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Seamus 2022-10-20 19:32:26
Very interesting documentary, but the whole film is a bit confusing for people who don't know the situation too well, but it seems to be an excellent debate, the director seems to be telling a serious historical fact but it is very joking The lines and scenes of the film keep repeating "it is beauty, but is it art?" Thinking from a new angle, I wonder how the director will feel when he sees today's Dafen Oil Painting...
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Noah 2022-10-17 06:01:02
Welles' last relaxing...
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Darron 2022-10-17 01:42:07
"A counterfeiter puts an end to counterfeiting, and this film of him must be a counterfeit...
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Alberto 2022-10-10 23:25:42
I really admire Orson Welles for being so fat and appearing in...
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Reggie 2022-10-06 04:54:20
There is no real, fake, good or bad, only...
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Wallace 2022-10-05 17:41:25
"Art itself is a lie for us to realise the reality." Ao Pang said, in front of time people's names are all...
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Beth 2022-09-23 17:07:25
Is the montage real? If not, what about the psychological reality that remains? Does the power of the camera exist? If not, where is the conscious boundary of narrative. Are stories created by nature? If not, who gives that rich expression. Are the images real? If not, what would the idea of the content look like. But what can be believed is that fabrication, re-enactment, fiction, etc., extracting discontinuities from continuous reality to create a collective mental cohesion is the first...
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Bo 2022-09-22 00:53:34
The super legend of the counterfeiter - Picasso you are...
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Gage 2022-09-16 01:00:37
This movie is fucking killing...
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Katherine 2022-09-09 05:05:33
Orson Welles always...
F for Fake Comments
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Trenton 2022-09-05 12:19:35
The director is too strong
I have written other aspects of the film in the short review, and here I mainly talk about the style of the film that makes me feel uncomfortable.
The entire film has a strong sense of individuality, and comments on events in the film are also very subjective, without the addition of third-party... -
Shanie 2022-09-17 21:30:50
Turn Roger Ebert
| R o ger Ebert O c tober 13, 1977
Orson Welles can make better movies than most directors with one hand tied behind his back. His problem, of course, is that for 35 years the hand has remained tied. His career is a study in lost possibilities: Having made a legendary film debut at the age of 24...
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Clifford Irving: I've known Elmyr for about eight years. We met when I was broke. When I was writing fiction. I wasn't selling it very well.
Orson Welles: His fiction didn't sell. Elmyr's biographer's a highly gifted writer. Does it say something for this age of ours that he could only make it big by fakery?
Elmyr de Hory: Le grande surprise!
Orson Welles: Cliff Irving's caper may well be the hoax of the century, but, really, this is not, you know, in any way the century of the hoax. We hanky-panky men have always been with you.
Elmyr de Hory: That's a fact.
Orson Welles: What's new?
Clifford Irving: The experts.
Elmyr de Hory: The so-called experts...
Orson Welles: Experts are the new oracles.
Elmyr de Hory: - are greatly pretentious...
Orson Welles: They speak to us with the absolute authority of the computer.
Elmyr de Hory: - pretend to know something what they only know very superficially.
Orson Welles: And we bow down before them. They're God's own gift to the faker.
Clifford Irving: All the world loves to see the experts and the establishment made a fool of.
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Orson Welles: With your permission, a bit of verse by Kipling: When first the flush of a new-born sun fell on the green and gold / Our father Adam sat under the tree and scratched with a stick in the mold / And the first rude sketch that the world had seen was joy to his mighty heart / Till the Devil whispered behind the leaves, 'It's pretty, but is it Art?'
Director: Orson Welles, Oja Kodar, François Reichenbach
Language: English,French,Spanish Release date: March 12, 1975