With the O’Neals, Bogdanovich trusts their own real life bumping up against the written word. And they know it too. And they and Bogdanovich know that the future is a mystery. Taking the time to look at their faces and wonder what else they’re thinking, or what is down the road or around a corner adds an extra visually potent unknowability about what will happen to these two.
Shooting in high-contrast black-and-white (and frequently in Wellesian deep focus), Kovacs creates vivid images that make the past seem startlingly, palpably alive. Bogdanovich’s direction is another feat of hyperrealism: the film features numerous long takes that contain both lots of dialogue and complicated blocking, these sequences all the more impressive given that one of the leads was only eight years old when the movie was made.
A heavenly joy - from the first image to the last, I had a smile on my face. This is Bogdanovich's masterpiece. One of the most entertaining, moving, and wonderful films I've seen in a long time. The O'Neals are incredible together, the look and setting is remarkable (we simply cannot make period pieces look like this anymore - the infrastructure simply sin't there). What a wonderful film this is. A cinematic marvel.
I don’t think a more perfect road movie, nor a more perfect father-daughter movie, has ever been made. Both O’Neals are extraordinary, but Tatum is the star. She’s the first Juno: smart, funny, more than a little sassy, and adorable. She deserved every ounce of that Oscar. Bogdanovich excels in not making the film feel dated, rather beautiful and endearing.
'Sun-drenched Americana disillusionment' is probably my favorite film sub-genre and Bogdanovich knocked it out of the park with this and The Last Picture Show. Except Paper Moon is also funny and heartwarming, even when coated in Great Depression blues. Anchored by a pair of extraordinary performances, a taut script by an all time great and stunning photography, Paper Moon is a film that merits study and love.
Paper Moon is one of Bogdanovich's best films, one made at the peak of his career. Shot in beautiful B&W, it's about a self-absorbed con man who gets stuck with a little girl who may or may not be his daughter as they travel the American South in the 1930s. Starring Ryan & Tatum O'Neal, the father & daughter duo both deliver career best performances here. It's also a shame Tatum didn't get the career she deserved.
Not really big on Bogdanovich usually, not really big on Ryan O'Neal usually. Tatum really makes this worth seeing, and though I really don't believe in that ceremony anymore, she certainly earned her Oscar.