IMDb > F for Fake (1973)
Vérités et mensonges
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F for Fake (1973) More at IMDbPro »Vérités et mensonges (original title)

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Overview

User Rating:
7.9/10   7,388 votes »
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Down 2% in popularity this week. See why on IMDbPro.
Director:
Writer:
Orson Welles (writer)
(more)
Contact:
View company contact information for F for Fake on IMDbPro.
Release Date:
12 March 1975 (France) See more »
Genre:
Plot:
A documentary about fraud and fakery. Full summary » | Full synopsis »
Plot Keywords:
Awards:
1 win See more »
User Reviews:
L is for Influence See more (41 total) »

Cast

  (in credits order) (verified as complete)

Orson Welles ... Himself
Oja Kodar ... The Girl

Joseph Cotten ... Special Participant
François Reichenbach ... Special Participant
Richard Wilson ... Special Participant

Paul Stewart ... Special Participant
Alexander Welles ... Special Participant (as Sasa Devcic)
Gary Graver ... Special Participant
Andrés Vicente Gómez ... Special Participant (as Andres Vincente Gomez)
Julio Palinkas ... Special Participant
Christian Odasso ... Special Participant
Françoise Widhoff ... Special Participant (as Françoise Widoff)

Peter Bogdanovich ... Special Participant (voice)
William Alland ... Special Participant (voice)
rest of cast listed alphabetically:

Jean-Pierre Aumont ... Himself (uncredited)
Elmyr de Hory ... Himself (uncredited)

Laurence Harvey ... Himself (uncredited)
Clifford Irving ... Himself (uncredited)
Nina van Pallandt ... Herself (uncredited)

Directed by
Orson Welles 
 
Writing credits
Orson Welles (writer)

Oja Kodar  uncredited

Produced by
François Reichenbach .... executive producer
Dominique Antoine .... producer (uncredited)
Richard Drewitt .... associate producer (uncredited)
 
Original Music by
Michel Legrand 
 
Cinematography by
François Reichenbach 
 
Film Editing by
Marie-Sophie Dubus 
Dominique Engerer 
Orson Welles (uncredited)
 
Sound Department
Paul Bertault .... sound mixer
 
Camera and Electrical Department
Gary Graver .... photographer: USA and Toussaint
Christian Odasso .... photographer: France and Ibiza
Georges Pierre .... still photographer (uncredited)
R. Michael Stringer .... gaffer (uncredited)
 
Editorial Department
Dominique Boischot .... assistant editor
Anne-Marie Engerer .... assistant editor
Elisabeth Moulinier .... assistant editor
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Vérités et mensonges" - France (original title)
"About Fakes" - International (English title) (copyright title)
"Truths and Lies" - International (English title) (literal title)
See more »
Runtime:
USA:89 min
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Company:

Did You Know?

Trivia:
Hidden within a montage of footage of Howard Hughes is one brief shot of a man disembarking from a ship who looks similar to Hughes, but is actually actor Don Ameche.See more »
Goofs:
Factual errors: The word "practitioners" is misspelled "practioners" in the opening credits.See more »
Quotes:
Orson Welles:Paris was suffering from August. This happens every year. It shuts down, closes up, and this is the time when an invader could take the country by telephone... if he could get somebody to answer it.See more »

FAQ

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40 out of 58 people found the following review useful.
L is for Influence, 2 March 2005
Author: tedg (tedg@FilmsFolded.com) from Virginia Beach

Orson Welles completely changed the face of film with "Citizen Kane." It was precisely right to spawn the revolution in narrative layering. For those who don't know, the Kane experiment was initiated not by Welles but Mankiewicz. But it was Welles who expanded and pulled off the success of managing so many types of narrative layers. (The number and type would be later exceeded by "Annie Hall," but no one would consider it a triggering idea by then.) I don't think Kane was his best film, but it certainly was his most influential, and as such it haunted him all his life. Especially haunting were all the types of layers he discovered after Kane. As he only had that one shot at greatness, it would have been great if he could go back and remake it, adding the new ideas. This project is the next best thing. But to see its beauty, you have to know two things: first that the layers that Kane is missing and that many filmmakers used since is the notion of annotative narrative layers. Second, you should know that several of his "lost" projects exploit just this notion, especially "Other Side of the Wind." Here's the setup in this fake documentary about fakery: You have the layer of Kane, which is based on Hearst. (A story about a storyman.) Now Welles adds the (completely bogus) layer that Kane was to be originally about Howard Hughes, a more intrinsically layered character. (This remark, incidentally, is what triggered Scorcese's interest.) Then to Welles' bogus movie about Hughes' life (itself a bogus notion) he adds another layer: Irving's bogus story about Hughes' life. But he doesn't stop there. Indeed, he goes further into another layer: an Irving story (presumably _not_ bogus) about an artist (Elmyr) who produced bogus artworks, including bogus Picassos. The first two thirds of the project are concerned with getting all these plates spinning at the same time. Some very clever editing is used to merge the layers, even though nearly all the camera-work is mundane. The final third takes all these and weaves another layer that intersperses. It begins with the image of a lovely woman to whom he introduced us in the very beginning. It was a seemingly inexplicable introduction: candid shots of men on the street ogling her vampish walk. This woman is Oja Kodar (aka Olga Palinkas), Welles' lover, companion and screen writing collaborator on all his folded projects — all lost except this one. Around this woman, Welles conflates every layer you have seen before into a story about her seducing Picasso into painting 22 pictures of her, presumably nude, of which he makes her a gift. She subsequently sells Picassos which turn out to have been produced by her grandfather, Elmyr who we saw earlier. In the earlier shots, we actually see him produce bogus paintings which are then burned. But in Welles' confabulation, the originals are burned and the fakes sold. (You should know that in the lore of folded narrative (which goes through cabala to Finnigans Wake), there are exactly 22 folds you can make and no more.) Things are tied together with Orson admitting to being a fake, and the story a fake, but perhaps necessary in the name of art? No one should see "Citizen Kane" without also seeing this annotation. Ted's Evaluation -- 3 of 3: Worth watching.

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