Synopsis
These aren't everyday people and this is no ordinary movie.
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.
1973 Directed by Peter Bogdanovich
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.
Tatum O'Neal Ryan O'Neal Madeline Kahn John Hillerman Jessie Lee Fulton Noble Willingham Randy Quaid P.J. Johnson James N. Harrell Burton Gilliam Hugh Gillin Desmond Dhooge Art Ellison Lila Waters Bob Young Jack Saunders Jody Wilbur Liz Ross Yvonne Harrison Ed Reed Dorothy Price Eleanor Bogart Dorothy Forster Lana Daniel Herschel Morris Dejah Moore Ralph Coder Harriet Ketchum Kenneth Hughes Show All…
Luna di carta, Хартиена луна, Lua de papel, Paperikuu, La barbe à papa, Luna de papel, Χάρτινο Φεγγάρι, Papírhold, Papierowy księżyc, Mesec od papira, Ay Beyazdir, ペーパームーン, 페이퍼 문, Papírový měsíc, Papierový mesiac, Paper Moon - Luna di carta, Бумажная луна, La Barbe à papa, Lua de Papel, Luna de hârtie, ירח של נייר, 纸月亮, ペーパー・ムーン, Aya Yolculuk, Паперовий місяць, 紙月亮, ماه کاغذی, Lluna de paper, พระจันทร์กระดาษ
A scowling 9-year-old girl smokes cigarettes and does crimes. What more could anyone want from a movie?
tatum o'neal charges that rich lady $24 for a bible. i ran that through an inflation calculator and $24 in the 1930s would amount to about $420 today............ok, werk
A soft smile of a movie. The little :') emoticon come to life. I can't wait to watch it again. After four films I'm ready to say it– this Bogdanovich guy ("Peter" to his friends) has really got something! Hope he makes more movies. I'm a Bogdanofan!
I can't think of many other films that stay heartwarming without being corny so gracefully. It is SO RARE to see a film that can make you laugh and cry without manipulating you into it - there is no swelling music here, no trademark Hollywood "LOOK AT THIS! FEEL SOMETHING!" close-ups. An impeccable period piece with a delicate soul.
“we just have to keep on veering, that's all.”
this movie is so many things to me. It’s my anxiety forcing me to miss days and days of school. It’s me waking up at 6am and begging my dad not to make me go because I just can’t deal with it all again today. this movie is my dad driving me all around our small town, and into the city, and up and down every highway. It’s my dad stopping at every yard sale along the way looking for a record or a book I might like. It’s me turning channels on the radio in the passenger seat with the windows down. It’s us arguing back and forth about the…
Ryan O'Neal casually handing his nine-year-old daughter a lit cigarette has got to be one of the funniest images ever committed to celluloid
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…
83
The relationship between Ryan O'Neal and Tatum O'Neal is so effortlessly charming in Paper Moon. Besides the obvious influence of their real-life father/daughter dynamic, it's clear that their banter and humor is informed by an authentic experience, no matter how different it is from any depiction of the Great Depression. That balance of sharp wit and underlying sadness makes for one hell of an emotional movie, especially when considering Peter Bogdanovich's craft behind the camera. Having László Kovács as the DP certainly doesn't hurt either. Not quite a total coin-flip of The Last Picture Show and its ruthless pessimism, this is nonetheless an adorable film that somehow never flinches from tangents of more overtly melancholic flourishes. The key performance for embodying this energy is Madeline Kahn, who continues to be one of the greatest scene stealers in cinema history.
addie is a queen for only letting moze scam rich people!!!
also films about children & adults bonding on the road is truly becoming one of my favorite tropes (alice in the cities, paris, tx). they are filled with the most wholesome vibes, which i think we all need right now :’)
well. add him to the list of hot reluctant father figures whose hearts open up as the film progresses aka the best trope in film