A Navy engineer, returning to the U.S. with his wife from a conference, finds himself pursued by Nazi agents, who are out to kill him. Without a word to his wife, he flees the hotel the ... See full summary »
Dolores del Rio
In 1955, Orson Welles directed and hosted a mini series for British television. He leads us through a few famous places of Europe with his inimitable touch. In Paris he introduces us to ... See full summary »
This last, lost film of Orson Welles may never be seen. It may remain as something that we imagine, and so be ever so much better than it probably is. If you haven't seen "F is for Fake," see it and be prepared for some of the most complex plotting and layered editing you will ever see. Yes, I mean ever.
This project was worked on in bits and pieces for years. We know a lot about it, how radical it was to be. How seriously Welles took it as a project. We know Oliver Stone thinks it too "experimental."
Supposedly, 50 minutes exists in edited form, edited by Welles. Quite apart from the difficulties of assembling the thing (a near impossibility it seems) there are legal problems that forbid it out of hand.
But I have seen two scenes from it, supposedly shown by Welles at an AFI tribute, I think for John Huston who is in the thing.
One scene is Huston and the obnoxious Bogdonavich surrounded by reporters and being questioned by Oja Kodar, his fake mistress from "fake." It is truly magnificent. A few minutes of tease. The surrounding reporters have dozens of cameras, including some movie cameras. The cuts we see are from those cameras, using all sorts of stock.
The second scene is a lovemaking in the front seat of a car. Some nudity. Some also marvelous editing but not so striking, because I think this sequence was shot by Gary Graver and if you have the time to survey his nudie and X-rated movies, you'll see a similar editing style when things get hot.
This may be the most interesting movie we never see.
Ted's Evaluation -- 3 of 3: Worth watching.
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