An October Films release.
The film grew over time to encompass de Hory, as well as de Hory's biographer Clifford Irving, who was revealed to be a forger himself. Welles used these circumstances to produce a meditation on the nature of fakery. About de Hory, we learn that he was a struggling artist who turned to forgery out of desperation, only to see the greater share of the profits from his deceptions go to doubly unscrupulous art dealers.
As partial compensation for that injustice, he is maintained in a villa in Ibiza by one of his dealers. What is only hinted at in Welles's documentary is that de Hory had recently served a two-month sentence in a Spanish prison for homosexuality and consorting with criminals.
De Hory would commit suicide two years after the initial release of Welles' film, on hearing that Spain had agreed to turn him over to the French authorities. Irving's original part in F for Fake was as de Hory's biographer, but his part grew unexpectedly at some point during production. In the time between the shooting of Reichenbach's documentary and the finishing of Welles', it became known that Irving had perpetrated a hoax of his own, namely a fabricated "authorized biography" of Howard Hughes the hoax was later fictionalized in The Hoax.
This discovery prompted the shooting of still more footage, which then got woven into F for Fake. Interweaving the narratives even more, there are several pieces of footage in the film showing Welles at a party with De Hory, and, at one point, De Hory even signs a painting with a forgery of Welles' signature.
Some of Hughes' career is outlined in the form of a parody of the "News on the March" sequence in Citizen Kane. Welles also draws parallels between the De Hory and Irving hoaxes and his own brush with early notoriety by including a recreation of part of his War Essay about frozen movie the Worlds radio drama, which had simulated a newscast about a Martian invasion and sparked panic among some listeners.
The story about Kodar, her grandfather, and Picasso and some forger paintings that the grandfather supposedly made is presented at the end of the film before Welles reminds the viewer that he only promised to tell the truth for an hour and that "for the last 17 minutes, I've been lying my head off.
She also claims credit for the movie's opening sequence, which consists of shots of a miniskirt-clad Kodar walking down streets while rubbernecking male admirers unaware that they are being filmed stop and openly stare.
This sequence is described by Kodar as inspired by her feminism; in his narration, Welles claims the footage was originally shot for an unrelated production.
Plot[ edit ] The film opens with Welles performing magic tricks for some children while Kodar watches nearby. Welles quotes Robert-Houdin to the effect that a magician is just an actor.
Welles promises that for the next hour everything in the film will be based on solid fact. Kodar is then shown strolling around a street in a miniskirt while being ogled by the men on the street. Welles reveals the footage is taken from another experiment about girl-watching, where Kodar deliberately drew attention to herself and the men were unaware they were being filmed.
Welles says her story will continue later in the film, and then narrates the story of Elmyr de Hory, an art forger who sold many fake paintings to museums and collectors all over the world. Elmyr is shown throwing a dinner party at his home in Ibiza and being feted by European society, although he dances around the question of whether he is guilty or not.
One of those filmed is Clifford Irvingwho had published a biography of Elmyr called Fake, and later in a notorious scandal was revealed to have been the forger of Howard Hughes's diary. Welles discusses the irony of Irving commenting on Elmyr's forgery while having committed a version of it himself.
Irving and Elmyr tell about the art dealers who were fooled by the forgeries, and Welles considers the question whether this means art dealers and appraisers are fake also.
Welles presents more of Irving's story of having had secret contact with Hughes, and the odd stories of Hughes's behavior that may or may not have been true. He wonders if believing such stories makes a person credulous or not, and questions the true wisdom of so-called experts, who verified Irving's forgery as authentic.
Reichenbach is shown telling how Elmyr provided him with several paintings of questionable authenticity, but the art dealers he gave them to were willfully blind to it.
Welles notes that Elmyr doesn't even own the house he lives in; it's provided for him by an art dealer. Welles recounts his own past use of fakery: He also notes the coincidence that his first film Citizen Kane was originally going to be a fictionalized version of Howard Hughes.
Irving describes how Elmyr was nearly destitute when younger and subsisted in America by making and selling forgeries that were indistinguishable from the real works, while remaining one step ahead of the law through frequent relocations.
He finally moved to Ibiza, but was not prosecuted for lack of witnesses to the actual forging, as well as the scandal that might be aroused by revealing the depth of the art market's complicity in the deception. Elmyr insists he never signed any forgery, and Welles wonders whether, given the fact that all art eventually falls away to ruin, a signature truly matters to any art work.
He illustrates the point by shots of the cathedral of Chartrespointing out that the names of the men who created the magnificent building and the sculptures which adorn it are unknown.
They did not sign their work, but it has endured. Welles finally presents Kodar's story: She insisted she be allowed to keep the paintings, but later when Picasso read about an acclaimed exhibit of 22 new pieces of his, he flew there in a rage, only to discover the pieces were all forgeries.
Kodar took Picasso to her grandfather, the forger, who defended his work with pride while Picasso angrily demanded the paintings back. This dialogue is presented by Welles and Kodar re-enacting the parts of the grandfather and Picasso respectively. Welles then confesses that he had promised everything in the "next hour" was true, and that hour had already passed.
He admits the entire story of Kodar, her grandfather, and Picasso was made up. He apologizes, quotes Picasso's statement that art is a lie that makes us see the truth, and bids the audience good night.Essay on Frozen Vegetables Market Words | 3 Pages Company Background EFT is a fast-growing international company, which sells frozen vegetables and fresh products to different clients, located in different continents in the world.
IN WHICH NOVELIST David Foster Wallace VISITS THE SET OF DAVID LYNCH'S NEW MOVIE AND FINDS THE DIRECTOR BOTH grandly admirable AND sort of nuts. Reaction Paper: Frozen Frozen is a computer-animated musical story produced Walt Disney Animations and released by Walt Disney Pictures.
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F for Fake (French: Vérités et mensonges, "Truths and lies") is a docudrama film co-written, directed by, and starring Orson Welles who worked on the film alongside François Reichenbach, Oja Kodar, and Gary ashio-midori.comlly released in , it focuses on Elmyr de Hory's recounting of his career as a professional art forger; de Hory's story serves as the backdrop for a fast-paced.
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