The Fake (1953)

An enjoyable watch,  21 July 2021

A security expert, Paul Mitchell (Dennis O’Keefe), working for the Tate Gallery in London, is concerned about the possible theft of a priceless Da Vinci painting.  Two other Da Vinci’s were recently stolen from galleries in Florence and New York.  In both cases, the original was replaced by a near-perfect forgery.  When the Tate Da Vinci is ultimately stolen, Mitchell sets out to catch a thief.

Overall, I enjoyed The Fake.  Sure, it’s never going to be on anyone’s Top 10 list, but it had enough going on that I had fun with it.  I’m a sucker for a stolen art plot line, so this one naturally appealed to me.  From the opening scenes on the crowded dock to the finale as the art thief is revealed, The Fake moves at a nice, but leisurely pace.  Having the actual Tate Gallery as a shooting location really helped the “feel” of the film.   I’ve got no complaints with respect to the film’s two main leads, O’Keefe and Colleen Gray.  There’s some definite chemistry between the two - the dinner scene, complete with playful banter, being a good example.  The supporting cast is made up of a bunch of British actors that, while not familiar to me, really give the film some color.  Finally, the solution to the mystery was satisfactory.  We, as viewers, get the chance to figure things out right along (or even quicker) than our hero, Mitchell.

One thing that really bothered me was the security set-up at the Tate.  I realize (or hope) that the actual security is different, but as pictured here, anyone could have stolen the painting.  From unlocked doors in the basement to open windows to the lack of any alarm system, the painting was practically begging to be stolen.

Finally, IMDb lists The Fake as a crime / drama / film noir. I agree with the first two, crime and drama.  And you can even add Mystery.  But what about film noir?  No way.  If you’re watching The Fake for the darker elements associated with a noir, you’ll be disappointed.

6/10