F for Fake 1973 123movies

Watch: Vérités et Mensonges 1973 123movies, Full Movie Online – Orson Welles’ free-form documentary about fakery focusses on the notorious art forger Elmyr de Hory and Elmyr’s biographer, Clifford Irving, who also wrote the celebrated fraudulent Howard Hughes autobiography, then touches on the reclusive Hughes and Welles’ own career (which started with a faked resume and a phony Martian invasion). On the way, Welles plays a few tricks of his own on the audience..
Plot: Documents the lives of infamous fakers Elmyr de Hory and Clifford Irving. De Hory, who later committed suicide to avoid more prison time, made his name by selling forged works of art by painters like Picasso and Matisse. Irving was infamous for writing a fake autobiography of Howard Hughes. Welles moves between documentary and fiction as he examines the fundamental elements of fraud and the people who commit fraud at the expense of others.
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Ratings:

	7.7/10 Votes: 17,095
	88% | RottenTomatoes
	87/100 | MetaCritic
	N/A Votes: 262 Popularity: 7.288 | TMDB

Reviews:

Strange but excellent
Where to begin with this strange little film here? Well basically it is just a documentary by famed director Orson Welles. In this documentary, which has been tagged under the style of “free form,” Welles discusses fraud and fakery and the role it plays in art. He does this by telling the story a fraudulent painter and his biographer. The painter paints famous paintings that have already been painted by other well known names like Picasso, Matisse, and Da Vinci, signs them using the original painters name and claims they were painted by that painter. He then sells them as if they were originals. His biographer is in on the hoax as well, documenting his life as if he were really a painter. All the while Orson Welles narrates about the profundities of playing tricks on the mind and how we are so easily fooled by tricks that lay right under our noses. He even plays a few tricks of his own on his audience so that the film accumulates into one big allegorical maze. It is head scratchingly fascinating.

The structure of this film can be very difficult to get behind as it is very quick and has almost a stream of consciousness type of flow to it. You have to keep up and you have to really take in everything Welles throws at you from start to finish. The movie is only an hour and a half but there are copious amounts of information thrown at you that you must follow to understand it all by the end of the film. Welles does do a fantastic job at putting the film together though and his meticulous nature in editing becomes very evident after the first ten minutes of the film. I’ll admit that I wasn’t as invested in this film as I probably should have been, thus I got lost a few times but was, for the most part, able to catch back up and understand it by the end.

This film is such a strange departure for the norm for Welles. If you are expecting a Citizen Kane type Welles film you will be disappointed. If you are expecting something different than anything you’ve seen before then you should be very entertained. Welles is having a great time with this film, boasting his profound ingenuity in all things art and human nature. He wants very much to provide a strange and multi layered experience for his audience and he definitely accomplishes that. He knows what he wants to do with this film and he keeps it very lively and mind bending. The films quick pace never lets up and Welles never ceases to narrate the film with the utmost spite and poignancy. This is a film for those who want to think, and think hard.

There are a lot of things at the beginning of this film that could put you off from wanting to finish it. The structure, flow, and tone of the film is all very bizarre and takes some effort to adapt to, but once you do you won’t regret it. In fact after that point you will be sucked into the film and you will surely have a keen interest in finding out what it is all leading up to. And when you do find this out I guarantee it will put a smile on your face and make you realize just what a profound genius Orson Welles was. He does something so different with F for Fake, so how could you not like it?

Here is the truth. The last major film written, directed and featuring legendary director Orson Welles was F for Fantastic. A unique yet somewhat awkward watch.
Known in France as ‘Truths and Lies’; ‘F for Fake’ is far from serving as a traditional documentary. Made in 1974, the film is a blend of quick time, dreamlike French New Wave attention-deficit editing. Remind me of Jean Luc Godard and René Clair who used editing to alternately build and deconstruct. It was very surreal, yet somewhat annoying. The whole overused of dated freeze frame was irritating. Despite that, I did like the breaking the fourth wall style filmmaking, with a flair of very questionable information journalism by an unreliable narrator. Welles’s rambling is spell-bounding. I like that Welles also draws parallels between the main subject and his own brush with early notoriety. Orson Welles does wonders as the voice of God for this film. I also, kinda dig the fictional movie re-enactments with him, using film noir styles. All of the smoke and mirrors, work for this film, very well. Even if some of them, were cut with odd unrelated footage such as opening staring/airport scene. I guess, Orson Welles just wanted showcase how hot his companion, Oja Kodar, was with the endless amounts of butt shots and nudity. Welles even filmed a trailer that lasted for nine minutes and featured several shots of a topless Kodar. The trailer was rejected by the US distributors to no surprised. I think, Welles went a little overboard with the whole ‘trophy wife’ concept. In truth, her presence in the film wasn’t really needed, as she has nothing to do with the main stories. While, her scenes are somewhat pointless. It’s still somewhat fit with the theme of the film. So, it’s really hard to say, if this movie was documentary at all. It really broke the standards mode of what is documentary with. For me, it felt more like a participatory docufiction. It’s clear by the recent events that happen during production that is impossible for original director François Reichenbach to make an observational type film about fame art forger, painter Elmyr de Hory. So, he first hired B-movie cinematographer Gary Graver to help finish the film. While, he did contributes all footage filmed in the U.S., his work was very choppy. His interviews with Hory and Irving barely explain, anything about the guy, such as Elymr de Hory’s jail-time and his open homosexuality. What we are left with is an incomplete picture of de Hory, a complex, but highly enigmatic man unable to shed his outlaw persona, whose notions of morality conformed to the exigencies he believed, that helps with his survival. Sadly, we will never truly know, who the real guy is, as he commit suicide, shortly in 2 years after this movie wrap. Fearing that no audience member, would take the film’s seriously. Reichenbach then hired fame director Orson Welles to edit the documentary to include Elmyr de Hory’s biographer Clifford Irving, who was revealed to be a forger himself, when his fame Howard Hughes “autobiography” came out to be, a hoax. It soon become aware to Welles, with the circumstances of the production, he can instead, turn the documentary into a meditation on the nature of fakery particularly with regards to authorship and authenticity within the three main media of art: writing, illustration and filmmaking. Without spoiling the movie, too much, I have to say, this performative documentary was very exceptional for its thought provoking subject. You really don’t know, what to believe. It’s hard to know, what’s real and what’s not, with this film and whether, does it ultimately, even matters. After all, Welles reflects on this in-film, so well. He suggest that maybe authenticity isn’t important to art, because everything will finally wear away by time. No matter, if it’s fake or not. It doesn’t matter all that much, in the long scheme. In many ways, that was the perfect way to end the film. However, it wasn’t. In short, I guess, Orson Welles wanted to troll his audience, a little more, by adding 17 more minutes to the runtime, to show how fake, this movie can get. In the end, he wanted the final laugh. Overall: For a long time the film was Welles’ final film, until the posthumous release of ‘The Other Side of the Wind’ in 2015. In a way, it’s should had been. It was a wonderful entertaining film. Remind me, so much of 2010’s documentary, ‘Exit through the Gift Shop’ with its questionable confusing artist style. Highly recommended. It really deserves to be in the Criterion Collection, big time.

Other Information:

Original Language fr
Runtime 1 hr 29 min (89 min)
Budget 0
Revenue 0
Status Released
Rated PG
Genre Documentary
Director Orson Welles, Gary Graver, Oja Kodar
Writer Orson Welles, Oja Kodar
Actors Orson Welles, Oja Kodar, François Reichenbach
Country France, Iran, West Germany
Awards 3 wins
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.66 : 1
Camera Eclair NPR, Angenieux Lenses
Laboratory Laboratoires Franay Tirages Cinematographiques (LTC), Paris, France
Film Length N/A
Negative Format 16 mm, 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm