Proof that "avant-garde" and "a damn good time" aren't mutually exclusive. Welles' montage essay/charlatan docu-fiction is giddily entertaining, no doubt because Welles could narrate the shit out of anything. Two pieces of evidence: the digs at "experts" who think they know an artist's work, and Welles' own contention that, on Fake, he specifically avoided any "Wellesian" shots. A disappearing act on auteur theory?
i really praise him for this, this is his masterpiece. art is a lies, of course. welles is a faker himself with the war of the world, but i have something in my mind right now, why he made this fake documentary to be his last major film?. is he trying to do something? is he hiding something? or is he doing some act that won't get revealed? maybe like andy kauffman's fake death? or.... nahh i'm just crazy, thats all.
The masterpiece - cinematic equivalent of Mr. Welles holding court around a dinner table, somewhat tipsy - that finally puts to rest any vestige of illusion (!) that communication, verbal or otherwise, is anything other than misdirection.
Fake can be just as good... The master gives us an exploration into artifice and authenticity, in a docu-essay that frames him as quite the cinemagician. Orson Welles was hubris personified, unequivocally, a straight up narcissist, but his intellectual braggadocio was a wee bit justified. His encyclopaedic knowledge of the arts was a delight and he clearly was a real envoy for the art of story. A true classic.
Ingenious. That's how you describe this film which is Welles' most creatively ambitious. A seemingly unstructured series of interviews, anecdotes and narration, whether false or true, show us Welles' ambiguous feeling towards the value of art. Is it pro or against it. Like all great documentaries, the end result is in our hands. I hope people move on from Kane and take note of this masterful forgery that has no equal
Orson Welles was really cool. This fake-umentary is great. Orson Welles made some other great films, too. There was one where he has a newspaper and a sled and a big house and it's really cool and another where he plays a crooked cop, and a really cool film where people are shooting at each other in one of those funhouse mirror rooms. They keep shooting at each other, ya know, but they shoot the mirror instead. Cool.
such an odd and strange film. sections of this such as the irish part and the end with picasso seemed at once pointless, out of place and just plain odd. welles provides a keen essay on art, the auteur and fakery. its a shame that kiarostami has bettered this in every single one of his works. i found it badly dated and a really below par effort from welles. some of the name dropping with hemingway seemed crass.
The story of Elmyre and Irving is incredible, and I like the way it’s told in Welles’s “new type of film”, particularly the editing. He loses that story a bit with the theme of magic that bookends the film, but his meditation on art and truth is sincere and effective and always interesting. Sometimes greater truths are felt among lies. I’m afraid the vulgar term for this is “art”.