Wear your emotions on your sleeve or cover them up in suits and college-boy theatrics. Whatever it takes to appear confident, funny, in control. Never mind the fact that you don't know what you're doing, what you're saying or where you're going. But that's true for all of us. Never has a movie so perfectly demonstrated the elegant humanity that arises from the struggle between balls and vulnerabilities.
4,5 Cassavetes attacks American society by describing unhappy marriages and lost people. The greatness of this film is that it escapes labels: it is realist and it is not, it is precisely written and it is not, it is fiction and it is not. The first scene adds a touch of mise en abyme that reveals the beautiful paradox of Cassavetes' filmmaking style: cinema is a mixture of lies and truths. Like everyday life.
Just about every scene goes on too long, as if Cassavettes loved these acting jam sessions so much he couldn't bear to cut a frame. But I don't care. What we have drills the raw exposed nerve of the American middle class, with characters who seek, lash out, and riff, occasionally letting their delusions slip. As Cassavettes keeps the camera moving at the speed of life, you never know when the next deep cut will come.
5 years after Kennedy was shot The White Album dropped the people behind the young president immediately became old and everything had changed here Cassavetes films both America's and the immediacy is still powerful. Close ups show every shade of a human, filmmaking that accounts for every feeling, primitive but with a higher calling he understood who people were especially those who can't change. The dysfunctional.
Disappointed. My first Cassavetes picture, and although I did like the style and Rowlands' and Marley's performances, I felt that the wife part of the film was very uninvolving and I had zero care or interest for these characters. 3/5
Significantly moved up in my Cassavetes hierarchy on second viewing; I imagine it will only continue to do so. There's something very universal about the desire of its characters to break away from the routines and conformity of their lives.
Even after 40+ years, the intensity and immediacy of Cassavetes' films remain unrivalled. "Faces" is one of his best: a lacerating portrayal of marital discontent and midlife melancholia, shot with harsh and startling intimacy.