GRADE: A

That struggling author Clifford Irving could convince a major publisher he had been selected by none other than reclusive billionaire Howard Hughes to pen his autobiography with only a handful of forged letters speaks volumes about the publishing industry’s obsession with celebrity.

That Irving and his research partner, Richard Suskind, could convince no less than publishing giant McGraw-Hill to advance them $100,000 (nearly three-quarters of a million dollars in today’s terms) on the basis of a completely fabricated story is nothing short of crazy. But that’s what Irving and Suskind were able to do, an escapade brilliantly brought to life in director Lasse Hallström’s sly and sublime “The Hoax.”

One of the decade’s finest films, “The Hoax” is an acid and accurate depiction of greed, ignorance and delusion that begins in earnest after Irving, whose previous two books sold poorly, learns his latest effort has been rejected. Broke, angry and despondent, the suave and handsome Irving decides to join pal Suskind for a little rest and relaxation.

On the first night of his getaway, Irving and the other hotel guests are suddenly asked to leave because its owner, Howard Hughes, has notified the staff of his impending arrival, which necessitates the hotel be emptied.

Moved to some nearby lodgings, Irving catches a glimpse of the reclusive, paranoid Hughes from his bungalow window, a vision that leads to a scheme that will become one of the greatest hoaxes in modern history.

Before long that hoax is in full swing, and although Irving has his doubters, including McGraw-Hill COB Shelton Fisher, he manages to stay ahead of the truth with a growing body of counterfeit documents and anecdotes delivered with liberal doses of chutzpah.

Completely engrossing, often hilarious, “The Hoax” is a modern masterpiece mounted with ingenious cinematic flourishes that give form, shape and color to Irving’s increasingly outrageous flights of fantasy. It’s an extraordinary blend of traditional biopic and fantastical farce, creating a historically accurate, succulent slice-of-life that even manages to find room for The Watergate break-in scandal and Hughes legal battles with TWA shareholders and the U.S. Department of Justice.

As the carnivorous Irving, Richard Gere turns in a spectacular performance, matched by a large supporting cast of real characters that together become a microcosm of American culture. Add Oliver Stapelton’s evocative cinematography and William Wheeler’s astute screenplay, based on Irving’s tell-all book, and the result is a thoroughly rewarding, entertaining and insightful film—don’t miss this one!

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