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   7,305 votes »
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Director:
Writer:
Orson Welles (writer)
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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 »
Awards:
1 win See more »
NewsDesk:
(78 articles)
User Reviews:
F For Fantastic, Farouche, Fanciful, Farcical, Fabulous. 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)
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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


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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:
Actress Oja Kodar, who appears in a muse-like fashion in this film, was Welles' real-life girlfriend at the time.See more »
Goofs:
Factual errors: The word "practitioners" is misspelled "practioners" in the opening credits.See more »
Quotes:
Orson Welles:For my next experiment ladies and gentleman, I would appreciate the loan of any small personal object form your pocket. A key, box of matches, a coin - ah, key it is, good sir. Hold it up 10 feet over your head and watch out for the slightest hint of hanky panky...See more »
Movie Connections:
Featured in Prodigal Sons (2008)See more »

FAQ

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47 out of 54 people found the following review useful.
F For Fantastic, Farouche, Fanciful, Farcical, Fabulous., 6 September 1999
Author: Darragh O' Donoghue (hitch1899_@hotmail.com) from Dublin, Ireland

There is so much zest, wit, fun, cheek, energy in this supremely entertaining film, that it's a crime that Orson Welles never directed another one. It's packed with as many ideas and potential future directions as CITIZEN KANE, but bizarrely hasn't received an nth of that classic's acclaim. Indeed only Godard's later documentaries seem to be at all influenced by this delightful fancy.

The film dazzles on so many levels. As a story about five interesting characters - two art forgers, a charlatan biographer, Howard Hughes (famous recluse, and disseminator of misleading information and doubles), and the great Orsino himself, myth-maker and magician. Their stories, fascinating in themselves, mingle, juxtapose and clash, to provide a complex essay on the nature of art, the links between illusion, life, forgery and artifice.

Elmyr is a master forger whose 'works' appear in many galleries. His story makes us ask: what is art? What is it about art that moves us - the thing itself, or its perceived value? In an age of mechanical reproduction, can authenticity survive, is it a viable (or even desirable) option? Does any of this actually matter? Maybe because everything in a post-modern culture is reproduced, the aura of the original work of art (pace Benjamin) becomes even more powerful. Or maybe a proliferation of fakes, doubles, illusions asks us to profoundly question received truths, official versions, 'authorities', who would make us believe in repressive wholes and canons, stories that tell one experience, and deny many others. Art itself is a forgery, of nature or the imagination - the forger is little different from an interpreter (e.g. Welles and Shakespeare): he cannot help stamping his own personality on the work.

These questions are very complex, and cannot be grasped in one viewing. The film's form is bewildering and exhilirating. Welles promises us, in this tale of fakery, truth for an hour, but this is a truth we must make out for ourselves. Breathless narration; visual puns; the weaving of documentary footage, stills, reconstructions, other films; tireless, confusing editing; rapid subject changes; all manage to disrupt and complicate an essentially straightforward story.

Welles the narrator is an absolute delight, a jovial trickster, with his gorgeous hearty laugh, games, aphorisms, comments, allusions; and yet behind it all is an extraordinarily depressing account of his own career, the perception of failure and broken promises, and the onset of mortality.

The last 20 minutes is an extraordinary coup de cinema, as well as a masterpiece of storytelling. The Legrand music is playful and energetic, before finally slowing down for a very melancholy climax. This film is a remarkable one-off: frustrating, irritating, stimulating, astonishing, hilarious. It always pulls the rug from under your feet, and you gleefully await your next tumble. Only Bunuel began and ended his career with the same passion and genius, the same desire to demand the most from his audiences, refusing to rest on his considerable laurels. Absolutely wonderful.

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