| | |  | IRAN | Home » » F for Fake (The Criterion Collection) | | | | | | | Description: | | Trickery. Deceit. Magic. In Orson Welles' free-form documentary, the legendary filmmaker (and self-described charlatan) gleefully engages the central preoccupation of his career-the tenuous line between truth and illusion, art and lies. Beginning with portraits of world-renowned art forger Elmyr de Hory and his equally devious biographer, Clifford Irving, Welles goes on a dizzying cinematic journey that simultaneously exposes and revels in fakery and fakers of all stripes-not the least of which is Welles himself. Charming and poignant, F for Fake is an inspired prank and a searching examination of the essential duplicity of cinema. Criterion's two-disc DVD edition also features an introduction by Peter Bogdanovich, audio commentary by director of photography Gary Graver, an hour long documentary on Welles' unfinished projects, a documentary on the life and works of de Hory, and the theatrical trailer. | | | Product Details: | | | Actors:
| Orson Welles, Oja Kodar, Joseph Cotten, François Reichenbach, Richard Wilson | | Director:
| Orson Welles | | Format:
| Closed-captioned, Color, DVD, Special Edition, Widescreen, NTSC | | Language:
| English, French, Spanish | | Subtitle:
| English | | Number of Discs:
| 2 | | Studio:
| Criterion | | Run Time:
| 89 minutes | | DVD Release Date:
| April 26, 2005 | | Average Customer Rating:
|  based on 40 reviews |
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| | | | Customer Reviews: | |
Average Customer Review:
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36 of 39 found the following review helpful:
Chill out, will ya? It's just Orson having a little funMar 05, 2006
By Ludix
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.
12 of 12 found the following review helpful:
 WHAT IF THERE WERE NO "EXPERTS"?Jan 02, 2000
By no longer a customer
With all the fury and venom expended on the question of what is art, this excellent film of Welles should be required viewing. Welles reminds us that, ultimately, the only art critic you need to worry about is yourself. Listen very carefully in this film to Welles recitation of Rudyard Kipling's poem; the crux of this film is contained in those lines. We are, each of us, Masters and Artists. What does it matter what anyone else thinks? Secondly, this film is also a little frightening. Almost 30 years after its making the tyranny of "experts" in everything from litigation to art continues to confound us. We continue to sacrifice common sense and our own autonomy to the "experts" . Finally, this film is just plain fun. Fake? EVERYTHING IS FAKE... everything is art... in spite of "experts".
17 of 19 found the following review helpful:
A Cinematic Juggling ActFeb 18, 2008
By Scott T. Rivers
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.
16 of 18 found the following review helpful:
PHEW! TALK ABOUT A MASTERPIECE!Aug 28, 2000
By TUCO H.
"H. TUCO"
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.
9 of 9 found the following review helpful:
One of Orson's great final film creations - a miracle of editingJun 10, 2007
By Anthony E. Pomes
Life is short and everyone knows that Orson Welles was a genius - flawed or otherwise - so let me say that F FOR FAKE is a great and very wise film about . . . film. It's a Mobius strip - it keeps turning back on itself so that its primary subject takes turns with secondary and tertiary characters and ultimately mirrors the film's own creator. It's a film about how the truth of art is often conveyed through lies, and vice versa.
Let me also say that the overheated editing from a variety of disparate elements and different film stocks preceded Oliver Stone's own brain-fever techniques in films like JFK, NATURAL BORN KILLERS, and NIXON by nearly twenty years. Just imagine what Welles would have produced if the circumstances of his project financing had not been so dire.
As ever, Criterion has produced a marvelous version of this "only" color film from Orson Welles (another reason to see this movie - every other Welles film was in black and white).
Buy this DVD, along with Criterion's recent release of MR. ARKADIN (complete with the original novel on which Welles based the film). Great stuff . . .
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