Most Helpful Customer Reviews
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
Acceptable DVD of a classic film., October 19, 1999
"Faces" carries the dubious distinction of being considered the first "breakthrough" independent American feature. "Faces" is a John Cassavetes film. It is also categorically one of the two or three greatest masterpieces of American cinema. (This is neither just a personal opinion, nor an exaggeration. This film is essential.) What makes this film so special will be lost on many domestic viewers, unfortunately, who simply aren't prepared for the experience. Nearly everything about the film is subversive of conventional Hollywood filmmaking techniques, and this is frustrating for people who aren't ready for it. For example, the film never "tells" you anything about the characters: you have to patiently observe them throughout the film, just as if they were real other people in the room. Furthermore, in typical Cassavetes' style, the characters' behavior is extreme, which can be unsettling. Finally, the film is pretty grim. However, if you're ready for a new experience, and can approach the viewing experience with an open and tolerant mind, this film will BLOW YOU AWAY. The DVD is nothing special; I'm just grateful to have the film. The transfer isn't particularly sharp, and was made off an inglorious print. Framing -- full frame -- seems fine; if I remember correctly, the original (16mm) is not widescreen, so nothing should be lost. (The odd cropping that appears throughout the film is intentional.) Highest recommendation.
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6 of 6 people found the following review helpful:
5.0 out of 5 stars
All the Lonely People, November 20, 2002
I've never seen a movie quite like this in my life! It's technically raw, the sound's bad and half the time I had no idea what was going on, but it builds to a brilliant portrait of four lonely lives. The bad jokes and laughter that eat up so much film time connect loose, rambunctious scenes that defy strict narrative logic--after a while it feels like you're watching this movie from the inside, right in the thick of the cigarettes and booze. As usual, Cassavetes shoots the '60s from unexpected angles: his focus is on the middle-aged middle managers and their fading suburban wives, stuck on the wrong side of the Sexual Revolution but still desperate to feel young and fulfilled. The movie doesn't make fun of them but brings you into their world, where disappointment, age and the pressures of conformity are finally getting the best of their vitality. Imagine "The Graduate" told from Mrs. Robinson's point of view. The powerful last scene ends in silence after a suicide attempt--no laughs, no routines. The death of a marriage or a new beginning? Cassavetes rarely matched this level of intensity. "Faces" is one of his very best.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Cassavetes film is brutally honest and realistic, March 6, 1999
By A Customer
The state of independent film today, it is safe to say, would be radically different if it weren't for the pioneering art of John Cassavetes. His unapologetically realist style, coupled with intimate cooperation with his actors and his understanding of the emotional power of improvisation, has earned him the oft-applied title: Father of Independent Film. In Faces, the most mainstream-appreciated of his work, John Marley and Lynn Carlin are a middle-aged couple of swingers, trying to fill the gaps in their emotional relationship by having spontaneous trysts with socially peripheral characters--Marley with Gena Rowlands (a prostitute) and Carlin with Seymour Cassel (a beatnik). However, they find that they cannot be as casual as they wish, and end up tangled in all new romantic involvements with their lovers, which only serves to augment the emptiness they feel in their marriage. Cassavetes' ultra-realist camera style, alternatingly far-off/detached and then extremely close to the actors' faces (hence the title) reflects the characters' emotional states and yet, at the same time, is objectively distant--a style that has been aped recently in many indie features. John Cassavetes' son Nicholas has begun making his own movies (Unhook The Stars and She's So Lovely--written by his late father) and seems to be on the road to his own well-deserved success.
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