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"You Can't Fake
Everything..." |
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Directed by Lasse
Hallström - Written by
William Wheeler
Starring Richard Gere,
Alfred Molina, Marcia
Gay Harden, Julie Delpy,
Hope Davis
Distributed by Miramax -
2007 - 115m - Rated R |
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Richard Propes'
Review
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A- |
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A Really Good Film -- No Lie... |
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My feelings about
current U.S. President aren't exactly a secret...I consider George
W. Bush to be one of the greatest one of the greatest con-artists
living in the United States today surpassed only, perhaps, by his
more intelligent and, thus, even more frightening Vice-President
Dick Cheney.
His presidency has been practically defined by the art of the hoax,
a fact that did not escape me as I sat viewing "The Hoax," the
latest masterful film from Swedish director Lasse Hallstrom,
starring Richard Gere as real-life novelist Clifford Irving, a
relatively unknown author who swept the publishing world off its
feet in 1971 with his authorized biography of billionaire recluse
Howard Hughes.
There was only one problem...Irving had never met Hughes.
Never. Not once.
Irving made up the entire book and, somehow, managed to wrangle a
nearly $1,000,000 advance from respected publisher McGraw-Hill until
Howard Hughes himself came out of seclusion practically right before
the book was to be released to reveal the hoax.
Irving subsequently served 14 months and, upon release, ended up
writing a successful book recounting his experiences in writing the
fake Hughes biography.
As Irving, Richard Gere is at the top of his game offering a
performance that only reaffirms Gere's recent marvelous performances
in "Chicago" and "Bee Season." With suave, sophistication and a
surprising degree of sensitivity, Gere offers his most authentic,
focused and deeply felt performance in years. Maybe ever.
Hallstrom, who has practically mastered the "almost perfect" film,
has previously tackled American themes in "What's Eating Gilbert
Grape?" and "Cider House Rules." While "The Hoax" could easily be
considered yet another film that is "almost perfect," Hallstrom here
reveals a remarkably rich understanding of the American psyche' that
is so precise in its emotional and physical detail that it's nearly
impossible to not consider this Hallstrom's finest work in years.
Working from a script by William Wheeler that both remains only
modestly faithful to the real-life story, Hallstrom both embraces
the truth of the story and the outlandishness of it by creating a
film that, at times, itself plays out like an elaborate and
gleefully artistic hoax of its own.
It's difficult to comprehend how such an elaborate hoax was pulled
off, at least temporarily, from Irving's ability to convince
McGraw-Hill publishers and editors (Hope Davis and Stanley Tucci) of
its legitimacy to his ability to recruit partners in crime like his
frenetic best friend (an even more outstanding than usual Alfred
Molina), his wife Edith (Marcia Gay Harden) and his sometimes lover,
Nina Van Pallendt (Julie Delpy).
Irving, who managed to even convince handwriting experts that a
Hughes' signed contract was authentic, comes off simultaneously as
convincing actor, slick con-artist, pathetic wannabe, compulsive
liar and, in the midst of it all, gifted writer. The fact that
Gere's performance successfully blends each of these traits into a
compelling, multi-faceted character is, quite simply, nothing short
of astounding.
Cinematographer Oliver Stapleton ("Casanova," "Ned Kelly" and a
multitude of similarly beautiful films) beautifully captures "The
Hoax" with camera work that is shadowy and perfectly captures both
the mood and the setting of a satirical, even comical hoax gone
incredibly awry. Virtually every actor in "The Hoax" has their
physical appearance altered, including Gere, to the point that even
the physical manifestation of each character, thanks to David
Robinson's costuming and a stellar make-up team, manages to become
part of the hoax itself.
The similarly themed "Catch Me If You Can" chose to focus its
attention on the legal aspects of the lies that would inevitably
catch up to the liar, while "The Hoax" offers a more complete tale
of a man who lied to everyone for no particular reason. Irving
didn't just lie for the sake of finally selling a best-selling book
and becoming a successful writer...Irving lied to everyone about
virtually every aspect of his life. His most notorious hoax may have
been a non-existent Howard Hughes biography, but Irving's life
itself may have been the greatest hoax of all.
Kudos to Hallstrom and Wheeler for not painting Irving with broad
strokes that could have too easily painted Gere into a corner more
resembling his "Chicago" portrayal of Billy Flynn. Irving's cons are
more believable, because Gere's finely tuned performance gives
Irving just a smidgen of humanity wrapped ever so tightly by lie
upon lie.
"The Hoax" is a better film than "Catch Me If You Can" and
Hallstrom's most rewarding cinematic efforts since the underrated "Chocolat"
and the misunderstood "What's Eating Gilbert Grape?" William
Wheeler, with only one other modest screenwriting credit to his
name, displays a remarkable knack for blending multiple storylines
and developing complex characters that evoke sympathy, snickers and
suspicion. Throw into the mix a career-topping performance from
Richard Gere and outstanding supporting performances from Alfred
Molina, Hope Davis, Julie Delpy, Eli Wallach and Marcia Gay Harden,
and you have a simple, undeniable truth..."The Hoax" is one of the
most authentic, honest films of 2007.
No lie. |
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© Written by Richard Propes -
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TC Candler's Comment
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Jacob Hall's
Comment
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