Every film that has ever been nominated for an Academy Award in any category. Enjoy!
As P.T. Barnum put it, "There's a sucker born every minute."
During the Great Depression, a con man finds himself saddled with a young girl who may or may not be his daughter, and the two forge an unlikely partnership.
Sweet, but not surgery; very witty, but much more than merely relying on character quirks to carry it; and cutting and powerful along the way in its look at depression-era America through a charming and fun scape of family relationships and road trips, Paper Moon is a little treasure of some lovely incarnation. Capturing livelihood amidst a time of sorrow and telling a story of sweet eccentrics coming through and causing a bonafide ruckus, it's a perfectly balanced charmer by the likes of which we sadly don't see anymore.
A nifty little con game between two unlikely perfect matches, who may just even be a father and daughter team - the recently deceased mother of young Addie did get around…
Peter Bogdanovich not only evokes the look of the 1930s with the costumes, sets, and props of Paper Moon, but the feel as well; sweeping, graceful pans, stark close-ups, and plenty of low-angle shots all feel as if little Addie Pray went right on to star in a Little Rascals short once filming wrapped here. It is amazing that the decision to film in black and white is one of the least noticeable aspects of its imitation of a bygone era of film-making.
Besides being a technical marvel, what else does Paper Moon have going for it? It turns out, plenty:
One of the defining characteristics of good acting is appearing as if you're not acting at all. Tatum O'Neal…
My second movie by Peter Bogdanovich, and it's even better than the first one. Paper Moon is such a sweet movie. The main two characters are phenomenal, their chemistry is fantastic. I really like road movies and con-man movies, and this has a bit of both. The real life father and daughter, Ryan and Tatum O'Neil, play 2 characters who may or may not share that very same relationship. The casting is really great. Little Tatum O'Neil got an Oscar for her performance here, and I think it's totally deserved. This is a really charming movie, one of the best movies of 1973 for sure. Watch it if you haven't already.
N.b. I would just like to apologise for my recent absence from the site. I'm not sure what happened. Life happened I guess. I still can't say for definite how soon I will be able to resume my reviewing schedule (if at all) but as I recently had to do this one for another website I thought it was worth putting it up so I could also attach this note. I hope everyone is well and I look forward to catching up on all your reviews as soon as possible.
So anyway, on with the review...
Turning back the clock on the American Midwest, Peter Bogdanovich puts real-life father-daughter duo Ryan and Tatum O’Neal on a Depression era road trip.…
There is now the same time span between the release of Peter Bogdanovich’s Paper Moon and today as there was between that film and the 1930s environment in which it was set. As we can watch a film like David Fincher’s Zodiac and nod in appreciation of his depiction of the 70s, I’m sure there were many people around during the depression years in the Dustbowl South who watched Paper Moon with a chill of recognition.
Cinematographer László Kovács’ stark black-and-white captures the bleakness of the vistas with the same verve as he did the inherent freedom of the blacktop in Easy Rider. This is truly a place where one may have to do some pretty nefarious things to survive.…
So yesterday I watched Ryan O'Neal in The Driver as the nameless, unflustered, laconic man behind the wheel and it was a pretty iconic role that would be tough to top. Yet here we are today and he's playing a sneaky yet lovable conman alongside his real life daughter in a film that has nothing in common with The Driver at all (apart from the fact that both films contain a lot of, well, driving.) Paper Moon is no doubt the superior film and performance from O'Neal in my mind - a bittersweet, seriously fun ride through the great depression alongside two characters who often argue but are secretly having the time of their lives. Bogdanovich has never been a…
Behind the enormous charm of the performances, there's a down-and-out sadness and a yearning, befitting the depression era setting.
A con man and an orphan girl reluctantly team-up to make ends meet, but what they're really scraping together in all that time together is a trusted companionship that'll outlast any of their disreputable scams.
Beset on all sides by the emptiness of the never-more beautifully filmed Kanas and Missouri plains, a feeling of lonliness and isolation pervades every frame of László Kovács expressionist photography, advised by Orson Welles (to use a red filter that makes human skin tones a chalky white), and characterised by its dramatic skies and deep focus (everything in this film is perfectly in focus at all times).
Wise and funny with plenty of sprit and American can-do hustle, the script is wiley, the acting bracing and the direction deeply humane.
New Hollywood is generally wonderful and this is no exception.
Excellently acted period movie with Ryan O'Neal and daughter Tatum conning their way across depression hit 1930's Missouri.
Director Peter Bogdanovich provides us with a double act adventure that simply entertains throughout it's 102 minute running time. The period is presented wonderfully and captured in black and white which smply adds to the film's charm. Recommended.
Compelling, engaging, rock-solid cinema.
This review reportedly contains spoilers. I can handle the truth.
The dynamic between Moze and Addy is great, as is the final shot. They're still out there, somewhere, bickering and grifting their way across the dustbowl.
Brilliant masterpiece by Peter Bogdanovich about a Father-Daughter scam team in depression era States who unwillingly get attached to one another.
Ryan O' Neal and his daughter Tatum O'Neal(who won an oscar for this one) are simply brilliant as the two misfits. Their chemistry and timing equals that of Cary Grant and Katherine Hepburn or Clark Gable and Claudette Colbert.
Granted, Ryan's character is not only a scummy con man but also a sleezeball. Thankfully he gets balanced out by a nine year old girl who has way more common sense and just a simply sharper sense of reality.
Beautifully filmed in b/w by Lazlo Kovacs, simple but elegant direction throughout. Subtle but well realized production design and costumes. Final shot is perfection. Film strikes a deep chord in its portrayal of relationships and the road of life.
Bogdanovich really manages to show his influences from Ford and Welles in this while also standing on his own creative ground.
Rock solid classic drama...
Fun. My favorite Ryan O'Neal performance.
For a film about a con man and his little con girl partner-in-crime swindling numerous people of their money, this manages to be a film of such genuine compassion, heart, and humanity, told in Laszlo Kovacs's wistful, nostalgic black-and-white photography and phenomenal chemistry from both Ryan & Tatum O'Neal. One of the most excellently crafted crowd-pleasers in cinema.
Tatum O'Neal taking drags of her cigarettes with her best "I don't give a fuck" face is everything I aspire to be in life.
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…