Vintage Pulp Jun 23 2014
ALL'S WELLES
What is authorship, after all?


This striking paperback cover for Mr. Arkadin was put together for Britain’s WDL Books by R. W. Smethurst, a well-known illustrator of comic books during the 1950s and 1960s. The Smethurst signature you see is not an autograph, but rather part of the art, something many of his covers contained. But the fact that he claims credit at all is rather interesting, because the art isn’t completely his. He seems to have borrowed his red-skirted femme fatale from Robert Maguire, who painted her for John D. MacDonald’s April Evil, below. It’s quite possible the other figures are borrowed as well. How strange.  

Or is it? Maybe Smethurst was simply following Orson Welles’ lead. Though Welles is credited as author of Mr. Arkadin, he never wrote it. He developed a story for the film version, and wrote the script for it, but after the film he farmed out the novelization to a French film critic named Maurice Bessy. That screenplay adaptation was published in French in 1955, then translated from French into English a year later and released as what you see above. So in the end we have Welles taking credit for another’s writing, and Smethurst borrowing another’s art. And to think, all this derived from a film Welles never finished.
 
Yet, it’s fitting. Welles was consumed by the question of fakery. His documentary F for Fake discusses the subject in absorbing detail, even focusing on his own work. In short, he suggests that authenticity is a chimerical concept because it is subject to human error and fraud. While Welles slyly avoided explicitly claiming authorship of the Mr. Arkadin novelization, Maurice Bessy’s role, if it was ever widely known, was reconfirmed only in 2007. It’s easy to suspect that Welles knew the role of his ghostwriter would be forgotten. We’re talking about a man, after all, whose career caught fire thanks to one of history’s ultimate fakes—his panic inducing War of the Worlds broadcast.

We’re pretty sure, Smethurst, however, is not actually playing with the concept of fakery. John D. MacDonald was not obscure and neither was artist Robert Maguire, so there was no attempt at theft when Smethurst painted a close duplicate of Maguire’s femme. His cover falls into the category of pastiche—work in the style of another. What we’d really enjoy is if someone out there identified the other figures on the cover. But if those are Smethurst’s that would prove interesting too. In the meantime, if you want to know about Welles’ F for Fake and learn more about his attitudes toward authenticity, go here.

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Vintage Pulp | Swindles & Scams Mar 12 2009
FAUX ALL IT'S WORTH
Orson Welles' crime documentary has stood the test of time—but it won’t last forever.

Orson Welles’ Vérités et mensonges, aka F for Fake is a documentary meditation on the nature of fraud, forgery and lies that slowly expands to discuss the fragility and impermanence of all human creations. Shot in France and Spain, the film follows two main subjects—Clifford Irving, who infamously wrote a fake biography of Howard Hughes, and master art forger Elmyr de Hory. At the time of filming Irving had served jail time for his crimes, but de Hory was living on Ibiza, safe from prosecution because the many museums that owned his forgeries feared the scandals sure to result if the works were exposed as false.

De Hory’s fake paintings would never have been bought by museums if art experts hadn’t declared them legitimate. The experts were unwitting accomplices to his crimes. Clifford Irving’s fate was likewise determined by experts. He admitted his Howard Hughes biography was phony after Hughes released an audiotape claiming the two had never met, but since Hughes was a recluse who hadn’t been seen for years, how did anyone know it was really him speaking? You guessed it—a panel of experts, i.e. people who had met him, listened to the tapes and agreed the voice was his. But if art experts can’t be relied upon to determine real paintings from fake, how can a bunch of self-described Hughes experts be trusted to verify a voice on a tape? What would have happened if Irving had never confessed? Would the faker have joined the ranks of the legitimate, enshrined there for eternity? And ultimately, when everything of value hangs by such a fragile thread, does any of it have true worth?

Interesting questions, and Welles doesn’t exempt his own field from examination. He discusses his War of the Worlds broadcast, along with the fakery of acting in general. He even makes Vérités et mensonges a bit of a fake by adding sequences from a movie shot by a different director, and constantly dispelling the illusion of filmmaking by showing camera men and sound techs. It’s easy to imagine that Welles, were he alive today, would have been intrigued by the current economic crisis, and the roles played by financial regulators in the U.S. who falsely labeled billions in dodgy investment packages as safe for purchase. These men were either experts without expertise, or forgers with the power to declare their forgeries genuine. Welles probably would have loved that.

Vérités et mensonges was slammed upon release but, as often happens, the art has outlasted its detractors and now most film mavens hail it as a triumph. This too fits perfectly with Welles’ thesis. The works of humans are certain to outlast their creators and critics, but in the end all must—as he says—“fall in war, or wear away into the ultimate and universal ash.” Not very upbeat. But he also tells us, “Our songs will all be silenced, but what of it? Go on singing.” That's a sentiment we can get behind. Vérités et mensonges opened in France today in 1975. 

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History Rewind
The headlines that mattered yesteryear.
June 24
1938—Chicora Meteor Lands
In the U.S., above Chicora, Pennsylvania, a meteor estimated to have weighed 450 metric tons explodes in the upper atmosphere and scatters fragments across the sky. Only four small pieces are ever discovered, but scientists estimate that the meteor, with an explosive power of about three kilotons of TNT, would have killed everyone for miles around if it had detonated in the city.
June 23
1973—Peter Dinsdale Commits First Arson
A fire at a house in Hull, England, kills a six year old boy and is believed to be an accident until it later is discovered to be a case of arson. It is the first of twenty-six deaths by fire caused over the next seven years by serial-arsonist Peter Dinsdale. Dinsdale is finally captured in 1981, pleads guilty to multiple manslaughter, and is detained indefinitely under Britain's Mental Health Act as a dangerous psychotic.
June 22
1944—G.I. Bill Goes into Effect
U.S. president Franklin D. Roosevelt signs the Servicemen's Readjustment Act into law. Commonly known as the G.I. Bill of Rights, or simply G.I. Bill, the grants toward college and vocational education, generous unemployment benefits, and low interest home and business loans the Bill provided to nearly ten million military veterans was one of the largest factors involved in building the vast American middle class of the 1950s and 1960s.
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