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|Peter Paul Biro||Participant|
|Harry Moses||Director, Producer, Screenwriter|
|Terence Blanchard||Score Composer|
|William Cassara||Camera Operator|
|Don Hewitt||Executive Producer|
|Everett Wong||Sound/Sound Designer|
Posted October 1, 2010
Compelling story, genuine 'characters' master editing, just right. worth a second look, and a good story for group discussing. highest rating = 5 Stars.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted October 1, 2010
This is a fascinating, albeit frustrating film to watch. At face value, it is a story that objectively questions the authenticity of an alleged Jackson Pollock piece of art. Peel back the layers, and you find a story of The Haves vs. The Have-Nots; the Aristocracy vs. The Working Class, if you will.
The art critics/experts in this film rub me the wrong way: so sure of their certainty are they, that they ignore forensic evidence that contradicts their own beliefs. One such expert, Thomas Hoving, is so steadfast in his commitment to his opinion, that at one point he essentially claims that forensic evidence of Pollock's fingerprints on the piece of art is inconsequential. HIS opinion matters, not science's. You see, the mucky-muck art experts are so incensed that a former truck driver possesses a Pollock, that they go to any lengths to blackball her despite evidence that points in her favor. How the art world can tolerate itself is beyond me: as much as I love art, this movie opened my eyes to the corruption and aritocratic filth that runs the world of art-dealing. It's sickening.
Tha being said, the lady who possesses the painting, Teri Horton, also opens herself to criticism. Once evidence had essentially proven that her painting was authentic, she seemingly refused to take less than $50 million dollars for the painting (a high offer of $9 million dollars was declined). Here is a lady who has lived on the fringes of poverty her whole life, and despite being at odds with the upper-class art world, has essentially BECOME one of "them" through greed. A puzzling transition that leads me to believe that both sides of the battle have been blinded by economic interest, not artistic. I'm not sure Pollock would approve of such behavior.