The best Joseph Cotten’s documentary movies
We present our ranking of the best Joseph Cotten’s movies. Do you love cinema? Or are you looking for a movie of your favorite actor to watch tonight? Surely you have some to see or that you did not know yet about Joseph Cotten.
F for Fake
7.7/10
Documents the lives of infamous fakers Elmyr de Hory and Clifford Irving. De Hory, who later committed suicide to avoid more prison time, made his name by selling forged works of art by painters like Picasso and Matisse. Irving was infamous for writing a fake autobiography of Howard Hughes. Welles moves between documentary and fiction as he examines the fundamental elements of fraud and the people who commit fraud at the expense of others.
Hollywood and the Stars
NBC's pioneering documentary series, produced by the David L. Wolper Production Company, in association with United Artists Television. Each 30-minute show concentrated on a Hollywood genre, film or legendary star. This series ran from September 30, 1963 until May 18, 1964, and many of its individual episodes were released into the home gauge market in shortened form. Certain episodes would focus on films being made at the time, notably Preminger's The Cardinal and Huston's Night of the Iguana.
Mysteries of the Gods
5.7/10
William Shatner explores the theory that the U.S. government is involved in a cover-up of visiting alien spacecraft. Based on a book by Erich von Däniken, this documentary contains evidence of extraterrestrial life here on earth. Proof discovered through photographs taken by scientists and evidence of actual voyages found by archaeologists.
F for Fake Trailer
7.4/10
An unreleased 9 minute trailer for F for Fake directed by Orson Welles as promotional reel for the film's American release.
Citizen Kane Trailer
7.7/10
The Citizen Kane Trailer is a four-minute, self-contained "making-of" featurette, released in 1940 to promote the feature film Citizen Kane. Unlike standard theatrical trailers of the era, it did not feature any footage of the actual film itself, but was instead a wholly original pseudo-documentary (considered by numerous film scholars such as Simon Callow, Joseph McBride and Jonathan Rosenbaum to be a standalone short film). In future works, Welles would build off this faux-documentary framework.
