jbrooks: The Film Forum's print of FAKE was acceptable, but I have a memory of more vivid color from my previous screenings some years ago -- when New York University's Film School did a Welles retrospective, for instance, in 1989.
I did stay for THE IMMORTAL STORY, and the print I saw had Italian subtitles (which I found a bit annoying because they took up so much space) and, again, my memory was of glorious color -- I believe this was the first film Welles made in color -- and the Film Forum print was far from glorious. However, the film made a wonderfully dreamy contrast with F FOR FAKE, and seemed like a languid fairy-tale being spun by a master storyteller. It had a sort of timeless quality -- the slow pace, the sound of crickets chirping in the night scenes, the recurring Satie piano music -- and of course, Jeanne Moreau is marvelous in it, and so is Welles, and I ended up thoroughly enjoying it, which I hadn't expected to, because I was mainly interested in seeing F FOR FAKE again.
There's a revealing quote by Welles on page 105 of "The Unknown Orson Welles" published by the Munich Filmmuseum: "When I finished F FOR FAKE, I thought I had discovered a new kind of movie and it was the kind of movie I wanted to spend the rest of my life doing. And it was the failure of F FOR FAKE in America and also in England that was one of the big shocks of my life. Because I really thought I was onto something. And it's a form, in other words, the essay, the personal essay, as opposed to the documentary, quite different. Not a documentary at all." -- Orson Welles, 1982 This just three years before his death.