An extraordinary, surreal drama from Hiroshi Teshigahara. After his face is mutilated in an industrial accident, the insecure Mr. Okuyama (Tatsuya Nakadai) walks around the house with his bandaged-wrapped head debating the nature of identity with his wife (Machiko Kyo). His psychiatrist (Mikijiro Hira) proposes creating a life-like mask shaped from from a real person (Hisashi Igawa) for Okuyama to wear. Initially wary of his new face, which can only be worn in twelve hour stretches, Okuyama tests its ability to rebirth his identity by interacting with a mentally handicapped girl and making an attempt to seduce his wife. A parallel story focuses on the life of a sad, young woman (Miki Irie) whose face is shockingly scarred on one side. Teshigahara cleverly introduces us to her in a tracking shot that only shows her beautiful side. Living with her brother, the only man who does not tease her about her appearance, she craves his attention and acceptance, and attempts to give herself to him with dire consequences.
Exploring similar territory to Franju's "Eyes Without A Face" and The Twilight Zone episode, "Eye of the Beholder", "Face of Another" is a superior film, in my opinion, and ranks as one of the greatest horror films ever made. It is, first and foremost, a film of fascinating ideas and concepts, a deep exploration of human nature and the way we see ourselves and the world. The character of Mr. Okuyama is trapped in an identity conundrum that every human, at some stage in their lives, will relate to.
Styistically, there are elements (whether accidental or intentional) of Bergman, Bunuel, Lang, Franju and Wakamatsu here. The film's sets and spaces are both practical (Okuyama's apartment) and theatrical (the psychiatric hospital). The imagery is both nightmarish and clinical, while the special make-up effects are subtly convincing and delightfully grotesque. The director uses theater-style lighting techniques, fading lights up and down to alter the mood and isolate the characters when necessary.
There is a subdued erotic subtext that acts as a striking counterpoint to the bizarre development of the story. Nothing feels derivative or hackneyed. One of the final sequences, where Okuyama finds himself in a crowd of the Faceless, is a chilling passage of horrific cinema.
My highest recommendation.
Exploring similar territory to Franju's "Eyes Without A Face" and The Twilight Zone episode, "Eye of the Beholder", "Face of Another" is a superior film, in my opinion, and ranks as one of the greatest horror films ever made. It is, first and foremost, a film of fascinating ideas and concepts, a deep exploration of human nature and the way we see ourselves and the world. The character of Mr. Okuyama is trapped in an identity conundrum that every human, at some stage in their lives, will relate to.
Styistically, there are elements (whether accidental or intentional) of Bergman, Bunuel, Lang, Franju and Wakamatsu here. The film's sets and spaces are both practical (Okuyama's apartment) and theatrical (the psychiatric hospital). The imagery is both nightmarish and clinical, while the special make-up effects are subtly convincing and delightfully grotesque. The director uses theater-style lighting techniques, fading lights up and down to alter the mood and isolate the characters when necessary.
There is a subdued erotic subtext that acts as a striking counterpoint to the bizarre development of the story. Nothing feels derivative or hackneyed. One of the final sequences, where Okuyama finds himself in a crowd of the Faceless, is a chilling passage of horrific cinema.
My highest recommendation.