The Hoax is a 2006 American comedy-drama film starring Richard Gere, directed by Swedish filmmaker Lasse Hallström.

Irving believes he has a breakout work, but the publisher decides against releasing the book after a Life editor deems it unsatisfactory.

They illicitly obtain a copy of a draft biography of Noah Dietrich, a retired Hughes aide, which provides details that add to the apparent authenticity of their work.

Irving recites passages into a tape recorder while in character as Hughes, dressing like the millionaire and adding a mustache during these sessions.

As work on the book progresses, Irving receives a box containing scandalous material about questionable dealings between Hughes and President Richard Nixon.

In what is implied to be a favor to Nixon, Hughes goes public via a televised conference call and denies any knowledge of Irving or the book.

At a press conference, a government spokesman announces that Irving, Edith, and Suskind have received short jail sentences.

Scott of The New York Times said the film was "for the most part a jumpy, suspenseful caper, full of narrow escapes, improbable reversals and complicated intrigue.

"[5] Kenneth Turan of the Los Angeles Times said the film was "an unexpectedly satisfying fantasia of reality and imagination, a meditation on the nature of lies and deception, on how we come to embrace not the truth but what it suits us to believe ... sharply written ... and gracefully directed.

"[7] Deborah Young of Variety describe the film as a "breezy, fast-paced, somewhat loose-ended account [that] offers a surprisingly layered vehicle for a maniacally conniving Richard Gere, backed up by a superb Alfred Molina as his accomplice.

The site's consensus states: "The Hoax is an enormously appealing film, thanks to the uniformly excellent performances and Lasse Hallström's zippy direction.

Irving observed, "The movie misses the point that the Howard Hughes hoax was a live-action adventure story concocted by two middle-aged hippie expat writers and a Swiss heiress.

Edith, my then-wife, a woman of great zest, is portrayed as a dull hausfrau, and Nina van Pallandt, my Danish mistress, as barely one level above a New York hotel hooker.