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F for Fake (Criterion Collection)

François Reichenbach (出演, プロデュース), Orson Welles (出演, 監督), Oja Kodar (出演), 形式: Blu-ray
4.6 5つ星のうち4.6 105個の評価
仕様
価格
新品 中古品
Blu-ray, 2014/8/12 インポート
—
— ￥8,384
ジャンル Special Interests
フォーマット インポート
コントリビュータ Gary Graver, Elmyr Dehory, Laurence Harvey, Paul Stewart, Tim Carter, Melissa Dino, Crystal Whaley, Howard Hughes, Oja Kodar, Joseph Cotten, Peter Bogdanovich, Clifford Irving, Edith Irving, William Alland, François Reichenbach, Orson Welles, Richard Wilson 表示を増やす
言語 英語
色 Color
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商品の説明

Trickery. Deceit. Magic. In F FOR FAKE, a free-form documentary by Orson Welles (Citizen Kane), the legendary filmmaker (and self-described charlatan) gleefully reengages with the central preoccupation of his career: The tenuous line between illusion and truth, art and lies. Beginning with portraits of the world-renowned art forger Elmyr de Hory and his equally devious biographer, Clifford Irving, Welles embarks on a dizzying journey that simultaneously exposes and revels in fakery and fakers of all stripes - not the least of whom is Welles himself. Charming and inventive, F for Fake is an inspired prank and a clever examination of the essential duplicity of cinema.

登録情報

  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 製品サイズ ‏ : ‎ 1.78 x 19.05 x 13.72 cm; 0.28 g
  • メーカー ‏ : ‎ Criterion Collection
  • EAN ‏ : ‎ 0715515129114
  • 商品モデル番号 ‏ : ‎ Relay time: 106min
  • オリジナル盤発売日 ‏ : ‎ 2014
  • レーベル ‏ : ‎ Criterion Collection
  • ASIN ‏ : ‎ B00LUSUU92
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
    4.6 5つ星のうち4.6 105個の評価

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  • Steven Allen
    5つ星のうち5.0 A new type of film
    2014年12月7日に英国でレビュー済み
    Amazonで購入
    This is a new type of film making and some people are not going to get on with it very well. It requires concentration and if you like films that have a simple linear narrative and so on then this is a bit challenging in that respect. It is worth the investment and the special features are excellent. I won't spoil it by a plot reveal and anyway trickery is the film and is film.

    It's about fakery, art fakery, biographical fakery, Welles own fakery etc. It is somewhat episodic but there is a thread that runs through it. Today it is still very contemporary and the issues that it raises are just as a la page. Some things date of course but try and resist the temptation to see this as a Welles folly; there is much to learn here.
    レポート
  • Señor Spook
    5つ星のうち5.0 A spectacularly sprightly swan song
    2012年10月17日にカナダでレビュー済み
    Amazonで購入
    Orson Welles opens "F for Fake" on an ominous note, with a seeming return to the same sort of spooky old Parisian train station he previously showed us in 1962's The Trial. It quickly becomes apparent that, this time, we're here for fun; the station is merely the setting for Welles' impromptu magic act amidst the joyous faces of enraptured children and delighted adults. As the scenery shifts to a coruscating studio backdrop, Welles begins our journey into the movie proper with a promise: everything we see during the next hour will be completely, and utterly, true.

    As the final film completed by his own hand, "F for Fake" shows that Welles's cinematic eye remained young and vital well into his autumn years -- a being quite apart from the rotund Paul Masson-plugging caricature he became in popular imagination (a fake front, perhaps?). So even if the still incomplete "The Other Side of the Wind" never rears its head, we'll always have this lively, spritely, vivacious, and playful little cinematic epitaph composed almost entirely of quick cuts and bits of cast-off BBC documentary footage. "F for Fake" exhibits a burning drive to hammer all its disparate pieces into a narrative whole that tells a story of charlatanry and art, shot through with a sense of personal retrospective and biography. Basically, the film looks like the work of a young director with something to prove -- the separate montage bits forming a complete work of art that's also a blast to watch.

    The Criterion DVD makes the best out of sometimes sub-par 16mm film material, but it's all sharp and clear -- the best we'll likely see this side of a proper Blu-Ray release. Extras include interviews, Oja Kodar and Gary Graver's feature commentary, Jonathan Rosenbaum's essay, Peter Bogdanovich's intro and an indispensable documentary encompassing Welles' unfinished works. In short, this package contains everything needed to make "F for Fake" a substantial, and fitting, bookend to the cinematic life of a truly great American filmmaker -- buy unreservedly.
    レポート
  • Dine Fuss
    5つ星のうち5.0 Film Unlike Other Films - A Cinematic Thesis...
    2005年5月3日にアメリカ合衆国でレビュー済み
    Amazonで購入
    Society consists of symbols with a wide range of meanings within the world. The alphabet is one of most commonly used code systems of symbols. The letters in the alphabet have the power to form words and every single word has a meaning. When a number of words such as nouns, verbs, and adjectives fuse together, they form a sentence. The structure of a sentence is to produce a contextual meaning, which sometimes uses symbolism to enhance the sentences in regards to the theme of the topic. Several joined sentences create a paragraph, which usually focuses on one idea that also could be a symbol. A number of ideas compiled into a narrative form makes a thesis for readers to contemplate, which could help the person either assimilate, or adapt the new ideas to previous knowledge and wisdom. This is due to the notion that new ideas comprise a symbolic meaning for the individual. Orson Welles seems to have used this concept when he made the film, F for Fake.

    F for Fake playfully utilizes every single scene while maximizing the symbolic value of words, images, and behavior among the individuals portrayed in the film. These scenes offer several representational impressions to the audience, as Welles' meticulous editing seems to have the same meaning a typewriter has to a writer. In this sense, F for Fake does not offer a conventional film or documentary, as Welles uses both authentic film clips edited with stage performances. Instead, Welles advocates his ideas in neither a fictionalized nor a non-documentary manner, as he fuses these two into a notion of deceit, forgery, trickery, and any other way that could deceive the audience. In 1972 over a Parisian lunch with writer and film essayist Jonathan Rosenbaum he expressed that he was working on this film, which Welles referred to as a new kind of film. The structure of the film brings the notion of a thesis where the candidate attempts to support his or her own thesis from a wide range of angles. Each visual symbol has a meaning while the scenes form the visual sentences, as the different acts form paragraphs in this cinematic thesis. The heavy editing, which Welles spent over a year on, describes Welles' cerebrally complexity while trying to defend this extraordinarily cinematic thesis.

    In the beginning of the film Welles implies that a key he used for a magic trick "...was not symbolic of anything." This, however, suggests another deceit, as the audience has already seen the sequence and had time to ponder the meaning of the key to which Welles is fully aware. The pondering has already caused the audience to give the key a visual meaning, which the viewer has either assimilated or adapted to previous knowledge. There is also a scene where the audience gets to follow a stunning woman in high heels and a short miniskirt , as several people open their eyes starring while salivating and car horns honk in the background. Suggestively, the scene causes the audience to think that all the men probably are secretively wishing for the woman's company. This too is a clever lie, as Welles simply has edited together a number of scenes which insinuate that people are starring while horns can be heard in the background. Welles seems to suggest that what one sees cannot be believed, as what one sees might only be a fabricated version of the truth.

    To comfort the audience Welles informs that the viewers that they will not be victims to deception as he places in writing that "For the next hour everything in this film is strictly based on the available facts." This portion of the film leads the audience through a two-piece sequence about a famous art forger named Elmyr de Hory, Cliff Irving, and the eccentric billionaire Howard Hughes. One focuses on Elmyr while the second part emphasizes Elmyr's biographer Irving who also was into forgery, as he wrote a forged autobiography by Howard Hughes who then lived secretively in a luxury Las Vegas penthouse. This brings several of the previous notions back, as Welles continues to discuss the idea of deceit. One of the interesting ideas in this sequence explains the meaninglessness of experts, as fakers cannot be troubled by experts. One thing that Elmyr advises of is that no one should have the ultimate power to decide quality, as he himself probably fooled many so-called experts with his own forgeries. This also implies that the expert could as well be the faker, if this one person knew what was good. This notion would also suggest that this very review would be a fake, as it also does not express anything unique while it merely retells the design and purpose of the film.

    F for Fake offers an intriguing cinematic thesis that crawls within the brain causing an itch that does not seem to want to leave. The film is nothing like anything that Welles has done before, or after this film, which also supports what he has said in regards to the film. One reason that no other film that he created since did not mimic this film could be the concept of the film, as it provides an opportunity for him to play with his own ideas in a visual manner. This film took over a year for him to make, as it also seems to be a film of personal growth and understanding of the world as a whole. The personal aspect of the film seems to saturate the whole experience, as he refers to himself while acting and making comments in regards to the people in film from behind the cutting board. Ultimately, Welles attempts to erase the idea of him being the "expert", as he provides examples of his own forgery from when he provided the War of the Worlds over the radio, which caused mass hysteria throughout the United States.
    レポート
  • spiderfriend
    5つ星のうち5.0 Now! You see it.
    2022年12月20日にカナダでレビュー済み
    Amazonで購入
    Cinematic catharsis for a life lived on the fringe.
    レポート
  • A. Huseyin
    5つ星のうち5.0 cannot wait, already had it, but blu ray ...
    2014年11月11日に英国でレビュー済み
    Amazonで購入
    cannot wait, already had it,but blu ray +extras well worth it , this is the most unusual film of Welles career made from scraps of film you almost believe he was there.
    レポート