Today marks the release of Richard Gere’s new movie The Hoax, which examines the infamous con artist Clifford Irving. Irving’s claim to fame was an “authorized” biography of the reclusive Howard Hughes, which though the book was sold and money exchanged hands, was an utter fabrication.
I haven’t seen it, and most likely won’t until I can put it in my NetFlix queue, but I feel obliged to use any soapbox I can to shout that there is already a film about Clifford Irving (and the world he became a seasoned fraud in, Ibiza) that I’m certain is much better and has been pushed into unfair obscurity. It’s not a reenactment. It’s not a documentary. It’s not an essay. It may be a documentary-essay.
Orson Welles’ F for Fake began as an account of famed art forger Elmyr de Hory and ended up part biographical, history as it happened (in the case of Irving), an editing tour de force, a fake-out itself, and a totally engaging, infinitely fresh picture. It was one of Robert Anton Wilson’s favorite movies. It’s one of mine. I implore you to get a bottle of wine and sit down with it before you go to watch Gere make with the Hollywood version.
Kristin Ross writes poetry, fiction, songs, and lists. She is the creator/author of the underground comic book Hate Your Friends. She has a lot of credits that contain the phrase "formerly of..." She is a very freelance writer. It's an exercise in isolation.
A Brief Word on “The Hoax”
30 05 2007from: http://www.thebeak.org
Today marks the release of Richard Gere’s new movie The Hoax, which examines the infamous con artist Clifford Irving. Irving’s claim to fame was an “authorized” biography of the reclusive Howard Hughes, which though the book was sold and money exchanged hands, was an utter fabrication.
I haven’t seen it, and most likely won’t until I can put it in my NetFlix queue, but I feel obliged to use any soapbox I can to shout that there is already a film about Clifford Irving (and the world he became a seasoned fraud in, Ibiza) that I’m certain is much better and has been pushed into unfair obscurity. It’s not a reenactment. It’s not a documentary. It’s not an essay. It may be a documentary-essay.
Orson Welles’ F for Fake began as an account of famed art forger Elmyr de Hory and ended up part biographical, history as it happened (in the case of Irving), an editing tour de force, a fake-out itself, and a totally engaging, infinitely fresh picture. It was one of Robert Anton Wilson’s favorite movies. It’s one of mine. I implore you to get a bottle of wine and sit down with it before you go to watch Gere make with the Hollywood version.