
Truth be damned! Emerging from a fug of
frozen-peas ads, crappy health and burst projects, Orson Welles’ final film as a director was one last rabbit out of the hat: a definition-defying examination of trickery itself. Derailing a BBC documentary about legendary art forger Elmyr de Hory, Welles shreds it into a subversive, self-indulgent cine-essay on “two world leaders in fakery”: Hory and his biographer/fellow-faker Clifford Irving. Gatecrashing into the edit come Howard Hughes, Pablo Picasso and a fascinating dissection of reality, falsehood, bluff and narrative in a ludic comedy of secrets and lies.
Read the rest of this entry »