it? It could've been, uh, it could've been him, it could've been Gandhi, it could've been Buddha, it could've been Spooda, it could've been your daddy, it could've been your mama, it could've been your uh-uh, it could've been your huh-huh... What difference, man?
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Soundtracks

Never Felt Like This Before
Music and Lyrics by Charlie Smalls
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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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