Faces.

Review #1428: Faces.

Cast: 
John Marley (Richard Forst), Gena Rowlands (Jeannie Rapp), Lynn Carlin (Maria Forst), Seymour Cassel (Chet), Fred Draper (Freddie Draper), Val Avery (Jim McCarthy), Dorothy Gulliver (Florence), Joanne Moore Jordan (Louise Draper), Darlene Conley (Billy Mae) Written and Directed by John Cassavetes.

Review:
"My films are expressive of a culture that has had the possibility of attaining material fulfillment while at the same time finding itself unable to accomplish the simple business of conducting human lives. We have been sold a bill of goods as a substitute for life. What is needed is reassurance in human emotions; a re-evaluation of our emotional capacities.”

We all know important independence can be in life. It can also be important when it comes to film as well, which proves to be the case with actor and director-writer John Cassavetes, a pioneer of independent cinema. The son of Greek immigrants, he had graduated from the Academy of Dramatic Arts (New York) in 1950 and soon began acting in theater with small bits in film and television following not long after, with works such as The Night Holds Terror (1955) and Edge of the City (1957). He was a proponent of an alternative to method acting through his own workshop that he did in New York City. It was during an appearance on the radio show Night People (hosted by Jean Shepherd) to promote the latter film that he pondered over if someone could make a film about ordinary people (without all the Hollywood business interference). Funds from listeners of the show (which apparently totaled to over $2,000) along with raiding funds from family and friends led him to have a chance to make what he wanted. Over time, he would use funds garnered from acting gigs (with notable performances in films such as The Dirty Dozen (1967) and Rosemary's Baby (1968)) to help fund his films, not wanting to compromise his vision from producers who might have wanted to shift a project to something more "commercial" (although he did do a few films with involvement or distribution with studios, such as the two films before Faces in Two Late Blues and A Child is Waiting). He cultivated his films from his experiences with an fiercely independent streak who once stated that the only person less important than the director on a film set was a talent agent, since he felt a director should create their own material for their films. He was characterized for allowing a manner of improvisation for his actors through their delivery and interpretation of their character, which would shape the story (as opposed to the other way around). Ultimately, he would direct twelve films in a span of 27 years from Shadows (shot in 1957, previewed the following year and then reworked for release in 1959) to Big Trouble (1986, which he disowned) before his death in 1989 at the age of 59. One of his scripts would eventually be adapted into a film after his death with She's So Delovely (1997), directed by his son Nick (the first of Cassavetes' three children to turn to directing).

For this film (his fourth), he spent over six months with filming (most notably filming in the house of his mother-in-law alongside his own) and then three years to edit. The film runs at 130 minutes, but it had existed in numerous forms prior to general release, including an initial cut of six that reduced to four before a preview screening of a three hour version, and a 147 minute version was deposited for preservation at the Library of Congress.  One thing that is for certain is that the film is an interesting look upon communication and how few we really talk to each other. What one thought about communication when it comes to how passive and desperate we are to connect with our loved ones back in 1968 still resonates with how we are now, with Cassavetes managing to make an honest film that sets its own path of casual venom in examining communication with rawness. It can be an uncomfortable sit at times, lingering with conversations on their own terms that can test the patience at times but ultimately work itself out to discussion and curiosity worth having. Marley and Rowlands lead this ensemble (with five of the main six having starred in at least one Cassavetes film before this one) to curious heights, leading one's curiosity with a bit of sadness to it all, whether that means a working man trying to escape his empty love-life in a capable Marley (a character actor with plenty of film/TV credits) or a wiry and knowing performance from Rowlands (an actress of over six decades in film, stage, and television known for collaborations in her husband Cassavetes' films) that serves to drive the film's look at desperation to feel something with someone. Carlin, the secretary-turned-actress makes for a fair debut that captures a hollowed-out person of marriage with subtlety. Cassel shines in carefreeness that pulls you in when he shows himself to try and warm up the presence of desperation without becoming a caricature to laugh at. In the end, this is a bleak movie, but it is one that has a place for doing so on its own terms for its story and for its actors that shows the reflection on the mirror of the 1960s without flinching or making an easy out. It might not be for everybody, but it certainly has a place in inspiring curiosity for those who want something a bit different from the usual fare.

Overall, I give it 8 out of 10 stars.