|
V rit s et Mensonges F for Fake
|
| 00:00:21 |
[Orson Welles] For my next experiment, |
| 00:00:24 |
I would appreciate the loan of any |
| 00:00:29 |
a key or a box of matches, a coin. |
| 00:00:31 |
Ah, a key it is. Good sir. |
| 00:00:37 |
And watch out for the slightest hint |
| 00:00:42 |
And behold, before our very eyes... |
| 00:00:46 |
a transformation. |
| 00:00:48 |
We've changed your key... |
| 00:00:52 |
into a coin. |
| 00:00:54 |
What happened to the key? |
| 00:00:56 |
Look closely, sir. |
| 00:01:00 |
back in your pocket. |
| 00:01:02 |
May we see it, please? |
| 00:01:06 |
Up to your old tricks, I see. |
| 00:01:08 |
Why not? I'm a charlatan. |
| 00:01:11 |
What's that, sir? |
| 00:01:13 |
Sir, I'm still working on it. |
| 00:01:16 |
As for the key, |
| 00:01:21 |
This isn't that kind of movie. |
| 00:01:23 |
You'll find the coin now |
| 00:01:25 |
Keep your eyes on that coin, sir... |
| 00:01:28 |
while it's returned to you as your key. |
| 00:01:31 |
Shall we return you to your mother? |
| 00:01:35 |
Open your mouth, wide... |
| 00:01:37 |
and we'll return you your money. |
| 00:01:40 |
And by the way, have you ever |
| 00:01:44 |
Speaking of magicians, I mean? |
| 00:01:48 |
- But of course you do know my partner, |
| 00:01:51 |
Houdin was the greatest magician |
| 00:01:54 |
And do you know what he said? |
| 00:02:02 |
- "A magician," he said, "is just an actor." |
| 00:02:06 |
Just an actor |
| 00:02:18 |
- [François] Very nice. |
| 00:02:21 |
- There's a good story about it. |
| 00:02:24 |
We'll come to that one later. |
| 00:02:26 |
No, it's time for an introduction. |
| 00:02:35 |
Ladies and gentlemen, |
| 00:02:38 |
this is a film about trickery and fraud... |
| 00:02:43 |
about lies. |
| 00:02:46 |
Tell it by the fireside or |
| 00:02:50 |
almost any story is almost certainly... |
| 00:02:53 |
some kind of lie. |
| 00:02:56 |
But not this time. |
| 00:02:59 |
During the next hour, everything |
| 00:03:03 |
and based on solid facts. |
| 00:03:06 |
You don't talk about |
| 00:03:09 |
- You're talking about Elmyr. |
| 00:03:12 |
- Elmyr? |
| 00:03:14 |
That question has yet to be answered |
| 00:03:18 |
- Can I kiss you too? |
| 00:03:21 |
Anybody want to eat? |
| 00:03:24 |
[Welles] In the world of thejet-setters, |
| 00:03:28 |
everybody knows Elmyr, |
| 00:03:31 |
- He has about 60 time the same name. |
| 00:03:34 |
He's called his name Hory, Heury, |
| 00:03:38 |
[Speaking French] |
| 00:03:40 |
With put U-R-Y. Sixty names. |
| 00:03:42 |
- His real name was Elmyr Ferenc Huffman. |
| 00:03:47 |
as much lies and as much real. |
| 00:03:49 |
Well, it sounds very jesuitic. |
| 00:03:55 |
Yes, his world |
| 00:03:59 |
- I'm not an actor. |
| 00:04:03 |
I'm not an actor. |
| 00:04:06 |
- I am not a professional actor. |
| 00:04:10 |
His profession, it's true, |
| 00:04:13 |
Among all fakers, |
| 00:04:16 |
[François] |
| 00:04:19 |
writing a book on fake, |
| 00:04:22 |
He said, " I heard you are |
| 00:04:25 |
- [Welles] And that man's name was- |
| 00:04:33 |
[Man] The important distinction |
| 00:04:37 |
the genuine quality of a painting... |
| 00:04:42 |
is not so much whether |
| 00:04:48 |
It's whether it's a good fake |
| 00:05:28 |
[High Heels Tapping] |
| 00:05:40 |
[Brakes Squealing] |
| 00:05:54 |
[High Heels Tapping] |
| 00:06:00 |
[Horns Honking] |
| 00:06:07 |
[Horns Honking] |
| 00:06:16 |
[No Audible Dialogue] |
| 00:06:26 |
[Tires Squealing] |
| 00:06:43 |
[Motorcycle Rewing] |
| 00:06:48 |
[High Heels Tapping] |
| 00:06:58 |
[No Audible Dialogue] |
| 00:07:02 |
[No Audible Dialogue] |
| 00:07:41 |
[Welles] |
| 00:07:44 |
is Oja, Oja Kodar. |
| 00:07:47 |
And this, by the way, |
| 00:07:50 |
a sequence on the fine |
| 00:07:56 |
Our sneaky crew of cameramen hidden away |
| 00:08:01 |
arranged for her to act for them. |
| 00:08:04 |
To act as bait. |
| 00:08:06 |
[Heels Tapping] |
| 00:08:11 |
You see how it worked. |
| 00:08:15 |
The entire cast... |
| 00:08:17 |
all the performers, except one... |
| 00:08:20 |
acting away like crazy for us |
| 00:08:23 |
- without even knowing they were movie actors. |
| 00:08:25 |
- Simple larceny. Well, maybe not simple. |
| 00:08:28 |
That year nothing was simple... |
| 00:08:31 |
least of all the larceny. |
| 00:08:33 |
Now in this little gag, |
| 00:08:36 |
our leading man |
| 00:08:38 |
couldn't arrange space |
| 00:08:42 |
Well, there's no room in this movie |
| 00:08:46 |
we squeezed Miss Kodar into |
| 00:08:49 |
by a magical illusion. |
| 00:08:54 |
But you really must believe that |
| 00:08:58 |
Yes, after this bit ofhocus-pocus, |
| 00:09:02 |
was not as an actress... |
| 00:09:04 |
but as the leading figure |
| 00:09:13 |
I took another plane, |
| 00:09:15 |
made another movie |
| 00:09:20 |
We'll leave Miss Kodar |
| 00:09:24 |
But in case that mumbojumbo |
| 00:09:26 |
that there's going to be some trickery |
| 00:09:30 |
we'll repeat our promise... |
| 00:09:32 |
in writing. |
| 00:09:34 |
The girl-watching was evidence |
| 00:09:39 |
in blissful ignorance of the facts... |
| 00:09:42 |
about some of the various characters... |
| 00:09:45 |
who found their way |
| 00:09:47 |
Well, Clifford Irving told |
| 00:09:51 |
[Welles] |
| 00:09:53 |
Well, by now, you understand, |
| 00:09:57 |
And on the island of Ibiza... |
| 00:09:59 |
we'd fallen smack into |
| 00:10:02 |
in the whole history ofhoaxing. |
| 00:10:04 |
It was a pretty queer experience |
| 00:10:07 |
and end up making yet another... |
| 00:10:10 |
with a story line |
| 00:10:14 |
For instance, that the author of |
| 00:10:17 |
was himself a faker and the author |
| 00:10:23 |
and that he must have been cooking it up |
| 00:10:26 |
- [Sighs] Well. |
| 00:10:29 |
- Take three. |
| 00:10:35 |
Do you really believe |
| 00:10:38 |
- No, I really don't believe it. |
| 00:10:40 |
I've been jumping around like this |
| 00:10:42 |
- [Man] Clifford Irving, take two. |
| 00:10:44 |
Let's pull ourselves together if we can |
| 00:10:47 |
Now, on this tablecloth, which is decorated |
| 00:10:51 |
- [Crew Laughing] |
| 00:10:54 |
But I understand wine |
| 00:10:58 |
Well, we can use a little luck anywhere. |
| 00:11:00 |
And here is - |
| 00:11:03 |
On this tiny island is where the two |
| 00:11:11 |
One island, two Ibizas. |
| 00:11:16 |
The serious, indeed, |
| 00:11:18 |
is part of Spain. |
| 00:11:21 |
And the other, "An island in the sun," |
| 00:11:26 |
"where restless souls |
| 00:11:30 |
The restless souls being, I guess... |
| 00:11:32 |
Cliff Irving, over there- |
| 00:11:35 |
and Elmyr. |
| 00:11:38 |
Coincidence number one: |
| 00:11:42 |
operated, quite separately, |
| 00:11:47 |
That's Mrs. Irving. |
| 00:11:52 |
[Man On TV] Clifford Irving, |
| 00:11:54 |
had delivered to |
| 00:11:56 |
the quarter of a million dollars |
| 00:12:00 |
suddenly confessed today |
| 00:12:03 |
is the same Helga R. Hughes |
| 00:12:07 |
[Man On TV Speaking Spanish] |
| 00:12:12 |
[Continues In Spanish] |
| 00:12:15 |
"If Clifford dragged Edith |
| 00:12:18 |
"I spit on his face." |
| 00:12:21 |
This was later, of course, |
| 00:12:24 |
or as much of it as I guess |
| 00:12:27 |
And then we had to stop these Moviolas, |
| 00:12:32 |
and then roll back and come in again... |
| 00:12:34 |
to the days when Clifford Irving, |
| 00:12:37 |
- was just a researcher into someone else's fakery. |
| 00:12:41 |
And now for the truth, Clifford. |
| 00:12:45 |
We'd like to ask you a few question. |
| 00:12:48 |
My personal feelings |
| 00:12:53 |
He has developed |
| 00:12:55 |
and to destroy that fiction... |
| 00:12:57 |
would tear down the whole castle |
| 00:13:01 |
of his illusions. |
| 00:13:03 |
The illusion, for example, |
| 00:13:06 |
As long as people enjoy it... |
| 00:13:08 |
and it gives them pleasure, |
| 00:13:11 |
The illusion that the world |
| 00:13:15 |
- Why they shouldn't have it? Why? |
| 00:13:18 |
that he had taken advantage |
| 00:13:20 |
that he had cheated people, |
| 00:13:23 |
[Welles] These two |
| 00:13:26 |
They have much in common: |
| 00:13:29 |
- one of them is talent. |
| 00:13:32 |
Well, let's start again. |
| 00:13:36 |
We'll patch this film together... |
| 00:13:38 |
and we'll try to patch together |
| 00:13:43 |
[Elmyr] |
| 00:13:46 |
after I found certain aspects |
| 00:13:50 |
becoming too difficult. |
| 00:13:53 |
I wandered around Europe for a time. |
| 00:13:56 |
I eventually came here. |
| 00:13:59 |
I liked the island. |
| 00:14:03 |
And so I decided that is the place |
| 00:14:07 |
The island is, uh, simpatico... |
| 00:14:11 |
as they say in Chinese. |
| 00:14:14 |
There is always a group |
| 00:14:17 |
Uh, I find the people amusing. |
| 00:14:21 |
Sandy, come and say something witty. |
| 00:14:24 |
[Elmyr] Ibiza is not a place |
| 00:14:27 |
It's not London. |
| 00:14:30 |
It is Ibiza, and that's |
| 00:14:34 |
That's what makes Ibiza |
| 00:14:36 |
Ibiza is Ibiza, and here people |
| 00:14:40 |
doing rather strange things |
| 00:14:43 |
So they shouldn't really be shocked. |
| 00:14:45 |
- And, uh, everybody minds everybody |
| 00:14:50 |
[Man] |
| 00:14:55 |
about Elmyr de Hory... |
| 00:14:57 |
and I was so impressed... |
| 00:15:00 |
that I decided to come from Minnesota... |
| 00:15:03 |
to Ibiza... |
| 00:15:05 |
in the hope of meeting Elmyr. |
| 00:15:07 |
And now I have become... |
| 00:15:11 |
his bodyguard. |
| 00:15:13 |
[Welles] |
| 00:15:16 |
He takes his duties seriously. |
| 00:15:18 |
Elmyr himself swears that he goes |
| 00:15:23 |
This takes us into murky waters... |
| 00:15:26 |
where the lawyers tell us |
| 00:15:29 |
In Fake! there's just a hint or two |
| 00:15:33 |
as a result of which, Irving, |
| 00:15:36 |
is being sued for |
| 00:15:42 |
Interesting question: Is Clifford Irving |
| 00:15:46 |
What makes a slight legal difference - |
| 00:15:48 |
Well, if you buy the notion that |
| 00:15:52 |
before he turned to Elmyr... |
| 00:15:55 |
then I guess you can keep right on |
| 00:15:58 |
and believe that his book |
| 00:16:02 |
I'm sorry. |
| 00:16:04 |
That Fake.! is a fake, |
| 00:16:08 |
is a fake... faker. |
| 00:16:10 |
- Fake fakes! [Chuckles] |
| 00:16:13 |
Elmyr's a true faker. |
| 00:16:15 |
Here, for instance, |
| 00:16:19 |
Van Dongen studied it carefully... |
| 00:16:21 |
and then swore that |
| 00:16:24 |
He's now known as the greatest |
| 00:16:27 |
Well, I don't admit anything, |
| 00:16:29 |
'Cause he's scared. You know, there could |
| 00:16:33 |
[Welles] |
| 00:16:35 |
"has sold his soul to the devil." |
| 00:16:38 |
They said that about |
| 00:16:40 |
Elmyr's another wizard |
| 00:16:42 |
a true Paganini of the palette. |
| 00:16:44 |
It's no wonder |
| 00:16:49 |
can get away with it for 22 years. |
| 00:16:52 |
If you hang them in a museum |
| 00:16:55 |
and if they hang long enough there, |
| 00:16:58 |
[Irving] Because there's always |
| 00:17:00 |
[Welles] How much is that drawing worth |
| 00:17:02 |
[Elmyr] |
| 00:17:06 |
[Irving] To my knowledge, |
| 00:17:09 |
when identifying a painting. |
| 00:17:12 |
- [Welles] What period is that Matisse? |
| 00:17:16 |
I, uh, feel that we should burn it. |
| 00:17:19 |
[Irving] When he looks at a painting- |
| 00:17:23 |
and says, "That's mine, I did it," |
| 00:17:26 |
[Welles] |
| 00:17:29 |
There is just no way |
| 00:17:32 |
and leaving out Cliff Irving. |
| 00:17:34 |
Not any longer. |
| 00:17:36 |
Elmyr plays a very important role |
| 00:17:41 |
Now, just here, of course, |
| 00:17:44 |
Willkommen.! Willkommen. |
| 00:17:47 |
[Welles] And Irving, |
| 00:17:49 |
is a much better magician than I am... |
| 00:17:51 |
has yet to transform himself |
| 00:17:55 |
into a superstar. |
| 00:17:58 |
François, you know, |
| 00:18:02 |
It was indecently ugly. |
| 00:18:05 |
- [Laughing] |
| 00:18:10 |
[Speaking French] |
| 00:18:13 |
- [Irving] I must tell you something. |
| 00:18:16 |
I picked up a copy of |
| 00:18:21 |
And there was an article: |
| 00:18:23 |
"Exposed: A Man Who Holds |
| 00:18:26 |
- [Woman] Exposed.! Darling, |
| 00:18:30 |
[Speaking French] |
| 00:18:32 |
[Irving] And then it goes on to tell |
| 00:18:36 |
- to the Metropolitan Museum of Art"- |
| 00:18:39 |
"A profound embarrassment to them all." |
| 00:18:43 |
Elmyr is a profound |
| 00:18:47 |
[Speaking French] |
| 00:18:51 |
The art world, |
| 00:18:56 |
a huge confidence trick. |
| 00:18:58 |
"Exposed: A Man Who Holds |
| 00:19:02 |
[Woman Laughing] |
| 00:19:04 |
- "Sitting in the sunny studio |
| 00:19:09 |
"on the Mediterranean island of Ibiza... |
| 00:19:11 |
"it took Elmyr Dory-Boutin, |
| 00:19:14 |
just one hour to draw |
| 00:19:18 |
Today, on a sale, |
| 00:19:23 |
$15,000. |
| 00:19:24 |
There was really no time |
| 00:19:27 |
And also as a man, |
| 00:19:30 |
it was all much more a joke. |
| 00:19:32 |
[Welles] The world has yet to hear a word |
| 00:19:36 |
There hasn't been a breath |
| 00:19:39 |
or phony signatures, |
| 00:19:42 |
telling Clifford Irving |
| 00:19:45 |
had anything to do with fakery. |
| 00:19:47 |
[Edith] Therefore I never could think |
| 00:19:50 |
that he sat down |
| 00:19:53 |
- [Elmyr] It's a good drawing. |
| 00:19:55 |
- Should we burn it? |
| 00:20:03 |
[Welles] |
| 00:20:06 |
is the story of a man of talent taking the |
| 00:20:10 |
translating disappointments |
| 00:20:14 |
- [Laughing] |
| 00:20:22 |
All right, I will. |
| 00:20:26 |
[Irving] You're a painter. |
| 00:20:30 |
Because the fakes |
| 00:20:32 |
and there's a market, |
| 00:20:34 |
If you didn't have an art market, |
| 00:20:40 |
- So, the more, the better. No? |
| 00:20:44 |
[Welles] |
| 00:20:47 |
Apeculiar moment during a lunch party. |
| 00:20:49 |
And in Switzerland, |
| 00:20:54 |
You pay cash on the table. |
| 00:20:58 |
- That's Switzerland. You are Swiss. |
| 00:21:01 |
And you know it. |
| 00:21:03 |
[Edith] If you did those paintings, |
| 00:21:05 |
And I only think it's a pity that |
| 00:21:09 |
And we only pray that |
| 00:21:14 |
[Man On TV] Mrs. Irving now claims |
| 00:21:17 |
to deposit the money in a Swiss bank |
| 00:21:21 |
The manuscript itself, however... |
| 00:21:24 |
he maintains is genuine. |
| 00:21:27 |
I've known Elmyr for about eight years. |
| 00:21:29 |
We met when I was broke - |
| 00:21:32 |
when I was writing fiction |
| 00:21:37 |
[Welles] |
| 00:21:39 |
Elmyr's biographer |
| 00:21:42 |
Does it say something |
| 00:21:44 |
- that he could only make it big by fakery? |
| 00:21:47 |
- That a hoax has made him |
| 00:21:53 |
[Welles] Cliff Irving's caper |
| 00:21:55 |
but really, this is not, you know, |
| 00:22:00 |
We hanky-panky men |
| 00:22:03 |
- That's a fact. |
| 00:22:05 |
- [Welles] The experts. |
| 00:22:08 |
- [Welles] Experts are the new oracles. |
| 00:22:12 |
They speak to us with the absolute |
| 00:22:15 |
Pretend to know something... |
| 00:22:17 |
what they only know |
| 00:22:21 |
And we bow down before them. |
| 00:22:23 |
They're God's own gift to the faker. |
| 00:22:25 |
All the world loves to see... |
| 00:22:29 |
the experts and the establishment |
| 00:22:32 |
[Elmyr] |
| 00:22:35 |
a Modigliani made by Kisling... |
| 00:22:38 |
a Modigliani by Elmyr... |
| 00:22:42 |
and one Modigliani by Modigliani. |
| 00:22:45 |
It could be anyone from Knoedler |
| 00:22:51 |
who consider themselves |
| 00:22:55 |
If any of them recognize |
| 00:23:00 |
[Welles] |
| 00:23:02 |
we could name you |
| 00:23:05 |
which boasts of an important collection |
| 00:23:09 |
every single one of which |
| 00:23:13 |
Elmyr, as the great faker |
| 00:23:17 |
becomes a modern folk hero |
| 00:23:20 |
who have a bit of larceny |
| 00:23:23 |
but simply don't have the courage |
| 00:23:28 |
When you wrote his biography, you don't |
| 00:23:33 |
Some people even say, " After I did read |
| 00:23:36 |
I like you even more than before." |
| 00:23:38 |
You exploded the myth |
| 00:23:44 |
of the art dealers |
| 00:23:47 |
in that you exposed |
| 00:23:51 |
their evilness and viciousness. |
| 00:23:55 |
I went around to the art galleries. |
| 00:23:59 |
Not with my book... |
| 00:24:03 |
but with a catalog... |
| 00:24:06 |
which included |
| 00:24:09 |
that had been sold |
| 00:24:12 |
In this catalog was this Modigliani... |
| 00:24:15 |
which is a Modigliani by Elmyr. |
| 00:24:18 |
He worked very little. |
| 00:24:20 |
so if they're added to |
| 00:24:25 |
it's not going to destroy his oeuvre. |
| 00:24:28 |
I would say, "This is a fake"... |
| 00:24:30 |
and the art gallery owner |
| 00:24:32 |
"I mean, you can see it's a fake, |
| 00:24:35 |
"would never have drawn |
| 00:24:37 |
"parallel to the line |
| 00:24:40 |
And the background is very badly done, |
| 00:24:43 |
In the next gallery, I would show them |
| 00:24:48 |
- "That's a genuine Modigliani." |
| 00:24:51 |
And they would look at it and say, |
| 00:24:55 |
"It's a portrait of Mademoiselle Hébuterne," |
| 00:24:57 |
and "We know it very well," |
| 00:25:00 |
After that, I must say... |
| 00:25:02 |
I lost my faith |
| 00:25:06 |
I don't feel bad for Modigliani. |
| 00:25:12 |
[Welles] You name them. |
| 00:25:14 |
He'll do you a Dufy, |
| 00:25:16 |
a Derain, a Braque, |
| 00:25:20 |
- Would you like a nice Matisse? |
| 00:25:26 |
are very weak. |
| 00:25:28 |
Matisse's lines |
| 00:25:31 |
He was hesitant when he made |
| 00:25:35 |
He added to it a little more |
| 00:25:40 |
It wasn't as flowing, |
| 00:25:44 |
I had to hesitate... |
| 00:25:48 |
to make it more Matisse-like. |
| 00:25:52 |
Et voila. |
| 00:25:54 |
I would like to see any expert... |
| 00:25:57 |
or any museum director, |
| 00:26:01 |
who'd know which one is a Matisse... |
| 00:26:06 |
and which one is by Elmyr. |
| 00:26:12 |
And I am ready |
| 00:26:16 |
[Welles] |
| 00:26:18 |
and that piece of canvas |
| 00:26:20 |
maybe a couple of |
| 00:26:23 |
And now, with your permission, |
| 00:26:33 |
"When first the flush of a newborn sun |
| 00:26:39 |
"our father, Adam, sat under the Tree... |
| 00:26:44 |
"and scratched with a stick |
| 00:26:52 |
"And the first rude sketch |
| 00:26:58 |
"was joy to his mighty heart. |
| 00:27:01 |
"Till the Devil... |
| 00:27:03 |
"whispered behind the leaves... |
| 00:27:08 |
"'It's pretty, but is it Art?"' |
| 00:27:13 |
It's pretty, but is it art? |
| 00:27:17 |
The value depends on opinion. |
| 00:27:21 |
A faker like Elmyr makes fools of |
| 00:27:27 |
- Who's the faker? |
| 00:27:29 |
I never offered a painting |
| 00:27:33 |
to a museum who didn't buy it. |
| 00:27:36 |
They never refused one. Never.! |
| 00:27:40 |
[Welles] What's he up to now? |
| 00:27:44 |
No, not this time. |
| 00:27:48 |
- Et voila. |
| 00:27:52 |
- Michel-Ange. |
| 00:27:55 |
[Chuckles] |
| 00:27:57 |
My signature, |
| 00:28:01 |
is really something. |
| 00:28:03 |
You know, art forgery |
| 00:28:07 |
And though Michelangelo even used smoke |
| 00:28:11 |
like some of the rest of us, |
| 00:28:14 |
[Elmyr] |
| 00:28:16 |
[Welles] |
| 00:28:20 |
and exposed- |
| 00:28:23 |
was till just recently |
| 00:28:27 |
But now the crown has passed |
| 00:28:30 |
to the pretender. |
| 00:28:32 |
Tomorrow at the party. |
| 00:28:34 |
- Don't miss it. Tomorrow at 8:00. |
| 00:28:37 |
[Welles] The ex-grand master of fakery, |
| 00:28:42 |
by his own biographer... |
| 00:28:44 |
is putting a brave face on it... |
| 00:28:46 |
- and giving another party. |
| 00:28:49 |
[Woman] |
| 00:28:51 |
- [Welles] And here... |
| 00:28:54 |
[Welles] |
| 00:28:56 |
Life hired him to illustrate |
| 00:29:00 |
Nice to see you. Great. |
| 00:29:04 |
[Welles] |
| 00:29:07 |
And this is his impression, |
| 00:29:09 |
of that secret meeting on the Mexican |
| 00:29:13 |
Here's how he's supposed |
| 00:29:16 |
based on Irving's reports of those secret |
| 00:29:19 |
But who cared about facts? |
| 00:29:21 |
Was Mr. Hughes a vegetable? |
| 00:29:24 |
A gibbering lunatic? |
| 00:29:27 |
Were his fingernails nine inches long? |
| 00:29:29 |
Did Howard Hughes exist? |
| 00:29:32 |
Irving insisted that he did. |
| 00:29:36 |
[Man On Phone] |
| 00:29:39 |
[Welles] "Don't believe a word of it," |
| 00:29:40 |
And believe it or not, |
| 00:29:43 |
Why, they were partners, |
| 00:29:46 |
They were doing a book together. |
| 00:29:51 |
Now, of course Irving knew very well |
| 00:29:56 |
was whatever had made Hughes himself |
| 00:29:59 |
Here in the smoggy wonderland of Hollywood |
| 00:30:04 |
It was 5:00 in the morning |
| 00:30:06 |
And I found him, as usual, |
| 00:30:10 |
Well, now this is like most |
| 00:30:13 |
It's just something you hear, |
| 00:30:16 |
but for what it's worth, |
| 00:30:19 |
was supposedly the H.Q. of that rather |
| 00:30:24 |
we used to call |
| 00:30:29 |
That's where that tree comes in. |
| 00:30:31 |
Just precisely there, at 1:30 every morning, |
| 00:30:35 |
some chosen operative placed, |
| 00:30:39 |
a small and very carefully |
| 00:30:44 |
Howard Hughes in his nocturnal |
| 00:30:49 |
but it was always ready for him |
| 00:30:53 |
What was it that |
| 00:30:59 |
A ham sandwich. |
| 00:31:03 |
[Clock Ticking] |
| 00:31:06 |
How can we believe that is true? |
| 00:31:08 |
[Welles] François is referring, |
| 00:31:10 |
But about Hughes... |
| 00:31:12 |
well, who could blame |
| 00:31:15 |
that Hughes himself wanted us |
| 00:31:20 |
Look where we are now. When the old |
| 00:31:24 |
- this is the hermitage he picked-his hideaway... |
| 00:31:27 |
- his desert retreat. |
| 00:31:30 |
The desert had retreated first, |
| 00:31:32 |
to make room for the slot machines |
| 00:31:36 |
Then came Hughes. He chased out |
| 00:31:40 |
bought up most of the hotels, |
| 00:31:44 |
in a few rooms in the top floor |
| 00:31:46 |
And all through the long years... |
| 00:31:49 |
not a shadow was seen |
| 00:31:53 |
The good people of Las Vegas |
| 00:31:57 |
and believed everything |
| 00:31:59 |
More than one bemused observer... |
| 00:32:02 |
claims to have seen |
| 00:32:04 |
at 4:00 in the morning, |
| 00:32:08 |
with no socks on... |
| 00:32:10 |
and wearing, instead of shoes... |
| 00:32:13 |
a pair of empty Kleenex boxes. |
| 00:32:17 |
Do I believe that? |
| 00:32:19 |
But people pretend to be shocked. |
| 00:32:23 |
It's in their nature. |
| 00:32:26 |
What was he doing up there? |
| 00:32:28 |
What were they doing to him? |
| 00:32:35 |
If he broke his silence, |
| 00:32:40 |
cry for help? |
| 00:32:44 |
Well, if Hughes couldn't speak, |
| 00:32:48 |
then somebody- |
| 00:32:50 |
could do the speaking for him. |
| 00:32:53 |
Nobody got near the man. |
| 00:32:57 |
were admitted to his presence. |
| 00:32:59 |
Even high executives |
| 00:33:01 |
never so much as laid eyes on him. |
| 00:33:03 |
One man alone laid claim to |
| 00:33:07 |
and you can guess who that was. |
| 00:33:09 |
How had Irving got to Hughes |
| 00:33:12 |
He'djust mailed him a copy of Fake! |
| 00:33:16 |
and the partnership was formed. |
| 00:33:18 |
And if you can believe the ham sandwich |
| 00:33:21 |
I guess you can swallow that. |
| 00:33:23 |
[Man On Telephone] I mean, |
| 00:33:26 |
that it taxes your imagination... |
| 00:33:29 |
to believe that a thing |
| 00:33:32 |
Was that the voice |
| 00:33:36 |
I only wish I was still |
| 00:33:38 |
[Welles] |
| 00:33:40 |
and a committee ofjournalists |
| 00:33:44 |
[Man] |
| 00:33:46 |
as wild or as stretching |
| 00:33:49 |
as this yarn has turned out to be. |
| 00:33:53 |
Now remember how this went. |
| 00:33:57 |
that Irving was just |
| 00:33:59 |
not only with his book, |
| 00:34:02 |
And this involved an advance of some |
| 00:34:04 |
and he had notes, memos |
| 00:34:07 |
was Hughes's own handwriting to prove it. |
| 00:34:09 |
Now they brought in |
| 00:34:11 |
Now just here Irving should have |
| 00:34:15 |
Well, maybe he was |
| 00:34:18 |
remembering what he'd learned |
| 00:34:21 |
Elmyr was a good teacher, |
| 00:34:23 |
and his most valuable lesson was this: |
| 00:34:25 |
Don't be spooked by the experts. |
| 00:34:28 |
[Elmyr] My opinion about experts is |
| 00:34:31 |
It's a métier which |
| 00:34:33 |
And how right he was! |
| 00:34:35 |
It should not exist that one |
| 00:34:40 |
about what's good or what's bad. |
| 00:34:42 |
Sure enough, |
| 00:34:44 |
the experts on handwriting |
| 00:34:48 |
The forgeries were genuine. |
| 00:34:51 |
unanswerable, and overwhelming." |
| 00:34:55 |
Thus Irving's papers, |
| 00:34:59 |
were authenticated. |
| 00:35:01 |
I wanted to find out what it was really like |
| 00:35:06 |
and I asked Elmyr to do |
| 00:35:08 |
two Matisse and a Modigliani - |
| 00:35:10 |
which he did before lunch... |
| 00:35:13 |
and put a little coffee stain |
| 00:35:15 |
to make it look really as if Modigliani |
| 00:35:20 |
- [Chuckling] |
| 00:35:24 |
The museum examined them |
| 00:35:27 |
and came back with the verdict |
| 00:35:30 |
and, in fact, were horrified |
| 00:35:33 |
Besides, it's a true story. |
| 00:35:38 |
Well, Mr. Irving pretends |
| 00:35:41 |
I don't think that |
| 00:35:43 |
is exactly a character |
| 00:35:46 |
what he got an offer of 15,000. |
| 00:35:50 |
I think it's a nice security |
| 00:35:53 |
what could be unwrapped |
| 00:35:56 |
All the tales he tells now... |
| 00:35:58 |
are things that he has built up |
| 00:36:01 |
and come to believe as true. |
| 00:36:03 |
[Welles] |
| 00:36:07 |
"and new as the new-cut tooth- |
| 00:36:09 |
"For each man knows |
| 00:36:13 |
he is master of Art and Truth. " |
| 00:36:16 |
[Irving] This created in him, |
| 00:36:21 |
I hesitate to say, a criminal life, |
| 00:36:25 |
- [Speaking French] |
| 00:36:29 |
To fool, once in a while, |
| 00:36:34 |
- or somebody very- |
| 00:36:36 |
[Elmyr] |
| 00:36:38 |
[Irving] |
| 00:36:41 |
that the world knows |
| 00:36:44 |
and now that Elmyr accepts it |
| 00:36:48 |
"Yes, it's me. I am the great |
| 00:36:52 |
Now I think he can recapture |
| 00:36:56 |
- [Elmyr] Good-bye, Matisse. |
| 00:37:00 |
and the reason why he could not succeed |
| 00:37:04 |
was that the type of life he led... |
| 00:37:08 |
prohibited him from |
| 00:37:11 |
[Welles] "And each man hears |
| 00:37:14 |
"to the beat of his dying heart... |
| 00:37:17 |
"the Devil drum |
| 00:37:23 |
"'It's pretty... |
| 00:37:25 |
but was it Art?"' |
| 00:37:28 |
[Crew Member] |
| 00:37:30 |
[Irving] And when an artist |
| 00:37:32 |
what can he communicate |
| 00:37:34 |
[Speaking French] |
| 00:37:38 |
- [Speaking French] |
| 00:37:42 |
It's pretty, but is it rare? |
| 00:37:47 |
Lots of oysters, only a few pearls. |
| 00:37:52 |
The chief cause and encouragement |
| 00:37:56 |
even what we're given to eat- |
| 00:37:59 |
an awful lot of forgery is committed |
| 00:38:01 |
Oja? |
| 00:38:07 |
[Sighs] The seafood |
| 00:38:11 |
You can take the word |
| 00:38:13 |
Three friends from the old days |
| 00:38:17 |
Jean Cocteau, |
| 00:38:20 |
Well, you might call him |
| 00:38:22 |
He drew the picture on the menu |
| 00:38:25 |
to a whole epoch. |
| 00:38:27 |
Here on the walls |
| 00:38:30 |
of Christian Berard- |
| 00:38:32 |
And speaking of charm, |
| 00:38:35 |
Vertes had to be charming. |
| 00:38:40 |
He started his career- |
| 00:38:43 |
"As a charlatan. |
| 00:38:48 |
I began," he said, " as Lautrec." |
| 00:38:51 |
[Elmyr] |
| 00:38:55 |
walked in one day to my room... |
| 00:38:57 |
and she saw on the wall - |
| 00:39:00 |
Say, "Hey, where you got that Picasso?" |
| 00:39:03 |
I say, "Well, do you think it's a Picasso?" |
| 00:39:06 |
"And there was this art dealer" - |
| 00:39:09 |
"turning down everything I showed him" - |
| 00:39:11 |
this is Vertes speaking- |
| 00:39:15 |
"'W here did you get that? ' he said. |
| 00:39:17 |
"'T hat nice little Lautrec.' |
| 00:39:19 |
"I told him it was a very nice |
| 00:39:22 |
"'I'll take the Lautrec, 'he said. |
| 00:39:25 |
'And If you happen to find |
| 00:39:30 |
[Elmyr] She said, "Would you sell it?" |
| 00:39:32 |
And I suddenly realize |
| 00:39:36 |
absolutely unexpectedly |
| 00:39:41 |
in a time when I was unable, |
| 00:39:45 |
to sell any of my paintings. |
| 00:39:47 |
"How could you blame me? |
| 00:39:50 |
no socks in my shoes, |
| 00:39:53 |
[Elmyr] Even the amount of five dollars |
| 00:39:58 |
I don't meaning go home |
| 00:40:01 |
[Waiter Speaking French] |
| 00:40:06 |
I would like to see that |
| 00:40:10 |
who would have resisted |
| 00:40:15 |
[Welles] |
| 00:40:17 |
Like all Hungarians, |
| 00:40:20 |
The omelet, |
| 00:40:22 |
Sure. It's a classic. |
| 00:40:25 |
An omelet, |
| 00:40:28 |
"To make an omelet," it says... |
| 00:40:31 |
"first, steal an egg." |
| 00:40:34 |
[Elmyr] Well, naturally, |
| 00:40:37 |
It's a profession. |
| 00:40:39 |
[Welles] But the truth about Hungarians, |
| 00:40:41 |
is that they're not any more |
| 00:40:44 |
But not the way they like to tell it. |
| 00:40:47 |
I can't remember one |
| 00:40:50 |
as a king of con men. |
| 00:40:52 |
As for this Hungarian's own tales |
| 00:40:56 |
they don't, |
| 00:40:58 |
jive exactly with versions |
| 00:41:01 |
as told by certain art dealers. |
| 00:41:06 |
I do think art dealers... |
| 00:41:08 |
are crooked. |
| 00:41:10 |
Ladies and gentlemen of the jury... |
| 00:41:12 |
I put it to you that |
| 00:41:16 |
your choice, to phrase it nicely, |
| 00:41:19 |
Even if Clifford Irving |
| 00:41:25 |
I must insist that |
| 00:41:29 |
Some friend of mine say |
| 00:41:31 |
that own a refugee of Budapest. |
| 00:41:33 |
"Budapesht." It's not with a "pest." |
| 00:41:37 |
He want to sell 10 Modigliani |
| 00:41:40 |
At that time, |
| 00:41:43 |
he was not a movie director. |
| 00:41:46 |
He was an art dealer. |
| 00:41:48 |
I tried to put it in art gallery. |
| 00:41:50 |
- because they were to sell for $200. |
| 00:41:54 |
[Laughing] |
| 00:41:57 |
[Welles] |
| 00:41:59 |
with two famous collections of paintings. |
| 00:42:02 |
One belonged to the Reichenbachs |
| 00:42:05 |
the other Elmyr was supposed |
| 00:42:08 |
- From his family. |
| 00:42:11 |
I can tell you exactly who he was. |
| 00:42:14 |
After the book was published |
| 00:42:16 |
who had known him in |
| 00:42:20 |
And he said he was not |
| 00:42:22 |
but that he was from a normal |
| 00:42:27 |
and since then |
| 00:42:30 |
He just evades the subject |
| 00:42:33 |
It's terribly convenient, |
| 00:42:35 |
[Welles] François bought |
| 00:42:38 |
and sold them again in his art gallery |
| 00:42:42 |
[François] |
| 00:42:43 |
- [Welles] You sold them for double |
| 00:42:46 |
Before he did pay me |
| 00:42:51 |
he sold it already |
| 00:42:53 |
Then the third year, |
| 00:42:56 |
He came to see me. |
| 00:42:58 |
- I was a little suspicious. |
| 00:43:01 |
- More, but you see, last time - |
| 00:43:05 |
Because the last time he say, |
| 00:43:08 |
Then, when he had others... |
| 00:43:11 |
I say, "Where they come from?" |
| 00:43:14 |
- But I kept - |
| 00:43:16 |
- Like everyone. |
| 00:43:20 |
Because they were very- |
| 00:43:22 |
- You didn't want to know.! |
| 00:43:25 |
The year after, he call me. |
| 00:43:28 |
- Three more Modigliani. |
| 00:43:31 |
"I'm not a collector of Modigliani. |
| 00:43:34 |
"Of course, if you had a dessin- |
| 00:43:36 |
A portrait of Soutine. |
| 00:43:39 |
- But why did you want a portrait of Soutine? |
| 00:43:42 |
- I see. |
| 00:43:44 |
He say, " I don't have any Soutine |
| 00:43:47 |
[Welles] |
| 00:43:49 |
- Exactement. |
| 00:43:51 |
He say, "I don't have it." |
| 00:43:55 |
They were the double price, |
| 00:43:58 |
Then the night, during the night, |
| 00:44:01 |
He say, " François, you are a genius. |
| 00:44:04 |
[Laughing] |
| 00:44:06 |
"How could you know? |
| 00:44:09 |
A beautiful portrait of Soutine |
| 00:44:13 |
[Elmyr] And now there's something else |
| 00:44:16 |
That is Picasso. |
| 00:44:20 |
[Welles] |
| 00:44:22 |
from New York to Pamplona. |
| 00:44:24 |
This deep in the Hemingway country... |
| 00:44:27 |
you might not expect to find Elmyr. |
| 00:44:29 |
And he said, |
| 00:44:32 |
- I said, "What are you" - |
| 00:44:34 |
- For the fake I sold you. |
| 00:44:37 |
- Yes, but he didn't know. |
| 00:44:39 |
And you know what he did? |
| 00:44:41 |
He gave me a check, |
| 00:44:45 |
- He gave you a false check. |
| 00:44:47 |
- For a false painting. |
| 00:44:48 |
[Welles] |
| 00:44:50 |
Well... |
| 00:44:52 |
good-bye, Picasso. |
| 00:44:55 |
[Welles] |
| 00:44:58 |
Would you take this away, please, and - |
| 00:45:03 |
Thanks a lot. |
| 00:45:07 |
innocence, or simple greed... |
| 00:45:09 |
have made themselves fortunes |
| 00:45:12 |
I have not the vaguest idea |
| 00:45:15 |
Those paintings |
| 00:45:18 |
or the dealers must have been... |
| 00:45:22 |
I could not estimate |
| 00:45:26 |
dollars, pounds, uh, zlotys. |
| 00:45:30 |
A whole lot of them anyway made profits of |
| 00:45:35 |
and Elmyr himself |
| 00:45:37 |
All I got was a little television |
| 00:45:43 |
[Welles] |
| 00:45:46 |
A dealer has a deal with him. |
| 00:45:48 |
Somebody must have made |
| 00:45:53 |
- [Irving] Deal. |
| 00:45:55 |
[Elmyr] |
| 00:45:57 |
I was used. |
| 00:45:59 |
And I was squeezed out- |
| 00:46:13 |
Because even the roof of that house |
| 00:46:18 |
I don't have a dime to my name. |
| 00:46:23 |
[Welles] |
| 00:46:25 |
even now, |
| 00:46:32 |
Elmyr can't feel much real security |
| 00:46:35 |
in what people like to call... |
| 00:46:38 |
"the golden years." |
| 00:46:41 |
- [François] A little bit ofluck. |
| 00:46:44 |
[Welles] You've been freely |
| 00:46:46 |
I'd better do some confessing myself. |
| 00:46:48 |
François was an art dealer, and I- |
| 00:46:54 |
I thought I was anyway. |
| 00:46:59 |
But not here in France. |
| 00:47:02 |
I'd come there to paint, |
| 00:47:05 |
filled the cart with paints and canvases |
| 00:47:10 |
- At night I slept under the cart. |
| 00:47:15 |
It was a very nice summer. |
| 00:47:18 |
But then when I got to Dublin... |
| 00:47:20 |
the donkey had to go up for auction. |
| 00:47:23 |
And so did I. |
| 00:47:25 |
all given away to the Irish farmers |
| 00:47:28 |
I'd run out of paint and money. |
| 00:47:31 |
I was 16 years old, |
| 00:47:35 |
was at the crossroads. |
| 00:47:37 |
Winter was coming in. |
| 00:47:42 |
Oh, I guess I could have |
| 00:47:44 |
as a dishwasher or something, |
| 00:47:47 |
I went on the stage. |
| 00:47:50 |
I'd never been on the stage, |
| 00:47:52 |
I was a famous star from New York, |
| 00:47:56 |
That's how I started. |
| 00:47:58 |
Began at the top, and have been |
| 00:48:01 |
If acting is an art, cooking up |
| 00:48:04 |
was a fine case of art forgery. |
| 00:48:07 |
And then later, on the radio - |
| 00:48:11 |
In my past there aren't any Picassos. |
| 00:48:13 |
No. My next flight into fakery |
| 00:48:21 |
[Saucer Whirring] |
| 00:48:26 |
[Man On Radio] We interrupt |
| 00:48:29 |
[Man #2 On Radio] |
| 00:48:32 |
the presence in many parts of the country |
| 00:48:35 |
[Man] We return you now to the Starlight |
| 00:48:38 |
- to the singing strings of |
| 00:48:43 |
[Welles] |
| 00:48:47 |
and we were lucky enough |
| 00:48:50 |
Paul was a real capo mafia |
| 00:48:53 |
"The War of the Worlds" was |
| 00:48:56 |
Before television, |
| 00:48:59 |
Maybe that's what made it all possible. |
| 00:49:01 |
[Man On Radio] |
| 00:49:03 |
The latest word on the monsters |
| 00:49:06 |
[Man # 2] Correction, from Mars. |
| 00:49:08 |
Sorry, folks, that's what experts are saying. |
| 00:49:12 |
[Welles] TV would have shown us up. |
| 00:49:15 |
got the screaming jeebies |
| 00:49:17 |
how silly it all would have looked. |
| 00:49:20 |
[Stewart] We said that the Martians |
| 00:49:23 |
across theJersey meadows |
| 00:49:27 |
So, people took to the hills. |
| 00:49:33 |
[Welles] |
| 00:49:36 |
who told me he spent weeks trying to woo |
| 00:49:40 |
[Man On Radio] The entire state |
| 00:49:43 |
State highways- Uh, yes? |
| 00:49:45 |
Ladies and gentlemen, |
| 00:49:48 |
Any moment now, |
| 00:49:50 |
a delegation from Mars. |
| 00:49:52 |
From Mars. |
| 00:49:59 |
[Welles] |
| 00:50:01 |
rushed into a police station out in San Francisco |
| 00:50:05 |
to report that she'd been |
| 00:50:11 |
She tried to take poison |
| 00:50:13 |
and they stopped herjust in time. |
| 00:50:16 |
Were they little green men, or what? |
| 00:50:20 |
"I can't describe it,"she said. "It's hell." |
| 00:50:24 |
Somebody down in South America... |
| 00:50:26 |
did an imitation of that broadcast... |
| 00:50:30 |
and he ended up in prison. |
| 00:50:31 |
So I shouldn't complain, I guess. |
| 00:50:35 |
I didn't go tojail. |
| 00:50:38 |
I went to Hollywood. |
| 00:50:40 |
And to testify to yet another coincidence, |
| 00:50:44 |
All those years ago, he went west with the rest |
| 00:50:49 |
Our first movie? |
| 00:50:51 |
Well, among the first of our projects |
| 00:50:55 |
based on the fictionalized life |
| 00:50:58 |
Joe Cotten was to |
| 00:51:01 |
That certain famous tycoon, yes. |
| 00:51:05 |
to the famous newspaper tycoon, |
| 00:51:07 |
that Orson should play the part, |
| 00:51:10 |
Oh, I'm not complaining. |
| 00:51:12 |
No. I had a fine part in Citizen Kane. |
| 00:51:15 |
But I was just wondering. |
| 00:51:18 |
That original concept |
| 00:51:23 |
Yes, I was just wondering... |
| 00:51:25 |
if I would have been the first or the last... |
| 00:51:28 |
to impersonate... |
| 00:51:30 |
Howard Hughes. |
| 00:51:33 |
[Fanfare] |
| 00:51:42 |
[Announcer] |
| 00:51:45 |
the great heart |
| 00:51:47 |
to handsome, well-heeled hero, Howard Hughes. |
| 00:51:51 |
Broken for speed are all records |
| 00:51:55 |
Broken, too, is the garbage man's record |
| 00:51:59 |
Well noted by observers is |
| 00:52:03 |
as a tribute to the high-flying |
| 00:52:06 |
[Wilson] |
| 00:52:08 |
Change tycoons? |
| 00:52:12 |
And as a character in fiction... |
| 00:52:15 |
who could believe that a man |
| 00:52:18 |
I put the sweat of my life into this thing. |
| 00:52:24 |
[Announcer] Hughes fighting here |
| 00:52:27 |
an all-wood behemoth, the Spruce Goose. |
| 00:52:31 |
Other inventions had more success. |
| 00:52:33 |
One example, the brassiere. |
| 00:52:35 |
Hughes's design for |
| 00:52:38 |
was, for mammary America... |
| 00:52:40 |
the cause of a great uplift. |
| 00:52:42 |
- Less uplifting was the Spruce Goose... |
| 00:52:46 |
the biggest thing with wings |
| 00:52:49 |
- [Engine Sputters, Stops] |
| 00:52:53 |
And I have stated several times |
| 00:52:56 |
I'll probably leave this country |
| 00:52:59 |
[Welles] |
| 00:53:02 |
The supersecretive celebrity... |
| 00:53:05 |
went all out for world fame... |
| 00:53:08 |
won it, and then got to be |
| 00:53:16 |
Maybe he's a loser after all. |
| 00:53:19 |
A lady from his past once told me |
| 00:53:23 |
But this lady-killing, wheeling, dealing... |
| 00:53:26 |
death-defying, life-defying |
| 00:53:30 |
has a strange habit of winning somehow- |
| 00:53:34 |
sometimes anyway- |
| 00:53:37 |
Is he winning now, |
| 00:53:41 |
[Man On Phone] |
| 00:53:44 |
[Welles] Our semimythological |
| 00:53:48 |
has flown his Vegas coop. |
| 00:53:50 |
But only to go on mutely roosting... |
| 00:53:53 |
on the top of various other holiday hotels... |
| 00:53:58 |
in germfree... |
| 00:54:00 |
air-conditioned solitude. |
| 00:54:04 |
Ah, it's his decision. |
| 00:54:07 |
On this planet... |
| 00:54:09 |
crowded and computerized... |
| 00:54:12 |
being yourself- |
| 00:54:15 |
and keeping yourself to yourself isn't easy. |
| 00:54:18 |
Make what you want of Howard Hughes, |
| 00:54:22 |
Cliff Irving had |
| 00:54:24 |
and as sure a hand, |
| 00:54:29 |
Also, I'll admit that he's nudging |
| 00:54:34 |
for the championship title. |
| 00:54:36 |
[Man On Phone] It taxes your imagination |
| 00:54:40 |
[Welles] |
| 00:54:44 |
[Man] Until a matter of days ago, |
| 00:54:50 |
[Welles] All over the world, people were saying |
| 00:54:54 |
was not Irving's part in it... |
| 00:54:56 |
but the identity of whoever it was |
| 00:55:01 |
And who do you think |
| 00:55:03 |
According to one theory, who else but Elmyr, |
| 00:55:09 |
could have forged that manuscript? |
| 00:55:10 |
Irving's lawyer is speculating |
| 00:55:13 |
Theories, if, for instance, |
| 00:55:16 |
was Hughes and was telling the truth, |
| 00:55:18 |
that Hughes had been known |
| 00:55:23 |
And here comes another theory: |
| 00:55:25 |
Now a double might be |
| 00:55:29 |
According to informed sources, |
| 00:55:33 |
are not even now fully satisfied |
| 00:55:38 |
They are searching for |
| 00:55:42 |
[Welles] |
| 00:55:45 |
- Edith, maybe? |
| 00:55:48 |
Cliff Irving topped all this |
| 00:55:51 |
with a confession. |
| 00:55:53 |
[Man] Charges could result |
| 00:55:57 |
But this may be softened |
| 00:55:59 |
agrees to come clean on the whole story. |
| 00:56:02 |
[Welles] |
| 00:56:05 |
not only to the courts, but in a book. |
| 00:56:07 |
And now, as Elmyr leaves that story... |
| 00:56:10 |
and a chapter in ours |
| 00:56:13 |
things may well |
| 00:56:15 |
for his biographer, jail or not. |
| 00:56:18 |
This is a headline |
| 00:56:21 |
"Hoaxer Irving Makes a Handsome Profit." |
| 00:56:24 |
- No, no, no. |
| 00:56:28 |
that story has a happy ending: |
| 00:56:32 |
[Phone Ringing] |
| 00:56:33 |
[Welles] Here's another coincidence for you. |
| 00:56:35 |
To Connecticut, yeah. |
| 00:56:38 |
[Welles] Somebody else from Ibiza. |
| 00:56:41 |
- [Woman On Phone] Who's calling? |
| 00:56:44 |
Richard Drewett, the only simon-pure |
| 00:56:48 |
Irving just now is holed up in Connecticut, |
| 00:56:52 |
And so excruciating is Richard's honesty, |
| 00:56:56 |
Time magazine's nomination |
| 00:56:58 |
that our call to him is being taped. |
| 00:57:01 |
- Hello? |
| 00:57:03 |
Can you say anything |
| 00:57:05 |
the deal that you've managed |
| 00:57:07 |
I mean, is it- h-has it turned out |
| 00:57:13 |
- [Irving] Th-The deal? |
| 00:57:15 |
Yes. Absolutely. |
| 00:57:17 |
- Yeah. |
| 00:57:21 |
In two years, Cliff, you are going to write |
| 00:57:24 |
[Welles] Gentlemen, was that |
| 00:57:28 |
Well, Irving's real voice as a writer... |
| 00:57:31 |
he may well have found now |
| 00:57:34 |
The new title is What Really Happened. |
| 00:57:36 |
[Elmyr] |
| 00:57:38 |
I want the right uniquely... |
| 00:57:40 |
and exclusively of my work. |
| 00:57:44 |
[Welles] And Elmyr? |
| 00:57:48 |
He's told so many stories about himself... |
| 00:57:51 |
- always telling this story |
| 00:57:56 |
He's lived always on the run. |
| 00:57:58 |
[Elmyr] I, uh, stayed ultimately |
| 00:58:04 |
Which he spent there illegally, |
| 00:58:07 |
[Elmyr] I lived very simply. |
| 00:58:11 |
I sold them for $ 10, $ 15. |
| 00:58:14 |
My own canvases. And then sometimes |
| 00:58:18 |
I was completely broke, |
| 00:58:22 |
I took 'em to one of the big dealers |
| 00:58:26 |
It never happened |
| 00:58:28 |
I always sold them. |
| 00:58:30 |
One reason he was able to get away |
| 00:58:33 |
for- for 22 years, |
| 00:58:37 |
all over the United States... |
| 00:58:39 |
was the existence of something new |
| 00:58:41 |
And that was the art market. |
| 00:58:44 |
It enabled him to live from day to day... |
| 00:58:47 |
from painting to painting, |
| 00:58:49 |
from- from con man to con man, |
| 00:58:54 |
and from town to town. |
| 00:58:56 |
Who knows? What is it? |
| 00:58:58 |
You want a change oflandscape. |
| 00:59:01 |
You want to meet new faces. |
| 00:59:02 |
You think you'll meet somebody more attractive |
| 00:59:07 |
You never know. Why? |
| 00:59:10 |
Because the F.B.I. and the police |
| 00:59:14 |
- But, uh - |
| 00:59:17 |
He had to whip off to Mexico and then |
| 00:59:21 |
And then when he heard that the police |
| 00:59:24 |
he had to scuttle out of town |
| 00:59:27 |
[Man On Radio] Hit hard by Torborg, |
| 00:59:31 |
After one hop, |
| 00:59:33 |
[Welles] |
| 00:59:37 |
he did find a home. |
| 00:59:40 |
He doesn't own it, remember, |
| 00:59:44 |
with a fine view of the village... |
| 00:59:47 |
and the villagejail. |
| 00:59:49 |
To be in jail here is probably, I would say- |
| 00:59:51 |
here is better than somewhere else. |
| 00:59:53 |
- But a jail is a jail. Let's face it. |
| 00:59:58 |
He's talking about the time |
| 01:00:01 |
out of that villa, which he doesn't own, |
| 01:00:06 |
Let me show you that again. |
| 01:00:08 |
To be in jail here is probably, I would say- |
| 01:00:12 |
here is better than somewhere else. |
| 01:00:14 |
But a jail is a jail. Let's face it. |
| 01:00:17 |
Hemingway wrote a great short story... |
| 01:00:21 |
about an old bullfighter |
| 01:00:28 |
Well, all the heroes aren't in the bullring. |
| 01:00:31 |
Here's our hero, our ex-jailbird... |
| 01:00:34 |
flying high above his troubles. |
| 01:00:37 |
Watch the quick recovery. |
| 01:00:39 |
[Elmyr] |
| 01:00:43 |
He looks disgusting too, doesn't he? |
| 01:00:48 |
He was, again, a German... |
| 01:00:50 |
whose main preoccupation |
| 01:00:53 |
He kept doing nothing |
| 01:00:56 |
He just kept on curling and curling |
| 01:01:01 |
These other drawings are made |
| 01:01:05 |
In the very end, |
| 01:01:09 |
and he declared that |
| 01:01:14 |
Now that he's out of prison, |
| 01:01:19 |
He'll give a party. Another party. |
| 01:01:22 |
[Speaking French] |
| 01:01:36 |
[Man] Elmyr, how do you mean |
| 01:01:38 |
[Elmyr] Because I wasn't a prisoner |
| 01:01:41 |
I was not imprisoned. I was interned. |
| 01:01:46 |
- [Woman Speaking French] |
| 01:01:50 |
She's a great friend of mine |
| 01:01:53 |
When I was in prison, |
| 01:01:56 |
Most of the days of the week. |
| 01:01:58 |
Jean-Pierre Ramon. |
| 01:02:04 |
Charles-Touriski Bourbon, |
| 01:02:07 |
of the next king of Spain, |
| 01:02:11 |
I had every day coming in Nina. |
| 01:02:13 |
[Welles] |
| 01:02:16 |
from our name-dropper's |
| 01:02:19 |
is the Baroness Van Pallandt. |
| 01:02:21 |
[Woman] |
| 01:02:24 |
It seems he couldn't have had a secret |
| 01:02:27 |
because he spent every minute |
| 01:02:29 |
She used to be a famous folk singer, |
| 01:02:33 |
Many other ladies |
| 01:02:38 |
No, our cameras |
| 01:02:40 |
But Oja Kodar was something else. |
| 01:02:42 |
- [Man] Uh, Miss Kodar- |
| 01:02:46 |
[Kodar] |
| 01:02:48 |
[Welles] |
| 01:02:51 |
- [Woman] There's quite a list. |
| 01:02:54 |
- If only half of all that is true, I wonder |
| 01:02:59 |
- [Man] You wouldn't say that forgery's a crime? |
| 01:03:02 |
[Kodar] As long as there are fakers, |
| 01:03:06 |
But if there weren't any experts... |
| 01:03:09 |
would there be any fakers? |
| 01:03:11 |
[Welles] |
| 01:03:14 |
once showed a Picasso to Picasso... |
| 01:03:17 |
who said, no, it was a fake. |
| 01:03:18 |
The same friend brought him, |
| 01:03:22 |
another would-be Picasso, |
| 01:03:26 |
Then yet another from another source. |
| 01:03:28 |
"But, Pablo,"said his friend... |
| 01:03:31 |
"I watched you paint that with my own eyes." |
| 01:03:33 |
[Chuckles] Said Picasso, |
| 01:03:40 |
I'm not excusing myself. |
| 01:03:44 |
I'm trying to explain |
| 01:03:48 |
and a human weakness. |
| 01:03:50 |
[Irving] He's not in jail today |
| 01:03:53 |
A court case would bring such |
| 01:03:57 |
that any art dealer who took the stand |
| 01:04:02 |
The other reason he's not in jail is because... |
| 01:04:04 |
the French police have explained to me |
| 01:04:09 |
they would have to have two witnesses... |
| 01:04:11 |
who saw him doing the paintings... |
| 01:04:13 |
who saw him signing the paintings... |
| 01:04:15 |
as Vlamincks or Derains or Picassos. |
| 01:04:18 |
[Elmyr] The signatures were put on... |
| 01:04:20 |
much later than the paintings were painted. |
| 01:04:23 |
I never signed any painting anyway. |
| 01:04:28 |
That's a very important matter. |
| 01:04:32 |
[Clock Ticking] |
| 01:04:40 |
No, I never signed any of them. |
| 01:04:46 |
No. Never did. No. |
| 01:04:48 |
Never did. |
| 01:05:06 |
Of course they were signed. |
| 01:05:10 |
[Welles] |
| 01:05:14 |
his paintings are in |
| 01:05:17 |
that surely it must be said of Elmyr... |
| 01:05:19 |
that he has achieved |
| 01:05:23 |
under various other signatures. |
| 01:05:30 |
If you-you hang them in a museum |
| 01:05:33 |
and if they hang long enough there, |
| 01:05:38 |
[Welles] |
| 01:05:42 |
The premiere work of man, perhaps, |
| 01:05:45 |
And it's without a signature. |
| 01:05:50 |
Chartres. |
| 01:05:57 |
A celebration to God's glory |
| 01:06:05 |
Well, all that's left, |
| 01:06:08 |
is man. |
| 01:06:12 |
Naked. |
| 01:06:14 |
Poor, forked radish. |
| 01:06:20 |
There aren't any celebrations. |
| 01:06:24 |
Ours, the scientists keep telling us... |
| 01:06:27 |
is a universe which is disposable. |
| 01:06:33 |
You know, it might be |
| 01:06:38 |
of all things- |
| 01:06:40 |
this rich stone forest... |
| 01:06:42 |
this epic chant, this gaiety... |
| 01:06:45 |
this grand choiring shout of affirmation... |
| 01:06:50 |
which we choose... |
| 01:06:52 |
when all our cities are dust... |
| 01:06:55 |
to stand intact... |
| 01:06:57 |
to mark where we have been... |
| 01:07:01 |
to testify to what we had it in us... |
| 01:07:04 |
to accomplish. |
| 01:07:08 |
Our works in stone, in paint, |
| 01:07:14 |
some of them for a few decades, |
| 01:07:17 |
but everything must finally fall in war... |
| 01:07:21 |
or wear away into |
| 01:07:26 |
The triumphs and the frauds... |
| 01:07:29 |
the treasures and the fakes. |
| 01:07:31 |
A fact of life. |
| 01:07:34 |
We're going to die. |
| 01:07:36 |
"Be of good heart"... |
| 01:07:38 |
cry the dead artists out of the living past. |
| 01:07:44 |
"Our songs... |
| 01:07:46 |
"will all be silenced. |
| 01:07:49 |
"But what of it? |
| 01:07:54 |
Go on singing. " |
| 01:07:59 |
Maybe a man's name... |
| 01:08:02 |
doesn't matter... |
| 01:08:06 |
all that much. |
| 01:08:14 |
[Welles] |
| 01:08:16 |
[Woman On P.A. Speaking French] |
| 01:08:20 |
[Welles] For this true story, |
| 01:08:24 |
we offer now- well, you might call it |
| 01:08:28 |
As we told you at the start, |
| 01:08:32 |
And that's where we've left her, |
| 01:08:38 |
And as for coincidence- |
| 01:08:40 |
[Scoffs]Just for instance, |
| 01:08:44 |
Oh, no. |
| 01:08:47 |
No, let's take him back |
| 01:08:50 |
The mixture's rich enough as it is. |
| 01:08:53 |
Oja, as far as I know... |
| 01:08:55 |
never breathed a word |
| 01:08:58 |
She comes into this |
| 01:09:02 |
well, who else, but the first genius |
| 01:09:07 |
The most celebrated, |
| 01:09:10 |
in 6,000 years. |
| 01:09:14 |
Well, Picasso is the biggest phenomenon |
| 01:09:19 |
It never existed that a painter was able... |
| 01:09:24 |
with one movement of his hand - |
| 01:09:28 |
what necessarily didn't involve |
| 01:09:33 |
that movement of the hand... |
| 01:09:36 |
transformed in gold. |
| 01:09:39 |
Not even John D. Rockefeller |
| 01:09:43 |
- [Bells Chiming] |
| 01:09:46 |
[Chuckling] |
| 01:09:49 |
$ 750 million. |
| 01:09:54 |
[Chuckles] |
| 01:09:59 |
This happened not so very long ago... |
| 01:10:01 |
when Picasso, for reasons ofhis own... |
| 01:10:03 |
went to paint for a while |
| 01:10:09 |
Oja was there too, on her holidays. |
| 01:10:13 |
And she had a friend with her, |
| 01:10:17 |
from somewhere |
| 01:10:19 |
[Jazz] |
| 01:10:22 |
In his homeland, |
| 01:10:24 |
Olafhad been infected rather imperfectly... |
| 01:10:26 |
with a taste for |
| 01:10:29 |
and his researches in this area |
| 01:10:33 |
where morning and night |
| 01:10:38 |
[Continues] |
| 01:10:42 |
Olaf's trombone commenced early... |
| 01:10:47 |
finished late... |
| 01:10:49 |
and nearly drove Picasso |
| 01:10:53 |
And then - then there was |
| 01:10:58 |
Far more disturbing. |
| 01:11:03 |
Oja. |
| 01:11:08 |
Oja in the morning, |
| 01:11:12 |
Oja at 10:00, |
| 01:11:18 |
To the beach again... |
| 01:11:21 |
and back once more |
| 01:11:29 |
In that climate, |
| 01:11:33 |
Not Oja. |
| 01:11:37 |
Cocktail time. |
| 01:11:40 |
Dinnertime. |
| 01:11:42 |
Anytime. |
| 01:11:45 |
Oja on Sunday, Monday, Tuesday... |
| 01:11:49 |
and all through the week. |
| 01:11:53 |
Week after week. |
| 01:11:56 |
Oja checking on the trombone. |
| 01:11:59 |
Oja escaping from it. |
| 01:12:01 |
But no escaping for Picasso. |
| 01:12:38 |
Was he tempted? |
| 01:12:50 |
Perhaps he was... inspired. |
| 01:12:53 |
[Wings Flapping] |
| 01:12:57 |
[High Heels Tapping] |
| 01:14:15 |
[Trombone Blows] |
| 01:14:25 |
I can't tell you |
| 01:14:29 |
But Picasso was a fast worker, |
| 01:14:33 |
I mean to say, you understand, that... |
| 01:14:35 |
the results of this encounter |
| 01:14:38 |
extremely fruitful. |
| 01:15:04 |
Figs sweetened on the trees. |
| 01:15:07 |
Grapes burst into ripeness |
| 01:15:13 |
And 22-22- |
| 01:15:15 |
large portraits of Miss Oja Kodar... |
| 01:15:19 |
were born under that virile brush. |
| 01:15:24 |
Money. We've heard Elmyr on that subject. |
| 01:15:29 |
Well, Picasso didn't make all that bread... |
| 01:15:31 |
by casting any crumbs of it on the waters, |
| 01:15:35 |
or giving away any pictures to his models. |
| 01:15:38 |
But Oja laid down conditions. |
| 01:15:42 |
on the sunshine. |
| 01:15:43 |
To give it up, he had to give something to her. |
| 01:15:47 |
What she exacted from Picasso |
| 01:15:50 |
All those pictures - all 22 of them - |
| 01:15:54 |
were to be hers, outright. |
| 01:15:56 |
Her property. Oja's very own |
| 01:16:00 |
which is just exactly |
| 01:16:04 |
The lot. Let's call it the loot. |
| 01:16:08 |
She got away with it all. |
| 01:16:12 |
Well, no wonder she's rich, you'll say. |
| 01:16:15 |
- But wait, there's more to this. |
| 01:16:17 |
Just now, Paris is fogbound. |
| 01:16:21 |
Just then - |
| 01:16:24 |
there was another sort of paralysis. |
| 01:16:27 |
Uh, Paris was suffering from August. |
| 01:16:29 |
[Chuckles] |
| 01:16:31 |
It shuts down, closes up... |
| 01:16:34 |
and this is the time when an invader |
| 01:16:38 |
if he could get somebody to answer it. |
| 01:16:41 |
And this is the time, of all time... |
| 01:16:44 |
when, down there in Toussaint... |
| 01:16:48 |
Picasso, opening his morning newspaper... |
| 01:16:51 |
read that in a little-known art gallery in Paris... |
| 01:16:54 |
there had been opened |
| 01:16:56 |
of the works of Pablo Picasso.! |
| 01:16:59 |
- [Thunderclap] |
| 01:17:03 |
stormed out of the Riviera.! |
| 01:17:07 |
In the American hemisphere... |
| 01:17:10 |
we give our bigger tornadoes... |
| 01:17:12 |
names like Ethel, Mary Lou and Dolores. |
| 01:17:17 |
Well, what shook |
| 01:17:20 |
should've been called "Pablo." |
| 01:17:23 |
Booking a seat |
| 01:17:25 |
the storm now moved toward Paris. |
| 01:17:28 |
And there wasn't any improvement |
| 01:17:31 |
at the airport when another newspaper |
| 01:17:35 |
"Picasso,"said the headline... |
| 01:17:38 |
"has been born again." |
| 01:17:40 |
Critics were hailing the freshness, |
| 01:17:45 |
But who cared? Not Picasso. |
| 01:17:47 |
No. There'd been |
| 01:17:51 |
None of those portraits |
| 01:17:55 |
Oja'd get rich, |
| 01:17:59 |
There are witnesses who swear |
| 01:18:05 |
sizzled about that noble head... |
| 01:18:07 |
as the great painter |
| 01:18:12 |
What is remembered - |
| 01:18:15 |
is the terrible incandescence... |
| 01:18:20 |
of Picasso's rage. |
| 01:18:22 |
And then there came a sudden... |
| 01:18:26 |
and quite remarkable change. |
| 01:18:28 |
Those famous staring eyes... |
| 01:18:32 |
now stared as eyes |
| 01:18:43 |
From picture to picture they traveled. |
| 01:18:50 |
All 22 of them... |
| 01:18:53 |
recognizing... |
| 01:18:55 |
none. |
| 01:19:01 |
Not one single canvas... |
| 01:19:05 |
in that whole collection... |
| 01:19:10 |
had been painted by Picasso. |
| 01:19:16 |
And there she was... |
| 01:19:18 |
standing beside him. |
| 01:19:21 |
You told him about your... |
| 01:19:25 |
grandfather... |
| 01:19:28 |
that he was dying. |
| 01:19:31 |
- He didn't even know he existed. |
| 01:19:34 |
The greatest of all the art forgers... |
| 01:19:36 |
remained always a legend, |
| 01:19:39 |
Oja, tell us what you did with Picasso. |
| 01:19:42 |
I just took him by the hand |
| 01:19:45 |
and put him in my little car. |
| 01:19:47 |
And drove him to your |
| 01:19:51 |
This is true, you know. |
| 01:19:55 |
Here are some pictures. |
| 01:19:58 |
And the first to be made public, hmm? |
| 01:19:59 |
[Oja] He was never photographed, |
| 01:20:02 |
- He was very careful about that. |
| 01:20:05 |
You know, I never thought to ask Elmyr about him. |
| 01:20:09 |
There are many great painters in the Renaissance, |
| 01:20:13 |
The point being, |
| 01:20:15 |
your grandfather is the da Vinci? |
| 01:20:17 |
One of his da Vinci's is so famous |
| 01:20:20 |
Giving him credit is as tough |
| 01:20:23 |
- Crime? |
| 01:20:25 |
he painted every last one |
| 01:20:27 |
For every last one of which |
| 01:20:32 |
But not, to put it mildly, highly pleased. You |
| 01:20:36 |
I got to meet Picasso. |
| 01:20:38 |
So, here they are, |
| 01:20:42 |
My grandfather was very glad to see him. |
| 01:20:45 |
[Welles Sighs] |
| 01:20:47 |
said her grandfather... |
| 01:20:49 |
"I've been painting you for years. |
| 01:20:53 |
All the great Picasso periods. " |
| 01:20:57 |
I'm not trying too hard |
| 01:21:00 |
- but I think that's how it went. |
| 01:21:02 |
"This girl," said Picasso, |
| 01:21:07 |
"A dying art forger," he said, |
| 01:21:10 |
Well, you tell us what Picasso said. |
| 01:21:12 |
He called us both a couple of crooks. |
| 01:21:14 |
"Oja,"said your grandfather, |
| 01:21:17 |
"as anyone that young, that beautiful... |
| 01:21:20 |
and that Hungarian has any need to be." |
| 01:21:23 |
"She's stolen my pictures," said Picasso. |
| 01:21:26 |
"She made you a gift, senor. |
| 01:21:29 |
"It's not more than the price of 22 Picassos. |
| 01:21:33 |
"Pablo - |
| 01:21:35 |
"May I call you Pablo? |
| 01:21:39 |
"No. |
| 01:21:42 |
"Well, senor... |
| 01:21:45 |
"it seems that in |
| 01:21:48 |
"there are 22 paintings, |
| 01:21:51 |
"as a masterpiece. |
| 01:21:54 |
At least, that's the best critical opinion." |
| 01:21:57 |
"The best critical opinion |
| 01:22:00 |
Or words to that effect. |
| 01:22:03 |
"How perfectly we agree on that, senor. |
| 01:22:07 |
"But you have |
| 01:22:10 |
"Is there a man in all the world |
| 01:22:13 |
And who in all the world knows mine?" |
| 01:22:15 |
"You're one of those that use |
| 01:22:18 |
"I, senor, am not one... |
| 01:22:22 |
"of anything. |
| 01:22:24 |
"Like you, I am unique. |
| 01:22:28 |
"You've seen my big Cézanne |
| 01:22:32 |
"Is thatjust a forgery, my friend? |
| 01:22:37 |
Is it not also a painting?" |
| 01:22:43 |
Now, you tell us |
| 01:22:46 |
Something dirty in Spanish, I think. |
| 01:22:48 |
He did accuse |
| 01:22:51 |
Arrogance? A man who never in his life |
| 01:22:56 |
What could be more modest than that? |
| 01:22:58 |
"It's true that when you think |
| 01:23:00 |
- Chicago has five of them. Important ones. |
| 01:23:04 |
"Why, just those two |
| 01:23:09 |
- " And Tokyo. |
| 01:23:12 |
In Cincinnati. Did all the Goyas |
| 01:23:17 |
And the Monet. |
| 01:23:20 |
"So, am I not then myself'... |
| 01:23:23 |
said your grandfather, |
| 01:23:27 |
"No? No. |
| 01:23:31 |
"Yet here you are, Picasso, |
| 01:23:35 |
"For all my life I've been a ghost. |
| 01:23:37 |
"And for all time, the galleries and museums |
| 01:23:42 |
"Do you think I should confess? |
| 01:23:47 |
"Committing masterpieces? |
| 01:23:50 |
"They'd all be torn down from the walls. |
| 01:23:55 |
"But before I die, |
| 01:24:01 |
"To believe - |
| 01:24:05 |
"I must believe... |
| 01:24:08 |
"that art itself... |
| 01:24:13 |
"is real. |
| 01:24:17 |
If it is not, senor" - |
| 01:24:21 |
Here, my grandfather |
| 01:24:24 |
who asked him |
| 01:24:27 |
"We've only to settle the fate... |
| 01:24:29 |
"of 22 large canvases... |
| 01:24:32 |
"painted by me. |
| 01:24:34 |
"Picasso, you move so easily... |
| 01:24:37 |
"from one Picasso period to another... |
| 01:24:40 |
"change like a-an actor... |
| 01:24:43 |
"like an art forger yourself. |
| 01:24:46 |
"Won't you give to me, |
| 01:24:50 |
"a happy death? |
| 01:24:53 |
"Can you not let me go |
| 01:24:55 |
"I've managed to give something new... |
| 01:24:59 |
"to the world? |
| 01:25:02 |
"One whole Picasso period. |
| 01:25:07 |
Would you give me this?" |
| 01:25:09 |
"Give me my pictures," said Picasso. |
| 01:25:13 |
"Give me back my 22 paintings." |
| 01:25:15 |
"Ah,"said your grandfather. |
| 01:25:22 |
I have burnt them." |
| 01:25:25 |
- [Elmyr] Well, good-bye, Picasso. |
| 01:25:29 |
Time for a confession? |
| 01:25:32 |
- Time to go. |
| 01:25:36 |
That's her real name, you know. |
| 01:25:39 |
Oja. Oja Kodar. |
| 01:25:42 |
I don't think that young gentleman's |
| 01:25:46 |
but Oja's grandfather was Hungarian. |
| 01:25:49 |
- Did he paint any pictures? |
| 01:25:52 |
[Welles] Ladies and gentlemen, |
| 01:25:57 |
to lend verisimilitude to |
| 01:26:00 |
But is "reenactment" really the word? |
| 01:26:03 |
What I mean is, |
| 01:26:06 |
reenactment isn't easy. |
| 01:26:10 |
- Right, François? |
| 01:26:12 |
At the very beginning, I - of all this - |
| 01:26:15 |
Remember? I did promise... |
| 01:26:18 |
that for one hour |
| 01:26:27 |
That hour, ladies and gentlemen, is over. |
| 01:26:29 |
For the past 17 minutes, |
| 01:26:35 |
[Welles] The truth- |
| 01:26:38 |
is that we've been forging an art story. |
| 01:26:42 |
As a charlatan, of course, |
| 01:26:46 |
not that reality |
| 01:26:50 |
Reality? It's the toothbrush... |
| 01:26:54 |
waiting at home for you in its glass. |
| 01:26:57 |
A bus ticket, a paycheck... |
| 01:27:01 |
and the grave. |
| 01:27:03 |
In the right mood, perhaps, |
| 01:27:07 |
as I have to have been a charlatan. |
| 01:27:09 |
But we're not so proud, either of us... |
| 01:27:11 |
as to lay any superior claim... |
| 01:27:13 |
to being very much worse |
| 01:27:21 |
No, what we professional liars |
| 01:27:26 |
I'm afraid the pompous word |
| 01:27:28 |
Picasso himself said it. |
| 01:27:31 |
"Art, "he said, "is a lie- |
| 01:27:35 |
"a lie that makes us... |
| 01:27:37 |
realize the truth. " |
| 01:27:40 |
Oja's grandfather, |
| 01:27:44 |
has no comment, which isn't surprising... |
| 01:27:46 |
because he never existed. |
| 01:27:49 |
To the memory of that great man |
| 01:27:52 |
I offer my apologies... |
| 01:27:56 |
and wish you all... |
| 01:27:58 |
true and false... |
| 01:28:02 |
a very pleasant good evening. |
| 01:28:35 |
[Clicks] |
