In the early 1970s author Clifford Irving hit it big. He was called upon by Howard Hughes, the eccentric billionaire from Texas, to write his autobiography. The publishing industry was abuzz with rumors of such a book and top dollar was to be paid for any work unraveling the enigma that was Hughes. Clifford was on cloud nine, but there was one small hitch: none of it was real. The book Clifford sold to McGraw-Hill was a complete fabrication. He never had a deal with Hughes nor ever met the man. Through numerous forgeries and a superb talent for bending the truth, Clifford was able to fool not only top-flight executives, but even himself.

As far as proven track records are concerned, Lasse Hallström surpasses most directors with an abundance of quality. Whether it is the heart-wrenching emotion of What’s Eating Gilbert Grape, the delicious vitality of Chocolat, or the subdued desperation of The Shipping News, Hallström is most certainly a proven commodity. This theme carries us right to the doorstep of The Hoax, Hallström’s energetic satire covering one of the most peculiar charades in modern U.S. history. The Hoax takes the audience on exciting ride following Clifford Irving (Richard Gere) and his pal Dick Suskind (Alfred Molina) through the scheme’s wild inventions. Beginning with a light heart, the film soon turns to a more didactic approach, offering commentary on the questionable integrity of the political machine (namely the Nixon administration) and marital infidelity. For the most part, Hallström is able to translate these strong themes in William Wheeler’s screenplay (based on Clifford Irving’s own book on the affair), but he stumbles through the political avenues and lessens the weight of the blow. As a result, The Hoax finds itself in satirical limbo. However, when these shifts occur, the acting steps up.

Richard Gere’s performance as the unconscionable Clifford is, quite frankly, mind-blowing considering his recent work. Gere goes well beyond the typecast here and puts his range on display. One can’t help drawing parallels between this role and his excellent portrayal of Jack Sommersby in the often underrated 1993 film Sommersby. Alfred Molina is a great compliment as well, but what is lacking is a more involved female role to provide balance to the picture. Despite this minor detail, The Hoax is able to achieve its lofty goals through the unique story line and the powerful portrayal of the story’s primary protagonists.

Adam Neal is the Founder of featurefilmreview.com. Please e-mail comments to adam(@)featurefilmreview.com.