IMDb > Faces (1968/I)
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Faces (1968/I) More at IMDbPro »

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Faces -- 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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7.7/10   7,547 votes »
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Down 2% in popularity this week. See why on IMDbPro.
John Cassavetes (written by)
View company contact information for Faces on IMDbPro.
Release Date:
June 1968 (UK) See more »
The Acclaimed Motion Picture
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. Full summary » | Add synopsis »
Plot Keywords:
Nominated for 3 Oscars. Another 9 wins & 2 nominations See more »
User Reviews:
A Timeless Tautology See more (54 total) »


  (in credits order) (verified as complete)

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
Edwin Sirianni
Liz Satriano
George Dunn ... Comedian (as George Dunne)
Jerry Howard
David Rowlands
Carolyn Fleming

James Bridges ... Extra (as Jim Bridges)
Kay Michaels
Don Kraatz
Laurie Mock ... Barmaid
John Hale
Christina Crawford ... Woman Scattering Coins on Bar
Midge Ware
George Sims ... Bartender
rest of cast listed alphabetically:
Charles Akins ... (uncredited)

Nancy E. Barr ... Dancer at Nightclub (uncredited)

Don Siegel ... Extra at Whiskey A-Go-Go (uncredited)

Directed by
John Cassavetes 
Writing credits
John Cassavetes (written by)

Produced by
Maurice McEndree .... producer
Al Ruban .... associate producer
John Cassavetes .... producer (uncredited)
Cinematography by
Al Ruban 
Maurice McEndree (uncredited)
Haskell Wexler (uncredited)
Film Editing by
Maurice McEndree 
Al Ruban 
John Cassavetes (uncredited)
Art Direction by
Phedon Papamichael  (as Phaedon Papamichael)
Set Decoration by
Lady Rowlands 
Makeup Department
Harold Chaleff .... hair stylist: Miss Carlin
Production Management
James Joyce .... production manager
Second Unit Director or Assistant Director
Jerry Howard .... assistant director
John Nastu .... assistant director
George O'Halloran .... first assistant director
James Victor .... assistant director
Sound Department
Don Pike .... sound
Camera and Electrical Department
Charles Akins .... gaffer
Charles Akins .... key grip
John Bardwell .... still photographer
George Sims .... camera operator
Editorial Department
James Auker .... post-production
Jack Woods .... post-production
Music Department
Jack Ackerman .... musical director
Victor Arno .... musician: violin
Pete Candoli .... conductor
Pete Candoli .... musician: trumpet
Jack English .... musician: piano
Richard Grand .... assistant to musical director
Red Mitchell .... musician: bass guitar and guitarron
Ted Nash .... musician: tenor sax
Gary Nuttycomb .... musician: viola
Mischa Russell .... musician: violin
Victor Sazer .... musician: violin
Kenny Shroyer .... musician: trombone
Jerry Williams .... musician: drums
Other crew
Charles Akins .... stage manager
Dick Balduzzi .... pre-production
Pat Buckley .... production secretary
Bianca Chambers .... production secretary
Bud Cherry .... dialogue director
Carolyn Fleming .... assistant to producer
Liz Satriano .... production secretary
Pat Smith .... script supervisor
Nancy E. Barr .... production assistant (uncredited)
Steven Spielberg .... production assistant (uncredited)

DistributorsOther Companies

Additional Details

Also Known As:
130 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Australia:M | Iceland:L | Portugal:M/12 (Qualidade) | UK:X (original rating) | UK:15 (video rating) (1992) | USA:R (certificate #296)

Did You Know?

John Cassavetes performed a number of roles on this film. Cassavetes was writer, director and both an uncredited editor and uncredited producer.See more »
Freddie:By the way, Jeannie, what do you charge?
Jeannie Rapp:Freddie... Aw, Freddie... Aw, Freddie... Aw, no, Freddie... Don't spoil it, Freddie, please.
Freddie:Spoil what? Honey, I'm game for anything. I just wanna know how much you charge. It's legitimate, isn't it? I know I have to pay. I'm not too schooled in these thngs, but I know that somewhere along the line, your little hand is going to find its way into my pocket...
See more »
Movie Connections:
References La Dolce Vita (1960)See more »
Life Is FunnySee more »


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15 out of 17 people found the following review useful.
A Timeless Tautology, 28 May 2007
Author: jzappa from Cincinnati, OH, United States

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.

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