The same year that he played the collusive husband in "Rosemary's Baby", John Cassavetes released one of his most important movies. "Faces" is an acerbic look at a marriage and its collapse. The high-contrast black and white photography combined with locations in closed spaces creates a truly surreal feeling. Like another independent black and white movie in 1968 (Night of the Living Dead), this movie makes clear that the image of the happy marriage and nuclear family was on its way out.There are no good guys or bad guys. There's no defined moral spectrum at all. The point is that the characters are going to do want they want, see whom they want, and confrontations are inevitable. Indeed, some of the scenes last a long time to make sure that the audience is under no illusions about what's going on in these characters' lives (even if the characters try to put on a facade). Outstanding piece of work. I have no doubt that if Cassavetes were alive today he would still be making these sorts of movies.Starring John Marley (the producer in "The Godfather" who gets an unpleasant surprise in bed one morning), Gena Rowlands (Cassavetes's wife), and an assortment of other people (including Joan Crawford's adopted daughter Christina).

So this is the work of John Cassavetes? Pretty good, I must say. I definitely can appreciate good conversations and witty dialogue any day.This film, I would say is another one of those indie films (sort of foreign-filmmaking- esque) from how it is much ado about NOTHING. I love these films. They are like a breath of fresh air. That, and they always seem so personal. I wonder if it was actually scripted or if it was improvised like most Cassavetes projects.The only work I have seen of Mr. John Cassavetes was his depute film, Shadows, which was mainly all improve, or so he says in his interviews. I take a strong liking to these films because of how slow they are, yet SO INVITING; so UN-American, if you will. - People have said that Cassavetes brought the indie film movement to the states. So far I have not been proved wrong so far. His films, such as Faces, are all so unique and timeless. Like literally, I believe this movie will be studied until THE END OF TIME.I like seeing people celebrating. It is nice. Gives one the feeling of calmness; like nothing extreme is happening so we don't have to waste any time stressing about it. Does that make sense?Our main protagonist, Richard Forst (played by John Marley), is a (so called) businessman who has an affair with a much younger woman. Little does he know that his wife has some plans of her own.. You can really tell what kind of man Robert is when he says:"I'm just a mild success in a dull profession, and I want to start over again. And I've got a bad kidney!"This just shows what kind of person he is as he says it to the younger girl, Jeannie (played by the beautiful Gene Rowlands).I really like the acting and love the struggles and conflict that this husband and wife go through. Both are trying to find happiness in so many ways, but is only making it worse for themselves. .-- Michael Mendez

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.This was one of the most influential films of the 1960s, if you consider how it inspired Robert Altman and Woody Allen, as well as employing Steven Spielberg as a production assistant while he was still making short films and had not yet broken into feature films.How well the film has aged is debatable. While its influence is clear, the film itself is not necessarily the most fun. Some have called it "meandering", and it is hard to believe that at one point Cassavetes had a six-hour cut (allegedly).

An older man (John Marley as Richard Forst) leaves his wife (Lynn Carlin as Maria Forst) and this film tracks the fallout as he takes up with a younger escort (Gena Rowlands as Jeannie Rapp) and she takes up with a more fun-loving younger man from Detroit (Seymour Cassel as Chet). The caustic moments in this film could peel the paint off walls. The false and forced bonhomie, the hollow laughter and the empty words will rip you to pieces.The cinematography overseen by Al Ruban astonishing. The quick cuts from speakers to their interpolators keep one just a little on edge but don't detract from the tension of the movie.The writing and acting are bracing - the early scene in which Richard shows affection and laughs almost manically as he and his wife share a nice domestic scene. Just a short time later though, we see the change in mood as they lay in bed and Richard, turning away from his wife, looks cold and distant, clearly about something not as pleasant. The rapidly shifting vibe between Richard and Jeannie as he flatters her and then seems cold and cruel toward her and she tries unsuccessfully to retain some emotional distance from him. Gena Rowlands is amazing in her scenes with John Marley. She conveys hurt, playfulness, need, and love in short order.Perhaps my favorite scene is when Richard goes to Jeannie only to find her entertaining two businessmen - Jim and Joe. Both men try to remain cool, not appearing too angry while also attempting to stake their claim for Jeannie's affections. Two powerful men trying to look cool while posturing makes for great entertainment. Cassavetes script conveys the difficulty of their task.The alienation and emotional isolation of Maria's nightcap with her friends and Chet (Seymour Cassel) is also bracing. They try to cheer her up but it seems no one is really having a good time. The mood shifts wildly and no one ends up happy. Astonishing writing and acting from Dorothy Gulliver as Florence and Darlene Conley as Billie Mae, as well as an amazing depiction of heartbreak from Lynn Carlin.The final scene is also amazing for the reserved way it holds in reserve vast amounts of emotional energy. The acting, writing, directing and camera-work here speak to professionals really working at a high level. The rawness of the acting, the skittish camera-work from Ruban, and Cassavetes control over, and vision of, it all, make this a film of the highest caliber.