All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
F for Fake
A documentary about fraud and fakery.
In 1977 when I was living in Orson Welles' garage, he let me watch his personal print of F for Fake. Here is an excerpt from the review I published at the time: img18.imageshack.us/img18/2886/rd1h.jpg
Well. Uh... This was a documentary.
My brain is fucked
The silver screen. The projector lights up and we tune in. Visuals, sound, and collective communion flow out of the screen like an intense heat wave. These images, these feelings, these ideas; how real are they really? The cinema has always been praised for its spectacular bursts of originality and imagination, carrying the worries, pains, and troubles of the audience away into a clouded fog, a fog that vanishes simultaneously along with the remembrance of reality.
However, what if the fog itself is an illusion, crumbling the very fabric of the cinema into a dusty whiff of salty popcorn? Orson Welles' F for Fake doesn't just tear the concept of deception to shreds, but it also assembles a new form;…
I started at the top and have been working my way down ever since.
I couldn't understand why people would call this a "film essay" as apposed to a documentary. Now that I've seen it, I clearly understand the distinction, but I'll be damned if I could explain it to anyone. It's less a documentary and more like overhearing a conversation at a party. You have Orson Welles telling you a story, almost as it comes to him, in the most entertaining way he knows how.
The film really does feel like a half hazard conversation that Welles is telling you as he remembers random facts, but it's too expertly put together to REALLY be so random. Sure…
Still an enthralling trap door of a film, dropping the viewer into a haunting labyrinth of soothing narration, entrancing imagery and magical poetry. Worth watching just to witness the stream of impressions flash by like a scattering family of rabbits.
I once was asked how I felt about Orson Welles. I didn't know where to start, how to begin, or if it was even possible to sum up into words exactly how I felt about him. I could not summon the right words to describe the great conjurer of images. I explained that Orson Welles was a renaissance man, that he was a one of a kind individual, a prodigy, and an absolute genius. I described a behemoth of a man that was the undisputed master of art, the overlord of film, and the ruler of of the senses. I explained how he saved my life time and time again with his art. I described an unending genius that grows…
A movie that has both falsehoods and truth on about 43 different levels... I won't say much else but that I can't wait to watch it again.
Cool movie; sort of an antecedent to "Exit Through The Gift Shop." Welles, again, way ahead of his time. An hour of it would have been fine.
This review may contain spoilers. I can handle the truth.
Being able to see a timestamp took a bit of fun out of the "we will tell you the truth for the next hour" bit.
Similar to Exit Through the Gift Shop in that you begin to question how/if you can believe anyone who has any part in this. It's done very effectively here, but I'm not enthusiastic about some of the editing choices (notably the use of still frames, especially because I've come to associate them with video lagging).
Cinema as fakery (and magic!), and the audience as sheep: narrated and presented by the biggest charlatan of them all.
Orson Welles has maybe the most compelling male screen presence of all time. It's him or Toshiro Mifune.
40/366 for 2016
[Watched for a class]
Stunning. A roller coaster directed by a silver tongued devil of a charlatan in Orson Welles. His musings on artistic legacy, and the memory of man absolutely floored me, and the same goes for the playfully jazzy and experimental form he undertook. I'm still trying to process everything that happened, especially because it's so fast and impressionistic. I'd definitely have to watch it again, now that I know and somewhat understand the plot-based information cut around with such artistic precision. This a truly special piece, moving and worthy of remembering in a strong light. Indulgent, yes, but that semi-plays toward what Welles is exploring here. It's easy to have fly right over your head, but the aftertaste keeps you thinking you just saw something great. You're probably right. A result of a wonderful magic trick, if anything at that.
You can almost hear Orson Welles giggling with each cut, and boy are those cuts important. A masterclass in editing above all else, but also memoir as documentary, mixed in with the meaning of all art, for good measure.
Cool documentary about how art is a lie that makes us realize the truth.
Probably one of the most inventive and engaging documentaries I've ever seen. It's a captivating exploration of the famous (infamous) Art Forger Emyer, but the real joy of this film is getting to spend time with Orson Welles for two hours.
The film brilliantly, uses Art forgery as simply a front for it's true prerogative which is to undermine "accepted thinking". In fact, the film is deeply nihilistic as it tries to tear down our conventional perceptions of art, criticism, laws, morality and especially the idea of an "expert". Ultimately, the film's thesis is that we are all frauds, especially its director, Orson Welles. The most curious thing is that as a watcher I began to admire the skill with…
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UPDATED: January 28, 2016
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