F. for Fake, 1973
Directed by: Orson Welles
Screenwriter: Orson Welles
Music by: Michel Legrand
Photography by: Orson Welles
Genre: Documentary
Main actors:
Orson Welles
Oja Kodar
The documentary is focused on Elmyr d’Hory, one of the biggest art forgers of our time, and his biographer Cliford Irving, who was accused to write a false autobiography of the multimillionaire Howard Hughes.
Orson Welles creates an intertextual film, where he narrates the story and asks unanswerable metaphysical questions about art. The experiment began when the director saw the documentary that François Reichenbach made for the French television about forgers. Welles makes a chaotic collage using footages of the documentary, newspaper and TV specials about forgers and some additional images filmed by him. Mixing reality and fiction he shows the enigmatic personality of two notorious fakers, while he unmasks himself as a counterfeiter too.
The use of the montage in F for Fake is a master piece. It’s an exceptional homage to the Soviet theories of the 20’s, which tried to prove that the use of the montage can create an illusorily space continuity and change the meaning of the shots. The sequence where Pablo Picasso is fascinated for Oja Kodar’s beautiful body is an unsurpassable example of the magical ability of the director. He can make emerge, through the combination between photographs of the Spanish artist with sexy images of Oja Kodar walking in the streets, an extremely comical erotic attraction.
The whole film is a big magical trick; it transmits a constant sensation of confusion about whether is fiction or reality. The movie progressively turns into a personal reflection about art and its function in the world. Orson’s point of view is a little bit bitter and desperate; the scene in front of the magnificent Chartres cathedral built for anonymous people makes the director believe that what persist all over the history are the art works above the creators. F for Fake is an “essay film” of pure cinema of the greatest cinema artist of all times, unfortunately misunderstood for the America industry.
Directed by: Orson Welles
Screenwriter: Orson Welles
Music by: Michel Legrand
Photography by: Orson Welles
Genre: Documentary
Main actors:
Orson Welles
Oja Kodar
The documentary is focused on Elmyr d’Hory, one of the biggest art forgers of our time, and his biographer Cliford Irving, who was accused to write a false autobiography of the multimillionaire Howard Hughes.
Orson Welles creates an intertextual film, where he narrates the story and asks unanswerable metaphysical questions about art. The experiment began when the director saw the documentary that François Reichenbach made for the French television about forgers. Welles makes a chaotic collage using footages of the documentary, newspaper and TV specials about forgers and some additional images filmed by him. Mixing reality and fiction he shows the enigmatic personality of two notorious fakers, while he unmasks himself as a counterfeiter too.
The use of the montage in F for Fake is a master piece. It’s an exceptional homage to the Soviet theories of the 20’s, which tried to prove that the use of the montage can create an illusorily space continuity and change the meaning of the shots. The sequence where Pablo Picasso is fascinated for Oja Kodar’s beautiful body is an unsurpassable example of the magical ability of the director. He can make emerge, through the combination between photographs of the Spanish artist with sexy images of Oja Kodar walking in the streets, an extremely comical erotic attraction.
The whole film is a big magical trick; it transmits a constant sensation of confusion about whether is fiction or reality. The movie progressively turns into a personal reflection about art and its function in the world. Orson’s point of view is a little bit bitter and desperate; the scene in front of the magnificent Chartres cathedral built for anonymous people makes the director believe that what persist all over the history are the art works above the creators. F for Fake is an “essay film” of pure cinema of the greatest cinema artist of all times, unfortunately misunderstood for the America industry.
1 comentari:
A few sentences with some mistakes you might like to correct (you can do it as a reply to my comment). All mistakes have to do with grammar and in each sentence there is one mistake.
1. ...who was accused to write
2. Mixing reality and fiction he shows ...
3. The sequence where Pablo Picasso is fascinated for Oja Kodar’s beautiful body
4. .. the magnificent Chartres cathedral built for anonymous people
5... unfortunately misunderstood for the America industry.
Publica un comentari a l'entrada