F for Fake

Chill out, will ya? It's just Orson having a little fun
I thoroughly enjoyed this amusing quasi-documentary. But then, I'd sit through 90 minutes of Orson Welles sitting in front of a white sheet talking about anything. Has there ever been a more spellbinding narrative voice? His voice-over for the trailer of STAR TREK: THE MOTION PICTURE made it sound like the Second Coming of Christ!

Some of the other reviewers here sound as if they could use some Ex-Lax. Chill out, will ya? This isn't supposed to be a profound statement. The old man's just having a little fun.

Having said this, I will immediately contradict myself by noting that the scene in which Welles ruminates on the longevity of art while contemplating Chartres Cathedral touched me deeply. In the context of his tattered career, and the ever-growing stature of his masterpiece CITIZEN KANE, it suggests that Welles at last attained some measure of peace with his life and achievements.

The DVD itself looks and sounds terrific.

PHEW! TALK ABOUT A MASTERPIECE!
Orson Welles' only color film is THE ULTIMATE PROOF OF 'MISE EN SCENE' HAPPENING AT THE EDITING STAGE. Most of this film was shot by Francois Reichenbach before Welles got involved with it. Reichenbach didn't know what to do with his footage--how to best put it all together--so he asked Welles, whom he greatly admired, to see what he could do. Welles shot some scenes featuring himself to go around the documentary footage, came up with a narrative concept and EDITED everthing. The result? WELLES' PERSONALITY TOOK OVER. This is unmistakably a film that only Orson Welles could make. Welles uses his ingenious narration and every trick known to film editing to weave a philosophical meditation on the nature of truth and lies that has DEEP universal significance, but also particularly applies to the nature of all 'ART-ifice.' It's a very intellectual as well as supremely entertaining film which requires at least 5 viewings to even begin to be appreciated.

A Cinematic Juggling Act
His last major work as a filmmaker, Orson Welles' "F for Fake" (1973) survives as a rough-edged yet provocative essay on the art of fraud. In this instance, we have three noted subjects: art forger extraordinaire Elmyr de Hory, Clifford Irving (the novelist who conned the world as Howard Hughes' "authorized biographer") and Welles himself. Editing plays a vital role as the Great Orson maintains his semi-documentary juggling act for 90 minutes. Fittingly enough, "F for Fake" reveals more about the creator of "Citizen Kane" than the minor curiosities he examines. Welles ends his cinematic odyssey with an affectionate wink.

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