Karry Best movie of this year hands down!

Laikals The greatest movie ever made..!

Aspen Orson There is definitely an excellent idea hidden in the background of the film. Unfortunately, it's difficult to find it.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

goods116 As a hardcore 70s film buff I really wanted to like this 7.8 rated film by a master, Orson Welles. Unfortunately, there is really nothing here, it's just a complex editing job that initially seems interesting but in the end is tedious. You can sort of listen to the narration and be intrigued, and the editing was painstakingly handled, but again, there is nothing much going on here. I consider this simply a curiosity for 70s film fans or Orson Wells completists. For everyone else, move along.

LeonLouisRicci A Masterpiece of Manipulation from a Master Manipulator, Filmmaker and Magician, "Orson Welles" delivered His Last completed Project to Audiences with Joy and Abandon. Welles seems as Giddy as a School Boy in this Documentary/Essay Rambling on about Art, Art Forgery, Fakes of all sorts, and Admonishing "Experts" and Their Elevated place in the Art World. This is Probably also Meant to Include Film "Critics", but Welles Never makes that Implication.Welles' Film is like No Other and it Sits as a One of a Kind Conglomerate of Documentary and Entertainment, Showmanship and Thesis. It's Editing, very New and Off putting for the Period, using Freeze Frames, Swoops, Pans, and Fanciful Film Techniques Not usually Found in Nonfiction, add a Surreal Sense to the supposed Veracity of this Type of Thing.It manages to Comment on Real Life Figures like Art Forger "Elmyr De Hory" and Literary Hoaxer "Clifford Irving" and Their respective "Careers" as Real Fakers. The Film is Fun, full of Interesting Folks, not the least is Welles Himself, adding some "Facts" about His Start in Theater, Radio, and Hollywood.This Movie is a Whiz-Bang Joke of sorts that Bounces around its Subject with Guts and Gusto so Effortlessly that One Can't Help but be Caught Up in its Playful Attempt to Poke Fun at Art and its Ultra-Serious High-Brow Investors and Patrons. Orson Welles Spews so Much Material at the Viewer in such a Disjointed Display of Connecting Examples of the Subject that much is Lost in the Stream of Consciousness Style at First Glance. But it is so Resonant afterwards as it Speaks of the Power of Cinema and after all is Said and Shown, the Thesis Compels, Persuades, and Probably most Importantly, Entertains.

gavin6942 A documentary about fraud and fakery, which focuses on Elmyr de Hory's recounting of his career as a professional art forger.Clifford Irving is something of a legend, and definitely belongs in this film for his work as author of a fraudulent Howard Hughes authorized biography. This film purports that Irving and deHory both worked their schemes from the same tiny island, and yet were in no way connected.Sadly, De Hory would commit suicide a few years after the release of Welles' film, on hearing that Spain had agreed to turn him over to the French authorities."F for Fake" faced widespread popular rejection. Critical reaction ranged from praise to confusion and hostility, with many finding the work to be self-indulgent and/or incoherent. "F for Fake" has grown somewhat in stature over the years as cinephiles revere almost anything the notorious filmmaker made.The question remains: how much of this film itself is true or just one big hoax?

Framescourer First of all, it needs to be said that F For Fake is an entertaining film as quick witted as it is briskly edited and strongly featuring Orson Welles on superb form. The bulk of the film concerns the art forger Elmyr de Hory in a separate documentary made for the BBC in 1970 by François Reichnbach. But Welles' overdubbed introduction, his re- worked edition of Reichenbach's work and the tumbling, fragmented overlaid additions including those of his girlfriend Oja Kodar and the hagiographically soft-focused Chartres cathedral turn this into an extended solipsism of what counts as 'real'. The art 'forgeries', driven by the market might not have been forged by the artist but by the dealer - and of course, works that have been on gallery walls for years are now the art anyway. The most famous artist of them all, Pablo Picasso, is quoted as denying his own work with 'even the real Picasso can make a fake Picasso' before the film dissolves into a dubious narrative about how Oja duped the artist into producing an entire period of his own work that retrospectively he couldn't claim. All the while, Welles brings up moments in his career in his steady, articulate, confiding drawl, reminding us that he started as famous and everything declined from there - the same trajectory of fame as that 'enjoyed' by the builders of Chartres cathedral, a totem of civilisation whose provenance is entirely irrelevant. The whole film is quick, colourful, sexy and fun and rendered even more so by the light but cultured jazz touch of Michel Legrand. 7/10