Hiroshi Teshigahara on the film - "This movie is about the breakdown of communication between people, not only in Japan, but universally. The protagonist loses his face once and finds a new face. It is a form of irony. He thought that his isolation was a result of not having a face, having to wear a mask. When he got the new face through plastic surgery, he thought this would mean that he could communicate with people once again. But he never recovers what he sought through this transformation. Not only couldn’t he obtain what he wanted, but even worse, his alienation deepened. I sought to convey the magnitude of human isolation and loneliness. He believed at first that he could not relate to others and to the society in which he lives (he quits his job) because he has lost his face. Despite his successful metamorphosis, he still cannot unite himself to others. This is the bitter irony. As you see, I wanted to show a triumph which was really a failure. On many occasions people have to face a bottomless pit at the very moment when they have obtained the thing for which they have yearned for a long time. I would hate to say what the major theme of a film is. I usually deal with many human problems at once and pursue many different human conditions. All of these are interlocked within the man in Face of Another."
This is one of the great works from one of Japan's great directors. Very philosphical in nature, I almost view him in the same vein as I see Bergman, with the difference being Bergman's tendency to focus on god and religion, and Teshigahara's analysis on the who, how, and why of human existence. There are few films that have a certain setting, in this case the doctor's office, that is so interesting and fitting into the mood and purpose of the film, that it is what stands out most to me, but it does in this case. Superb and adds a layer to the film that wouldn't otherwise be there.
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K.
Hiroshi Teshigahara on the film - "This movie is about the breakdown of communication between people, not only in Japan, but universally. The protagonist loses his face once and finds a new face. It is a form of irony. He thought that his isolation was a result of not having a face, having to wear a mask. When he got the new face through plastic surgery, he thought this would mean that he could communicate with people once again. But he never recovers what he sought through this transformation. Not only couldn’t he obtain what he wanted, but even worse, his alienation deepened. I sought to convey the magnitude of human isolation and loneliness. He believed at first that he could not relate to others and to the society in which he lives (he quits his job) because he has lost his face. Despite his successful metamorphosis, he still cannot unite himself to others. This is the bitter irony. As you see, I wanted to show a triumph which was really a failure. On many occasions people have to face a bottomless pit at the very moment when they have obtained the thing for which they have yearned for a long time. I would hate to say what the major theme of a film is. I usually deal with many human problems at once and pursue many different human conditions. All of these are interlocked within the man in Face of Another."Esnaider
Why no one comments on the casual incest happening on the alternate tale?akuma587
Very haunting movie. Beautiful cinematography.deckard.
Tatsuya Nakadai is a brilliant actor, and he is the perfect cast for this role. he is one those rare actors who can convey feelings with just eyes.eighthgoonie
Ni-chan (brother) just like anata (you) is a word sometimes used by women for their lover or husband. They are not brother and sister.Monteyn
An instant favorite.armyofshadows
Excellent, I thought. Teshigahara's atmosphere is akin to none.coffeejazzlofi
Limbesdautomne
Face yourself.Read more in French on La Saveur des goûts amers.
sushantv10
excellent cinematography....good psychological study.Kosmo Film
This is one of the great works from one of Japan's great directors. Very philosphical in nature, I almost view him in the same vein as I see Bergman, with the difference being Bergman's tendency to focus on god and religion, and Teshigahara's analysis on the who, how, and why of human existence. There are few films that have a certain setting, in this case the doctor's office, that is so interesting and fitting into the mood and purpose of the film, that it is what stands out most to me, but it does in this case. Superb and adds a layer to the film that wouldn't otherwise be there.http://kosmofilm.com/kosmo-film-blog/2013/6/18/the-face-of-another
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JosteinAsk
weird jippo movie, not my cup of tea...suspect free flow of chemicals on set