The Face of Another (1966)

Mr. Okuyama (Tatsuya Nakadai) is a physically and emotionally wounded man. After an industrial accident at work, his face has been scarred and mutilated beyond recognition, and even his wife rejects him, even though she says his physical appearance doesn't matter. It has left him bitter and angry, until his psychiatrist Dr. Hira (Mikijiro Hira) comes up with a way to fashion a 'face mask' that will give him the appearance of having a completely normal face, albeit with a few joining marks. Hira doesn't do this just out of kindness, he is fascinated how this new face will alter Okuyama's personality and way of life.

The Face of Another is a fascinating film that highlights the social attitudes to physical appearance. There are hundreds of films and morality tales that teach you that it is inner beauty that counts, and once you allow this to shine then your physical attractiveness becomes irrelevant. Everyone knows that this is bullshit, so its refreshing to see a film that makes it clear from the outset that physical appearance has a massive part to play in society. Okuyama's new face, which is an attractive one, changes him so much that he takes on an almost dual identity. Dr. Hira delights in telling him that he has bought flashy new clothes, something he was never concerned with before. It becomes clear that whilst before Okuyama merely wanted to be normal again and fit back in society, his new face is engulfing him, and to be 'normal' simply isn't enough anymore.

As with many of the Japanese New Wave film-makers of the 1960's-70's, director Hiroshi Teshigahara takes some bold steps and sneaks in some surrealist and art-house values in a movie that is otherwise played relatively straight. A 'fictional' character appears every now and then throughout (she is first imagined by Okuyama's wife as a character in a movie); one side of her face is scarred and burned. She appears quite rarely, but seems to serve as an alternative to Okuyama's increasingly vain soul. Another scene seems a ball of hair that floats in the air, unnoticed by the people in the laboratory. I have no idea what it meant, and couldn't really admit to it being wholly successful, but it certainly got my attention nonetheless.

A powerful, disturbing, and poignant drama/horror from the greatest era in Japanese cinema. The film seems all the more important now, 45 years on, in a world where a botox injection can be as easy as buying a pack of cigarettes, and where physical 'beauty' is less a bonus than a necessity.

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Fmovies: I loved the premise, appreciated the philosophy, and enjoyed some of the avant-garde bits of filmmaking here, but I don't think this film quite lived up to its full potential, and it didn't fully connect with me.

From the start, there are existential themes of isolation and absurdity, and the man's condition reminded me of Gregor Samsa waking up and discovering he was a giant bug. With his face heavily bandaged, he's alienated from everyone around him, including his wife, who shrinks from his touch. The film explores identity, acceptance, and whether the mask or persona we adopt liberates or controls us. The minor parallel story of the young woman with the scar on her face also deals with a mask of sorts, and isolation.

Existentialism was common after WWII, and perhaps heightened in Japan by its having lost the war, and gone through more dramatic changes politically and psychologically. Maybe the young woman in the minor story, with burns apparently suffered in childhood at Nagasaki, is a symbol for the country's scars, and its identity fundamentally changing. Similarly, maybe the man losing his face from an accident at work is a symbol for the modern or corporate world changing us, as we work as cogs in a machine.

I loved to think about those things, but the film doesn't expand on them as profoundly as it could have. Instead of a character arc that shows some form of change in the man over time, it gives us mostly dialogue which doesn't land as philosophically as I think it was intended, and commits the sin of telling us instead of showing us in the process. The doctor gives us dire warnings about far more changes than we actually see. Having the man's primary focus be to seduce his wife while disguised in his new mask was unimaginative and uninspired, though I did like thinking about the irony of this being the opposite of love, which should involve an unmasking and getting to one another's 'true self.' There are also banal bits like women putting on make-up being yet another form of mask. As for the parallel story, with the incest, rising sun, and oblivion, I think there is symbolism and some level of desperation or despair here, but it's not strong, and narratively it probably should have been at least loosely integrated with the main story.

Overall though, the film is well worth seeing. The production value is high, with that ultra-cool doctor's office, and the assortment of creative visual tricks director Hiroshi Teshigahara gives us, including freeze frames and surreal imagery. The striking scene in the crowd towards the end is also fantastic, and the film's best. My favorite line to ponder was this one: "I wonder if we see the true face of a gem when it's polished, or in the rough."

After an industrial accident that leaves his face disfigured for life, Mr. Okuyama (Tatsuya Nakadai)begins to question the meaning of life and his own identity, should he keep working, will his disgusted wife ever sleep with him again. His psychotherapist offers him the chance to avail of an illegal medical practice that he has invented, it's a mask moulded from the face of another, that Okuyama can wear to live life a little more normally. The mask gives him a new lease of life, but his therapist warns him that the mask could take over and influence him to do evil things. As the mask takes control Okuyama can't resist but to give in to his baser instincts, his main plan being, to seduce own wife, that he believes may be cheating on him anyway. With thematic echoes of Franju's Les Yeux sans visage and even Delmer Daves Dark Passage, Teshigahara delivers his expressionistic adaptation of Kôbô Abe's novel with style, the results being a dark and epic tale that will haunt its viewers. Its full of inventive visuals and clever tricks with sound, which along with Tôru Takemitsu's superb score contribute wonderfully to the theme of how fragile identity really is and how the masks we all wear hide our true beings and souls. There's also a secondary story of an unnamed facially deformed girl, who is also struggling to cope with her disfigurements and her tragedy is equally moving.

The Face of Another fmovies. Mr. Okuyama is involved in an accident at work which melts off his face and this understandably is constantly nagging him. This makes a mark on the relationship with his wife as he talks out at her about how miserable he is and what a monster he has become. He then talks his psychiatrist into making him a new face (which was quite easily done since the psychiatrist has had these kind of thoughts before) and he then goes on 'vacation'.

This is so excellent in every way. It is not a sci-fi movie, but in feel it sometimes comes close to. The images are quite surreal at times, the music is out of this world and some of the sets are not to be found in real life.

The editing is masterfully done, switching between main story and a parallel story about a girl with a similar problem, as well as switching between hand-held camera (not too shaky though), still pictures and still standing camera. The pictures of Segawa Hiroshi fits 35mm nicely, sometimes manipulating the background like I haven't seen before for example when the psychiatrist and Mr. Okayama is talking at the club and the crowd behind get 'invisible' by lighting.

Kyou Machiko did a terrific job in Ozu's 'Ukigusa' and likewise here. Too bad we don't see that much of her. Nakudai Tatsuya plays well as the mask. I don't know exactly what was special effects and not, but it was hard to tell.

Author and writer of screenplay Abe Koubou, director Teshigahara Hiroshi and Takemitsu Touru was behind another favourite of mine; 'Suna no Onna'. They also made 'Moetsukita Chizu' and I cant wait to get my hands on it!!

A brutal commentary on self-image and the way that appearances can change the attitude and ideals of a person that is one of the best films I've ever seen. The way that Okuyama changes throughout the film is incredible. He starts off as a brutally wounded man, who is afraid to go out in public due to his horrible disfigurement. He realizes how important looks are and all he wants is a new face so that he can blend back into society and be with his wife again. There's no desire to be attractive or important, he just wants to be normal. But once he gets his new face, his attractive appearance turns him into a completely different man. He buys flashy clothes and walks around with an attitude of superiority and importance in a world where he is really just a stranger. The film does a remarkable job of showing just how important appearance truly is, even if you think you can look beyond it. This is shown through Okuyama's wife, who pretends like she loves him even though he is horribly disfigured, but she ends up refusing his sexual advances due to it. Teshigahara uses bleak tones and minimalist sets as a way to show the isolation that society creates do to it's one-dimensional view of forming opinions on people merely due to appearance. These settings also do a great job of focusing the viewer on the characters instead of flashy visuals and elaborate sets.

I thought that the Psychiatrist was also a very complex character as he becomes more and more interested in his experiment with Okuyama's new face and less interested in Okuyama himself. He becomes greedy and selfish in his desire to mass produce the masks, but Okuyama's greed compels him to reject the Psychiatrist's wishes and look out merely for himself. This greed makes him a very dangerous man who is hanging on the edge of a breakdown through most of the film, until an encounter with his wife finally sets him off. It's the Psychiatrist's greed, though, that ends up being the true horror of the film. Okuyama realizes the dangerous monster that this mask has turned him into, and does the only thing he can think of to stop him from harming the world. It's the Psychiatrist's greed, though, that unleashes the beast of Okuyama into the world which leads to the abrupt and shattering finale. The paradox of a physical monster versus a psychological monster is absolutely sensational. In the beginning he is deformed on the outside, but as he becomes normal and beautiful on the outside, he ends up being a terrible monster internally. There is only one thing that I can really complain about, and that is the entire story of the "Facially scarred young woman". All of her scenes felt really out of place and added nothing to the fantastic commentary and intelligence of the plot. Everything with her was just unnecessary, but this was just a mere chink in the grand masterpiece that the film embodies as a whole.

movie about self perception and the bond between the mind and the body...soundtrak really set the mood for the increasing horror in the story line. Nakadai downplays his role to give an overall flawless performance. Watch for some really good lines which will undoubtedly force the viewer to start thinking right away which may distract from the plot (but hey, it's an artsy masterpiece right?)...There is a lot of experimentation in the cinematography such as a door which opens and reveals a cluster of hair in ocean tides...this effect serves to foreshadow the action but may in the view of modern audiences comes across as trying TOO hard to be an art film. I left the movie still trying to link the two parallel story lines in the film and you may too...but don't worry you get two stories for the price of one...DO NOT watch this movie in the dark even though there is nothing VISUALLY terrifying it is still a great horror film...