If you can get past its chaotic first half and look past the movie's and a slouch-hatted and caped Orson Welles' own self-indulgent style, there are fascinating issues to ponder here about fakery and fraud in art - the careers of art forger Elmyr de Hory and his biographer Clifford Irving, for example, and Orson Welles' own forays into fakery - but the "essay film" rockets through its ideas, presupposes much knowledge, and opts for a wordy, poetic free artistic form over coherence and consequence.
★★★★☆
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