Richard Gere: Clifford Irving
Alfred Molina: Dick Suskin
Marcia Gay Harden: Edith Irving
Julie Delpy: Nina Van Pallandt
Hope Davis: Andrea Tate
David Aaron Baker: Brad Silber
Eli Wallach: Noah Dietrich
Stanley Tucci: Shelton Fisher
Antonie Knoppers: Frederick Van Pallandt
Zeljko Ivanek: Ralph Graves
John Carter: Harold McGraw
John Bedford Lloyd: Frank McCullough
Directed By: Lasse Hallstrom
Release Date: April 6, 2007
Running Time: 1 hour and 55 minutes
Rated R for language.
The list of American fraudsters is long, ranging from Frank Abagnale to even con-artists as recent as James Frey (A Million Little Pieces), and while some are more notorious than others, it is impossible to ignore the guts and determination of author Clifford Irving. When it appeared that he was caught and sunk, his impressively insane steadfastness broke through barrier after barrier. One scene in particular showed Irving preparing for a speech at the release party for his phony “autobiography” of billionaire Howard Hughes. Behind him, gazing down from an enormous picture is Hughes, and in that moment not a word is spoken, but viewers can clearly understand the thoughts racing through Irving’s brain. “What am I doing?” It is a terrific scene in an equally as terrific film.
The early 1970’s were not very good to Clifford Irving (Richard Gere). His book “Rudnick’s Problem” was all ready to be published, but a scathing review ended that process abruptly. He had no projects in development, and on top of that, his marriage was on shaky ground due to a past affair involving Nina Van Pallandt (Julie Delpy). Following a series of coincidental circumstances, the out of work writer has a light bulb go on. He will write an autobiography of the recluse billionaire Howard Hughes, and sell it to McGraw-Hill publishing for loads of money. The only problem is, this book will have to be bogus, since he does not know Mr. Hughes. He enlists the help of his friend, fellow author Dick Suskin (Alfred Molina), and together they do everything in their power to locate, dig up, and steal hidden and lost information about the bizarre Hughes, so the book can be as accurate as possible. He copies Hughes’ handwriting style, and is skilled and relaxed when questioned about the details of this man’s life. Since Hughes does not speak to the press anymore, this way of making easy cash seems like a slam dunk. Unfortunately, the lies continue, become bigger, and increasingly risky. Every obstacle Irving overcomes makes it harder to cover up his deceit.
The career of Richard Gere largely resembles a rollercoaster ride at Disney with the amount of hills. Since the year 2000, viewers have watched him in some horrid roles like The Mothman Prophecies, Shall We Dance?, and Bee Season, but have adored his undeniable charm in Chicago and Unfaithful. This is the edgy Gere that lights up the screen like no one else, and has no trouble putting us under his polished and witty spell. This time, he sports a toupee, and is a spot-on match for the real Clifford Irving. What Gere accomplished here is extraordinary. He causes other writers who have been dishonored to look insignificant and amateurish. Irving is conniving, crazy, and amiable in a way that lures so many people to play his devious game. This is not just a good performance by a veteran Gere. It is a great performance that will hopefully not be overlooked for next years Oscars.
The nervously hilarious accomplice, Dick Suskin, is portrayed with marvelous timing by Alfred Molina. What an outstanding supporting role this was! Molina is such a versatile actor. He can play Doc Ock in Spiderman 2, or Bishop Manuel Aringarosa in the underrated Da Vinci Code. Molina was exceptional as Suskin, who completed all the dirty work of obtaining pictures of government documents and stealing files regarding Hughes’ business ventures. Suskin is a faithful husband, and devoted friend to Irving, but he is undoubtedly participating in this gamble for some money. He and Gere are an irreplaceable duo. The women lend some stirring turns as well. Marcia Gay Harden gives her most notable and moving work since 2003’s Mystic River. Julie Delpy is also satisfying in her minor part as Irving’s mistress, who is regrettably aware of the scheme. The most engaging female offering is from Hope Davis as Irving’s editor, who has absolutely been on a roll since 2002’s About Schmidt.
The Hoax is Director Lasse Hallstrom’s most ambitious and challenging effort to date. It is on par with some of his most remarkable achievements such as What’s Eating Gilbert Grape, Chocolat, and the criminally forgotten gem, An Unfinished Life. He weaves his way through the early 1970’s culture by displaying glimpses of war protests and politics, in addition to propaganda involving Richard Nixon. Hallstrom’s audacious techniques are amazing. He switches the visual palette from black & white to color in such a hysterically vivid noir like manner. He actually sucks the viewer in to Irving’s lies as he tells them. We are transported into a phony cover up story, and come to believe in what Irving is saying, even though we all know is full of it.
This in an incredibly intricate job where Hallstrom, Cinematographer Oliver Stapleton, and Editor Andrew Mondshein craft expert transitions from scene to scene. The rapid editing results in consistent entertainment. Note the sequence where Irving and Suskin run agitatedly through the stairwell thinking they are finished. Catch Me if You Can obviously had an effect on this final cut. The set design of Carol Silverman and costuming by David C. Robinson are both reminiscent of that superstellar Spielberg work, but the pacing and structure is what stands out in The Hoax. The suspense is invigorating, the character studies are captivating, and the storyline is absorbing. Adapted from the memoir of the same name by Clifford Irving, sophomore screenwriter William Wheeler brilliantly mixes fact and fiction.
Many criticize The Hoax for taking too many liberties with the original story. Similar nitpicking took place during the release of the aforementioned Catch Me if You Can. What do critics expect? Producing 100% truthfulness is ridiculously hard. I can’t imagine how difficult it was for Wheeler to contain and construct this infamous true story into a film that was both riveting and intriguing. Some of the details might have been altered, but the main objective stayed properly on focus.
This is a half fictitious caper flick, half “true story” about what happens when paranoia and delusion eclipse what was originally supposed to be a quick scam of simple mischievousness. The real Clifford Irving is not a fan of this film, but that’s not terribly surprising. It’s too bad he is denouncing it because this is a triumphantly sly tale that succeeds from every angle.
The 411: The trailer for The Hoax didn’t entice me really, but I had an opportunity to see it at a nearby theater, so I did. I am glad I spent the money now because this is a superlative film filled with excellent performances from Gere, Molina, and Davis. For Director Lasse Hallstrom, it marks another fine piece of work, and a change from his usually cautiously geared tales. I cannot award a perfect score, but for the most part, this is yet another solid film for April. On a side note, this would even more mesmerizing to watch after viewing Martin Scorsese’s The Aviator about Howard Hughes. I would imagine that this will gain much of its audience on DVD, but it is worth seeking out at theaters now.
