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.
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…
Peter Bogdanovich made a great little movie here. It seems like he's mostly an actor now, do they not let him direct anymore? Either way, Paper Moon is a very good comedy with one of the greatest child performances ever, Addie Loggins played by Tatum O'neal.
I've had this in my Netflix queue for a long time and I've had little interest to watch it even though Netflix suggested star rating was something like 4.5. A couple days ago I saw a short clip on Youtube and I was happy to see the movie was nothing like I expected it to be. It's a black and white film set during the great depression, and it certainly isn't a movie for kids.
The script is smart and the performances are great. You can't ask for much more from a film like this.
OMG I'm in love.
Everything about this movie works together perfectly. Loved it.
Watched on Masters of Cinema's flawless new blu-ray remaster.
A tale set in the '30s with everything you wished for in it. You have a con artist, some clandestine whiskey, lack of money, a lot of money, hot dogs you have to call Coney Islands, amusement parks witch cotton candy and dancers, and police chases. Plus some incredible performances.
Bechdel-Wallace test: pass
A gem of a film about a grifter and a young prodigy in the craft that team up in an effort to make some green and, perhaps, form their own little family.
The O'Neal's play well off of each other, as most would expect, and that chemistry colors the entirety of the film. I'm not sure that Tatum deserved an Oscar (her go to glare seemed to be a bit of a crutch), but her performance was a delight. She does, however, give Tom Cruise a run for his money as most dangerous stunt actor as she seems always about to fall off of or out of vehicles throughout.
Despite the work of the two lead actors, there is a…
A grown man and a little girl (most likely father-daughter and well, played by a real-life father-daughter) team up and con people across the state during Prohibition era. This is a genuinely funny and unexpectedly sweet (but not in a formulaic way, mind you) film largely thanks to the terrific on-screen formula by the aforementioned father-daughter team of Ryan and Tatum O'Neal along with Madeline Kahn who owns her small role. The black-and-white cinematography makes it almost feel like it was made in the era in which it was set. I love that it doesn't fall into the trap of adult-meets-precocious kid type of films. And FYI: Tatum O'Neal is no supporting actress. She is a lead, dammit. Peter Bogdanovich is moving up the list of my favorite filmmakers.
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.
[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…