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每颗灵魂都有其独特的质地,在这部作品里,卡索维茨给予每一颗灵魂呈现其独一无二面貌的机会,并完整、彻底的释放每一颗灵魂被生活囚困下的欲望和孤独! 电影有挺多无意识的戏,正中我口味,其实这也是卡索维茨一脉相承的电影特色。在我的理解里,约翰卡索维茨的创作以情感为纽带,聚焦人内心深处的柔软与坚强(某种程度上甚至挖掘其疯狂),所以这种自由创作经常会陷入一种群体无意识状态,这种状态下,演员对自身存在的觉知和控制力降至最低,然而他们内心驱动的欲望和表达在此次刺激和群体氛围内又回归到最真的状态,这是我特别享受他电影的原因。 看这样的作品我会透过荧幕被拉入一个奇妙电影世界,我便在其中不断发现并直面演员自身内在的一些东西,而不再肤浅的去判断表演和故事,更有意思的是,卡索维茨电影镜头的运用非常精巧、准确,它的捕捉也极为精细,总是触及到电影环境、群体、个体最真实的状态,这个状态下,每个演员的内核是富有魅力,并且超越单纯的表演所触达的表演深度! 更有意思的是他的戏是连贯的,几乎不存在断离,这非常特别的,与戈达尔的自由创作几乎截然相反。卡索维茨和戈达尔很大程度上具备相似性(即兴、自由),但二者各有千秋,戈达尔的作品政治性、跳跃性,和剪辑是特色,卡索维茨的自由创作实际上更完全,他的即兴和自由更彻底更完全,在演员的运用上,卡索维茨几乎是顺着演员的质地去导戏,演员也顺着自己的质地去表演,我认为这是对演员最正确的运用方式之一!
影像90分
剧本95分
导演90分
表演95分
创新90分
作品分92分
内容系数0.9
影史分83分
Title: Faces
Year: 1968
Country: USA
Language: English
Genre: Drama
Director/Writer: John Cassavetes
Music: Jack Ackerman
Cinematography: Al Ruban
Cast:
John Marley
Gena Rowlands
Lynn Carlin
Seymour Cassel
Fred Draper
Val Avery
Elizabeth Deering
Gene Darfler
Dorothy Gulliver
Joanne Moore Jordan
Darlene Conley
Rating: 8.0/10
It takes an acquired taste to be comfortably and thoroughly engaged in Cassavetes’ intensely disheartening dramaturgy of bourgeois ennui, FACES isirrefutably a feather in his cup, not in the least for its unsparing cinéma-vérité bravura, one could only imagine watching it in front of a celluloid with those intrusive, sidling über-closeups underlined by that grainy monochrome, how different would it be from anything else in the year of 1968?
Watching in on a TV screen might be a less dizzying experience and it may even lend a helping hand for the audience to become more appreciated of Cassavetes’ scalpel-like dissection of an internecine relationship tangle where no one comes off as unscathed.
The film takes the course roughly within one day, we are peering into the disintegration of a 12-year-old marriage betweenRichard Frost (Marley, who physically resembles an elder version of Cassavetes), a well-off movie financier and his younger wife Maria (Carlin), plus its immediate aftermath. What tickles the idea of divorce into Richard’s mind is another woman, Jeannie Rapp (Rowlands), a classy fille de joie who is tentative by the courtship from one of her patron, whom she might also fall for.Whilst Richard visits Jeannie in her apartment with the presence of her other clients, Maria, pent-up after receiving the bolt from the blue, hangs out with her gal pals in a club and they bring back a young go-go dancer Chet (Cassel) to find some cheap solace, but the problem is always the morning after, does she have the courage to face a new day? What else can a domesticated woman do when she is going to a cast-off?
The story pans out intimately in its interior-exclusive episodes, burnished by what dynamo of a cast, the film galvanizes our attention from A to Z, it is hard to tell whether the dialogue and play-off is semi-improvised or strictly script-based, but Cassavetes relentlessly presses home a brisk tension of fickleness and turns of moods through the lengthy procedures, two friends banter, jape, dance until one of them finds himself becomes an inconvenient third wheel and he snaps; the same coup-de-théâtre occurs almost repetitively in each episode, whether it is between Richard and Maria’s abruptly disconnected duologue, or the tangible disquiet/agitation between Jeanine and her client Jim McCarthy (Avery, a wonderful chameleon), or later the macho confrontation/reconciliation between Jim and Richard. But it is the chapter where Maria and co. facing off a woman-pleasing Chef leaves the most indelible mark, for its utterly frank expose of a lonely woman’s delusion and desperation under the influence of alcohol, the unsung hero here is Dorothy Gulliver's importunate Florence, you cannot help but feeling pity for her, but the pity is concomitant with a whiff of involuntary disgust.
The cast is pure gold, John Marley upstages the rest with hissilver fox allure so damning pungent in every line delivery and gesticulation, deceptively papers over Richard’s dark streak with a winning/poignant combo of open-facedness and bluntness, only belies his shallowness and misery in the morning after as an exasperating cuckold. Ms.Cassavetes, the unparalleled Gena Rowlands drums nuances into every pore of her body and every glance she casts (also thanks to the majestically in-your-face shots to create that stunning effect). However it is two newbies who are given some legitimate Oscar love,Lynn Carlin is stripped down to her raw emotion in her film debut, which powerfully elicits Maria’s clogged mental state and counterpoises its life-threatening after-effect; on the other hand, a blond and youthful Seymour Cassel beautifully oozes sex appeal and wide-eyed sophistication as an unexpectedly selfless symbol of savior to all those wrenched and dissatisfied housewives, his Chet is the diagonal counterpart of Rowland’s Jeanine, only in exeunt omnes, he has to rashly flee from a window whereas she might eventually get what she wants, if one wanna write about sex politics, FACES is a gold mine.
Most suitably, FACES should be ensconced as a smoldering pendant of Mike Nichols’ WHO’S AFRAID OF VIRGINIA WOOLF?, both are hell-bent in tearing down smoke and mirrors to debunk lethargy, inaction and mythomania (among many other maladies) abound in all relationships, dare you to watch them cheek by jowl!
referential points: Cassavetes’ A WOMAN UNDER THE INFLUENCE (1974, 7.3/10), OPENING NIGHT (1977, 8.1/10); Mike Nichols’ WHO’S AFRAID OF VIRGINIA WOOLF? (1966, 8.2/10)
Mille Plateaux: YEAR ZERO: FACIALITY
Faces are not basically individual; they define zones of
frequency or probability, delimit a field that neutralizes in advance any
expressions or connections unamenable to the appropriate significations.
Similarly, the form of subjectivity, whether consciousness or passion,
would remain absolutely empty if faces did not form loci of resonance that
select the sensed or mental reality and make it conform in advance to a
dominant reality. The face itself is redundancy. It is itself in redundancy
with the redundancies of signifiance or frequency, and those of resonance
or subjectivity. The face constructs the wall that the signifier needs in order
to bounce off of; it constitutes the wall of the signifier, the frame or screen.
The face digs the hole that subjectification needs in order to break through;
it constitutes the black hole of subjectivity as consciousness or passion, the
camera, the third eye.
Cassavetes on Cassavetes by Cassavetes, John Carney
Page 165
As in Shadows, and as would be the case in all of his subsequent films, Faces’ actors were encouraged to draw on the deepest aspects of their personalities and attitudes in their playing. Cassavetes’ secret to making this work was to operate in such a deep way that the actors didn’t realize what was going on. Their performances became explorations of parts of themselves they didn’t know were there, and which would only be discovered later, if ever. The characters Cassavetes created were sufficiently different from the actors in superficial respects that the actors didn’t recognize the similarity to themselves, which meant that they played their roles unselfconsciously and unguardedly. But, at the same time, the roles tapped into deep structures of feeling and personality that enriched their performances and made them profoundly revealing.
As Cassavetes mentioned above, Seymour Cassel did follow women home and make love to them (and had gotten into a lot of trouble because of it). He was a kind of ‘beach boy’, and aspects of Cassel’s personality and attitudes deeply informed the character of Chettie. Lynn Carlin played a housewife with problems and, at the point she made Faces, she herself had ‘some severe personal problems’ (in Al Ruban’s words). Her marriage was falling apart; she had lost her job; and she had a lot of mixed feelings (both positive and negative) about her life and the men she knew, even as she still maintained a degree of innocence that contrasted with the externals of her situation. Cassavetes got her to draw on her pains, confusions and vulnerability in her portrayal of Maria. Similarly, Cassavetes drew on parts of Val Avery that Avery himself didn’t understand to deepen his performance of McCarthy. Avery’s characteristic bluster and swagger – and the vulnerability that the big talk covered up – became his character. (Avery the person is the very definition of a lamb in wolf’s clothing – hiding his genuine gentleness under a gruff exterior.) As a comic illustration of the overlap of life and art, at one point in the shoot Avery invited Cassavetes to ‘go outside and fight when he got upset with him, exactly the same way his character does with Richard Forst. Cassavetes similarly drew on aspects of John Marley’s personality. As a seasoned ‘pro’, Marley did have a high opinion of himself and felt superior to the less experienced actors – particularly the beginner, Carlin. He intimidated her, patronized her and criticized her acting. He was occasionally testy when Cassavetes asked for another take (feeling that his performance had been good enough). Cassavetes knew not to ignore this dynamic but to use it to enhance Marley’s performance as a high-powered businessman and to energize his acted relationship with Carlin. (By way of contrast, Marley’s very different feelings towards Gena Rowlands, his respect for her as an actress and a person, are drawn on in the altogether more responsive performance he gives when he is playing with her.
“他勉强笑着。她也附和着笑。他走出房间来到游廊上,消失在台阶下。他走后她的第一个反应是松了口气,显得自在起来。”——奥尼尔《长日入夜行·第一墓·幕落》
看卡索维茨的片子,得有一颗百无聊赖的心。他举着16mm摄影机在房间里晃来晃去,黑白影像噪点斑驳,即兴记录的都是迷茫的面孔和无意义的絮语。片头连续卡头特写、片尾夫妻在楼梯上平行坐下又站起,一静一动,总归都狂躁。5万美元,做了3年,3个奥斯卡提名。后来他成立面孔公司,发行自己的电影。
Cassavetes用了极度冗长的大量篇幅来展现片中人物的空虚对话,而那些强作欢颜的庆祝,不得不让人心生怜悯。只是抨击虚伪的中产阶级这种老掉牙的主题也没搞出什么新意,那些来来去去的人物可是没有任何区别的。唯一亮点在于结局处夫妻的微妙碰撞,让这个作品终于在现实主义情景下有了一些根基。
well,很好的教学类影片,如何将人物关系配合着燥郁的纪录片风格拍出来,卡索维茨利用自己牛逼到不行的剪辑,以及指导演员完全奉献的歇斯底里的表演,做到了,单个到连串的场景中,分镜的效用一直十分精准,超乎想象,和戈达尔殊途同归。另外一方面,剧本也是极好,用流水一样的“类公路片”手法将不间断的对话穿起来,十分聪明,更别说开头那惊人的媒介反思,超越时代。
欧天啦我觉得他一开始就已经达到高峰了
为了点小事儿吵的天翻地覆,烦死了。这要是在中国,没有什么事不是一顿火锅不能解决的,如果有,那就两顿。
强烈的窒息感在紧绷的对话和快速剪辑中积累。剥掉人际关系的皮囊,再厚重的粉饰都遮掩不住腐肉的恶臭,越往后扒开越彻底,直到鲜血淋漓精疲力尽,只剩一地虚无绝望。再多笑都只有恐惧伤情,四个老女人带年轻男人回家那里都有点不忍心看了。
因为前面絮叨的部分找不到头绪停看了一段时间,当视角从丈夫转到妻子后变得容易进入了一点,男性早已习惯在外找寻情绪的出口,而女性偶尔作乐都更易反省自己的行为,不轻易越轨,警惕眼前的欢愉。所有的絮语、无意义的绕口令都是孤独。手持特写抓住了人物展露无遗的表情,太犀利了
完全为 John Cassavetes 着迷,每部作品都具备如此出色而独特的运镜,人物调度及表演都无懈可击,为什么没有备受推崇?相比之下,想玩同样东西的洪尚秀真的是差远了。
重看。看明白了好多欢笑和眼泪。看卡索维茨电影,总会觉得那些“精心制作”的剧情片,显得愚蠢至极………
社交恐懼症的末日場面:包含臉孔在內的人體肢體潛台詞大全。
Cassavetes让人相信他导演的某些场面别人制造不出来,因为那些人物似乎真正罔视了摄影机;他的机位,他的推动,他的切和焦距都很有特色,全都处在了一个处心积虑地制造一个表现化了的景观的组织中。
“……16毫米黑白摄影,表现36小时内的中年夫妇婚姻危机。神经质的群戏表演一流水准,即使冗长段落,也非好莱坞式的高谈阔论,还是较比迷人。因为它的现实主义与自斟自饮的醉形醉相颇为契合。”
大量神经质的狂笑和无聊的段子很容易使人初感对话之反常,但随着该段落被拉扯到不可思议的长度,我们却开始进入情境,体会流动不居的、始终在极端边缘徘徊的情绪(林奇在《双峰》回归季中做了类似的实验);即兴表演偶而中断的节奏正配合戏中极力想摆脱尴尬的交谈,一群唱/笑而一个不唱/笑的常态,气氛的突变(人物"演不下去"的表征)俱是于面孔浮现,但卡萨维茨的特写运用与德莱叶或伯格曼很不同――重点不是面孔构成持续放大的情感冲击,而在于其上情绪流变的力量:它产生的同时便消失,自身隐含对立的陈述,泪水是幸福的,而欢唱意味着痛苦空虚;这来自面孔的辩证法同样适用于语言与沉默的矛盾:交流永远引向相反的目的,无言的转场歌舞中角色却似乎得到了快乐与自由.《假面》中伊丽莎白为何拒绝说话?本片可看作对此问题一个创造性的可能回答.
9.1 真正的天才之作! 此时的卡萨维蒂对电影的理解已经透彻至极,开头遍强调“电影”的存在,而“电影”却如同生活一般寻常而漫无目的,在这样的散漫间,卡萨维蒂拍摄的是一张张面孔,是一种情绪,而台词,不过是情绪的附加罢了。人物总是处于的这种或是狂笑,或是争吵的癫狂状态,也是对情绪展示的外放。通过这种情绪的展示,观众在不言间就能感受到两性关系的破裂与绝望。进一步讲,这更是每个人都存在着的无尽孤独。看过这部,也就大概能理解卡萨维蒂一直在贯彻的即兴表演的意义了。
close-framing, quick reverse cut
生机勃勃,迷人!伍迪艾伦的表达太理性,安东尼奥尼也缺乏情感,更爱卡萨维茨。tears are happiness 摄影还有Haskell Wexler (uncredited) Eclair NPR
卡索维茨第二部个人风格强烈的独立电影。1.聚焦中产阶级名存实亡的婚姻,将婚姻的裂解浓缩到一个晚上,双方都不再恋慕配偶,但即便是偷情也没什么刺激或新鲜感,一股百无聊赖的气息氤氲在影片之中,一如那些时时可闻、难以止息的狂笑声与各种插科打诨的冷笑话,其实只是在掩盖人们内心的空虚与疲倦。2.卡索维茨大胆将摄影机往人脸上怼,以特写和大特写呈露每位角色,亦契合于片名[面孔],不过,与伯格曼的沉静凝滞不同,卡索维茨的特写常与手持镜头相结合,镜头运动与猝然剪辑都使影片染上了躁郁的气息。3.室内戏贯穿始终,仅有极个别转场时出现短暂室外镜头。4.以16毫米摄影机拍成,漫溢着噪点,低反差布光,不少镜头都有瑕疵(如画面边缘沾上的头发?),表演看起来也很随性自然,即兴与编排的界线已然消隐无踪。(8.0/10)
68年这种双向出轨家庭伦理剧应该还是挺edgy的吧。现在来看,最惊世骇俗的是每次镜头zoom-in下缓缓逼近放大的gena rowlands惊为天人的脸
A / 早期似乎仍有一些概念穿插的痕迹,但各个段落间相对独立又相互黏附的关系掌控已经是臻于完美。