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Seventeen-minute alternate opening sequence from an early edit of the film; Episode of the French television series Cinéastes de notre temps from 1968, dedicated to Cassavetes, featuring rare interviews and behind-the-scenes footage; Making "Faces," a 2004 documentary including interviews with actors Lynn Carlin, Seymour Cassel, and Gena Rowlands and director of photography AL Ruban; Lighting & Shooting the film, a short documentary from 2004 in which Ruban explains how he and the crew achieved the distinct look of Faces; A booklet featuring an essay by film critic Stuart Klawans
Full Product DetailsDisc #1 -- Faces
1. Morning Meeting [:15]
2. Loser's Club / Jeannie's House [3:13]
3. "Jeannie With the Light Brown Hair" [12:15]
4. Home For Dinner [6:17]
5. Not All That Funny [10:58]
6. Unexpected Request [2:24]
7. Love Conquers Man [3:23]
8. Kid With Sneakers [3:16]
9. Dickie's Return [9:00]
10. Chairman of the Board [5:37]
11. "You Get to Me" [6:54]
12. At the Whisky [2:46]
13. Chet and the Ladies [5:58]
14. "Fools of Ourselves" [4:54]
15. Alone With Chet [7:13]
16. Lousy Eggs [15:06]
17. Tears of Happiness [3:56]
18. Ready [5:16]
19. Color Bars [2:03]
Faces is right: this definitive John Cassavetes film consists almost exclusively of tight, uncomfortable close-ups. It takes place in the fourteenth year of the marriage of Richard (John Marley) and Maria (Lynn Carlin). Neither husband nor wife is content with the conditions that prevail; Maria joins her friends looking for romantic satisfaction elsewhere, while Richard secures the services of a prostitute (Gena Rowlands). Maria herself has a one-night stand with a hippie (Seymour Cassel), but this is no more satisfying than her dead-end marriage. If you think that Faces is an exhausting experience in its current 130-minute length, imagine what it looked like in Cassavetes' original six-hour cut. Alternately clumsy and profound, it is nonetheless a work of deep sincerity, as recognized by the Venice Film Festival, which bestowed no fewer than five awards on the film, and it perfectly exemplifies Cassavetes' improvisational, cinéma vérité style and searching explorations of modern relationships. Hal Erickson, All Movie Guide