Fake Book
Fake Book
F For Fake
F For Fake, France / Iran / West Germany, 1973
Directed by Orson Welles
With the recent new release of Michael Moore's latest effort, Capitalism: A Love Story, I thought it would be a good time to talk about a seldom understood yet truly great documentary film, F For Fake.
F For Fake, a film documentary about truth and authorship in art by Orson Welles released in 1973, is almost as much a narrative film as it is a documentary. It covers two "fakes": famed art forger Elmyr de Hory, and pretend Howard Hughes biographer Clifford Irving. The film – narrated by Welles in different scenes set variously in train stations, a studio soundstage, and in the actual editing room – follows several stories, all dealing with the same concept: truth in art. First we follow the story of Elmyr de Hory, who we come to learn has forged possibly hundreds of art masterpieces over a period of twenty years. De Hory states that the reason for his career's success is that the "so called experts" are in fact no experts at all, and his body of work is the proof. It's not clear which of de Hory's claims are really true, but the film's evidence of de Hory's guilt alone is enough to validate at least the idea that he would be guilty of nothing if forging a masterpiece was not possible.
Later, the film discusses Clifford Irving, who is present in many of the scenes with Elmyr and who gives his own account of de Hory's adventures in a book he recently wrote. Irving's hoax with Howard Hughes actually unfolds in the middle of the making of F For Fake and makes for a pretty intriguing plot twist. Welles explains that until Irving actually confesses, there was still doubt as to Irving's guilt, and this is difficult to prove either way due to the mysterious nature of Hughes himself.
But these two men are not quite on trial. What seems to be more interesting to Welles in this film isn't whether or not what these men did was right or wrong, but whether or not the truth in art is even a real concept to begin with. Welles seems to question just about everything relating to the truth in the film, including the film itself, which says something about the truthfulness of all documentaries. Not only does Welles question the "tropes of veracity" in documentary filmmaking, he completely reinvents it as a new form of storytelling.
Film movements in the past have used forms from reality to help make narrative fiction films, from the films of the Italian neo-realists' use of ordinary people and real-time events, to John Cassavetes's films made spontaneously in the streets of New York. But Welles has introduced something new here, as he employs the use of fiction elements to enhance his cinema verite. It could be argued that no documentary has ever simply been made without some alteration or tampering of the facts, but never has it been put to use in such a deliberate effect of style and purpose. Welles also wastes no film tool or under-utilizes any technique, from photo stills and stock footage, to shots in front of and behind the camera showing his filmmaking process. This is also fitting because the film is widely recognized as a masterpiece in film editing.
Welles, a film icon who rarely got involved with a project in a halfhearted way, spares no less the effort in this film as the subject of truthfulness expands to include Welles himself. In 1938, Welles perpetrated one of the greatest hoaxes in the 20th century by reporting the invasion of the planet Earth by Martians. So many people believed Welles's broadcast that it became a media frenzy itself and launched Welles into fame (or infamy). Knowing this makes it no surprise when, during the film, Welles mentions this to present himself as a "charlatan." There is also a segment of the film where Welles states that "for the next hour, everything you are about to see is absolutely true," as he begins to tell the story of Clifford Irving's Hoax biography of Howard Hughes. Shortly after this, we are told the story of Oja Kodar's encounter with Pablo Picasso, which in fact is a fabrication, and we only understand this after Welles himself confesses by stating that "for the last 17minutes, I've been lying my head off."
This segment proved to be extremely personal for Welles. Kodar not only worked with him in writing F For Fake, but was also personal inspiration for the final segment of the film. As one of my film professors, Joseph McBride, explains in his book What Ever Happened to Orson Welles, "What could be called Welles's ‘Oja period' lasted until his death in 1985, and it marked profound changes in his filmmaking style. Under Kodar's influence, Welles's work underwent a Picasso-like late flowering of sexual themes and imagery. The Immortal Story contains an actual lovemaking scene; although filmed obliquely, it is arguably more erotic for its concentration on suggestive details."
The connection between Welles and the older Picasso is drawn explicitly in F For Fake, with Welles ingeniously "directing" the artist by interacting still photographs of him seemingly ogling Oja as she strolls past his window in skimpy outfits. As "Picasso" paints nude pictures of Oja, Welles intercuts ravishing shots of her body in sensuous poses and rhapsodizes about the artist's reaction to her lush figure: "Was he … tempted? Perhaps inspired … [T]he results of this encounter were, to say the least of it, extremely fruitful. Figs sweetened on the trees, grapes burst into ripeness on the vines, and twenty-two – twenty-two! – large portraits of Miss Kodar were born under that fertile brush."
It has often been explained that truth is an abstract concept that has many meanings, and depending on the person and their point of view, the truth can change from one to another. I believe Welles's final point in F For Fake is that truth is an abstract idea, but honesty is the faithful expression of one's own feelings. There can be no truth in art, only honesty. Honesty is the courage to be bold. And in that sense there has never been a more honest documentary than F For Fake.
About the Author
Jason A. Hill is the Founder, Owner and Editor In Chief of www.moviesididntget.com. He is a film critic and writer of articles and film reviews covering a variety of genres and film news that have been syndicated to many sites in the film blogosphere. He specializes in independent film in the US and Asia.
Is the harry potter book that is on the intenet real or fake?
can anybody tell me if the pdf harry potter book from piratebay is real or fake
It's real I torrented that on Sunday and bought the book a few hours ago, they're the same.
Here's an easier version to read:
http://www.scribd.com/doc/201604/Harry-Potter-and-the-Deathly-Hallows-complete-book
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Fake Book
Reading Fake Book Melodies in G Major : How to Write a Fake Book Melody in G Major
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The Easy 3-Chord Fake Book $14.92 The Easy 3-Chord Fake Book |
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The Easy Folksong Fake Book $14.92 The Easy Folksong Fake Book |
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Your First Fake Book $14.89 An entry-level fake book! This book features larger-than-most fake book notation with simplified harmonies and melodies - and all songs are in the key of C. An introduction addresses basic instruction in playing from a fake book. Includes over 100 songs, |
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Fake $16.42 Fake |
Piano Lesson: How To Play From A Fake Book
A fake book can be a source of many inspiring piano exercises. It contains a lot of melodies written in a concise format that includes only the melody and chord names. Let us take a look at how you can use these melodies to become a better pianist!
First of all we will take a look at how melodies are notated in a fake book. Usually you will find the melody of a song in sheet music notation together with chord suggestions above the notes. This economical way of notating makes it possible to fill a fake book with a lot of melodies.
The advantage of this way of notating melodies is that you can have a fake book as a reference book with a lot of melodies at your disposal.
The drawback is that you do not have a written out arrangement of the song for piano. You have to figure out how to play the song by yourself. Actually this can be an advantage that will help you develop as a pianist letting you interpret the song's performance as you feel is appropriate.
One little melody in a fake book can give you many exercises in different areas of your piano playing and help you in your development as a musician. Here are a few examples:
1. Learn to play chords together with a melody. For example, play chords with your left hand and melody with your right hand, play bass notes with your left hand and combine melody and chord notes with your right hand, play various combinations of bass notes, chord notes and melody notes with both hands.
2. Learn to find the right chords to use when playing a melody. In a fake book you will find chord suggestions that can easily be supplemented with more chords making the voicings and chord progressions more exciting.
3. Learn to improvise by using the melody as a starting point. This is often called melodic improvisation. You can also use the chords or the fitting scales as a foundation for your improvisation. This is called chordal improvisation and scale improvisation.
4. Learn to play the songs in the piano fake book in different keys thus developing your ability to play by ear and understand the piano keyboard by transposing songs you have learned.
Actually you can use a song in a fake book as the basis for your development as a pianist if your goal is to be a good piano player in the area of improvised piano music.
Let us take an example from a fake book. You have a song of your choice in front of you with melody, chord suggestions and nothing more. What can you do to use this song as a starting point for a piano practice session?
We suppose that the song starts with the chord C-major and then in the next bar you will find the chord F-major. Here are some suggestions on what to practice drawn from these two bars of music.
1. Work on chord voicings. Practice playing C-major triads with your left hand in the three inversions. That means that you play the chord C-major with the three notes involved, C, E and G, in three combinations, that is, CEG, EGC or GCE. Do the same with the chord F-major. Practice also to move from C to F in various combinations.
2. Work on playing the melody in different ways. Single right hand notes, playing right hand octaves, playing the melody with your left hand and chords with your right hand and more.
3. Work on adding more chords. For example, taking the C-chord to F could go via Gm7 and C7 thus creating the following chord sequence, C, Gm7, C7, F. Much can be done to spice the song by adding more chords to the ones in the fake book.
4. Add notes to the chords you use in your song. A C-major chord can easily be substituted with a Cmaj7 chord or a Cmaj9 and you can find more interesting chords if you focus on one chord at a time. Of course you can work on playing these new chords in different combinations and inversions too.
5. Use the song as a foundation for improvisation. Learn a melody passage by heart. Play this passage over and over again with small changes in the melody thus practicing melodic improvisation. Or use the chords. The chord C-major suggests two major scales to use when improvising. You can use a C-major scale or a C-major pentatonic scale for example.
To sum up you can use one single song in a fake book as the basis for piano exercises in many areas of your development as a pianist and at the same time you build up a repertoire with popular melodies for your own benefit and the enjoyment of other people.
About the Author
Peter Edvinsson is a pianist, composer and music teacher. He invites you to download your free piano sheet music at http://www.capotastomusic.com
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Fake Book