Высокоритмичная нарезка

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«Ф как в слове „фальшивка“» (англ. F for Fake) или «Правда и ложь» (фр. Vérités et mensonges) — псевдодокументальный фильм Орсона Уэллса (1974), его последняя оконченная работа.

Фильм-эссе, по форме напоминающий некоторые ленты Криса Маркера, представляет собой высокоритмичную нарезку документального и сфабрикованного видеоматериала, который перемежается игровыми фрагментами с участием самого Уэллса и его подружки Ойи Кодар.

Фальшивка Vérités et mensonges
https://filmix.co/dokumentalenyj/15799-f-kak-falshivka-verites-et-mensonges-1974.html

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Oja Kodar

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Ойа Кодар (хорв. Oja Kodar;1941, Загреб, Хорватия) — хорватская актриса, сценарист, режиссер. Была партнером по работе американского актера Орсона Уэллса[1].

Ойа Кодар родилась в Загребе, Хорватия. Была хорваткою по материнской линии и венгеркой по отцовской. С 1961 и до смерти Орсона Уэллса была его партнершей по работе и по жизни. Они встретились в 1961 на съемках фильма «Процесс». На то время Орсон был женат, однако это не помешало им впоследствии начать отношения, которые продолжались до смерти Уэллса в 1985 году[2]. Общественность узнала о связи Кодар и Уэллса из итальянской прессы в 1970 году[3], однако Орсон продолжал одновременно отношения и с женой и с Кодар[2].

Born Olga Palinkaš in Zagreb to a Hungarian father and a Croatian mother, Kodar was the partner and lover of Orson Welles during the final years of his life. They met in 1961 in Zagreb, PR Croatia, FPR Yugoslavia, when Welles was on location shooting The Trial, released the following year. Forty-six-year-old Welles, at the time married to his third wife Paola Mori, took a liking to the twenty-year-old "dark, beautiful and exotic-looking" Palinkaš.[2][3] Soon after they began their relationship, Welles gave her a stage name, Oja Kodar, which is a mixture of the nickname 'Oja', used by her sister Nina, and the Croatian expression "k'o dar" (as a present).[4]

The Italian press broke the news of Welles's affair with Kodar in March 1970,[5] though Mori was apparently unaware of it until 1984.[6]

In his final years, Welles divided his time between a Las Vegas home he shared with Mori and a Hollywood house with Kodar. Mori died 10 months after her husband, and the estate was settled by Kodar and Beatrice Welles, Mori and Welles's daughter, on November 7, 1986.[7]

Paola Mori

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Paola di Gerfalco, Contessa di Gerfalco (18 September 1928 – 12 August 1986), better known by her professional name Paola Mori, was an Italian actress and aristocrat, and the third and last wife of Orson Welles.[1]

Paola Mori was born in 1928 to an Italian aristocratic family. By 1953, she had begun carving out a career for herself as a film actress, playing supporting roles in several Italian films.

In 1953 Mori met Orson Welles,[citation needed] and he cast her as the female lead of his film Mr. Arkadin (1955). The couple embarked on a passionate affair, and they were married at her parents' insistence.[2]:168 They were wed in London on 8 May 1955, and their daughter, Beatrice Welles, was born in New York on 13 November 1955.[3]:417, 419

Paola Mori died from head injuries sustained in an automobile accident on August 12, 1986 at the age of 57, when a car driven by a family friend pulled into cross traffic and was broadsided. She died from her injuries at Desert Springs Hospital in Las Vegas several hours later.

George Orson Welles

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Джордж О́рсон Уэ́ллс (англ. George Orson Welles; 6 мая 1915 — 10 октября 1985) — американский кинорежиссёр, актёр, сценарист,

Orson Welles and Chicago-born actress and socialite Virginia Nicolson (1916–1996) were married on November 14, 1934.[19]:332 The couple separated in December 1939[22]:226 and were divorced on February 1, 1940.[144][145] After bearing with Welles's romances in New York, Virginia had learned that Welles had fallen in love with Mexican actress Dolores del Río.[22]:227

Croatian-born artist and actress Oja Kodar became Welles's longtime companion both personally and professionally from 1966 onward, and they lived together for some of the last 20 years of his life.[28]:255–258

Welles had three daughters from his marriages: Christopher Welles Feder (born March 27, 1938, with Virginia Nicolson);[e][24]:148 Rebecca Welles Manning (December 17, 1944 – October 17, 2004,[148] with Rita Hayworth); and Beatrice Welles (born November 13, 1955, with Paola Mori).[19]:419

Welles died sometime on the morning of October 10, following a heart attack.[19]:453 He was found by his chauffeur at around 10 a.m.; the first of Welles's friends to arrive was Paul Stewart.[69]:295–297 Welles was 70 years old at his death.

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The film opens with Welles performing magic tricks for some children while Kodar watches nearby. Welles quotes Robert-Houdin to the effect that a magician is just an actor. Welles promises that for the next hour everything in the film will be based on solid fact. Kodar is then shown strolling around a street in a miniskirt while being ogled by the men on the street. Welles reveals the footage is taken from another experiment about girl-watching, where Kodar deliberately drew attention to herself and the men were unaware they were being filmed. Welles says her story will continue later in the film, and then narrates the story of Elmyr de Hory, an art forger who sold many fake paintings to museums and collectors all over the world. Elmyr is shown throwing a dinner party at his home in Ibiza and being feted by European society, although he dances around the question of whether he is guilty or not. One of those filmed is Clifford Irving, who had published a biography of Elmyr called Fake, and later in a notorious scandal was revealed to have been the forger of a fake "authorized biography" of Howard Hughes. Welles discusses the irony of Irving commenting on Elmyr's forgery while having committed a version of it himself (Welles states his belief that Irving must have been in the process of working on the hoax at the time he was filmed for the Elmyr project). Irving and Elmyr tell about the art dealers who were fooled by the forgeries, and Welles considers the question whether this means art dealers and appraisers are fake also.

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Orson Welles was hired to edit a documentary by François Reichenbach about the art forger Elmyr de Hory. The film grew over time to encompass de Hory, as well as de Hory's biographer Clifford Irving, who was revealed to be a forger himself. Keith Woodward explains: "following Irving’s hoax, Welles and his cinematographer, Gary Graver, shifted gears, scrambling to keep up with the Hughes affair, adding new shots, re-thinking the narrative, re-editing, re-combining different themes, incorporating emerging material."[3] Welles used these circumstances to produce a meditation on the nature of fakery, which he called " a new kind of movie … it’s a form, in other words, the essay, the personal essay, as opposed to the documentary."[4]

Several storylines are presented in the film, including those of de Hory, Irving, Welles, Howard Hughes and Kodar. About de Hory, we learn that he was a struggling artist who turned to forgery out of desperation, only to see the greater share of the profits from his deceptions go to doubly unscrupulous art dealers. As partial compensation for that injustice, he is maintained in a villa in Ibiza by one of his dealers. What is only hinted at in Welles's documentary is that de Hory had recently served a two-month sentence in a Spanish prison for homosexuality and consorting with criminals. (De Hory would commit suicide two years after the initial release of Welles' film, on hearing that Spain had agreed to turn him over to the French authorities.)

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Элмир де Хори (Elmyr de Hory), наст. имя Элемер Альберт Хофман (Elemér Albert Hoffmann, 14 апреля 1905 — 11 декабря 1976) — художник венгерского происхождения, который прославился многочисленными фальсификациями искусства Новейшего времени. В отличие от Хана ван Меегерена, не был предан суду и не раскрыл список своих фальсификаций.

Де Хори утверждал, что его родители — австро-венгерский дипломат и дочь банкира. Если верить публикации одного из биографов, на самом деле родился в еврейском квартале Будапешта. Получил художественное образование в Мюнхене и Париже, некоторое время учился у Ф. Леже в академии «Гранд-Шомьер», но особых надежд не подавал. Лишь однажды, в 1926 году, ему удалось выставить в галереях пару своих работ. Впрочем, их никто так и не купил.

В 1932 году по семейным обстоятельствам он вернулся на родину, в Венгрию и был заключен в сначала за призывы к изменению политического устройства в Трансильвании, а затем в концлагерь для гомосексуалистов. Все имущество семьи де Хори было конфисковано сначала немцами, а после войны — коммунистами[2].

В 1969 г. американский журналист Клиффорд Ирвинг опубликовал бестселлер «Фальшивка!» (Fake!), где предал гласности историю де Хори, отчасти на основе его собственных рассказов, где правда соседствовала с выдумками. Скандальная слава де Хори привлекла к его феномену знаменитого режиссёра Орсона Уэллса; в 1974 г. он снял про него ленту «Ф как фальшивка». И в книге, и в фильме де Хори настаивал, что не является мошенником, так как никогда не подписывал работы в стиле того или иного художника их именами, а подражание стилю знаменитых мастеров не запрещено законом.

Растущая слава де Хори обернулась возобновлением уголовного преследования. В 1976 г. власти Испании пошли навстречу требованиям французского правительства и согласились на экстрадицию де Хори. Узнав об этом, художник принял смертельную дозу снотворного. Его сожитель и телохранитель Марк Форжи в 2012 г. выпустил книгу мемуаров о последних годах жизни маститого фальсификатора.