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This is another of those notable films that had somehow passed me by. My feeling is that I imagined it to be rather too sugary and sentimental. Indeed it is credit, largely to Peter Bogdanovich that it is not. This is very well crafted with good dialogue and fine cinematography. There is not much required of the viewer here but whereas in similar circumstances there might have been a possibility of me dropping off, this has sufficient charm and humour to keep things moving along rather nicely. Tatum O'Neal is remarkable and whilst I realise there were many takes for certain scenes for a nine-year-old to appear so confident and emotive is remarkable. Ryan also does well, especially as his time is probably split between concentrating on his own performance and that of his daughter. Madeline Kahn is a welcome addition to the cast with a sparkling extended cameo halfway through. Extremely well made and enjoyable film that does not outstay its welcome.

Paper Moon (1973) Utterly charmed and charming. The story of a father and daughter--the actor and actress O'Neal--echoes the story in the story of a man and a little girl on the road. Yes, they scam and cheat, but they do it with relative innocence. And they are perfectly adorable. The magic between the two is partly good writing, and partly the ease that the two actors already have (or pretend to have) together. And it's filmed with nostalgic black and white clarity, perfect in a way for the Depression era it portrays, but much more alive and clean than the deep brooding intensity of a real Depression story such as the 1940 Grapes of Wrath. But Peter Bogdanovich is no John Ford, and this is a different kind of tale, with the 1930s as backdrop to a more modern kind of relationship. It has enough subtlety and laughs to make it a classic and a joy. Nothing obviously deep, but yet it sinks in farther than you think.

PAPER MOON is everything a movie should be. It's fun, it's original, and it's totally engaging from the first frame to the last. It's the story of a conman and his accomplice during the Great Depression. Made in the 1970's but nonetheless shot in black and white, the story and tone are totally perfect. The music is great, the acting is great, and the directing is wonderful. The cinematography is absolutely beautiful as well. This film is a masterpiece and it is no doubt director Peter Bogdanovich's finest film. He could have retired after making this one, and probably should have. Highly recommend.

Paper Moon is one hell of a movie. I saw this film as a 10 year old in 1973 and loved it then as I do now at 39. Set in Depression era Kansas, it is story of the relationship between Addie, a smart talking 7 year old, and Moses, a bible selling con man who might be her father. The on screen chemistry between Ryan and Tatum O'Neal is fantastic. Madeline Kahn is great as a side show floosey they pick up along the way and she almost steals the show! Filmed in Kansas and Missouri, director Peter Bogdonavich used local people in cameo roles which adds to the authentic feel of the film. Also to the director's credit, this film may be one the best to portray 1930's America. All in all, Paper Moon is full of great characters and a fine story line. On a personal note, I saw this film with my 90 year old grandmother and she laughed throughout the film and said it was one the best films she ever saw. That's not a bad recomendation coming from someone born in 1883!

As cute and sharp as it's 9-year-old star Tatum O'Neal, Paper Moon is a bona-fide gem that says that, one way or another, we're all con artists. The acting is wonderful (Ryan O'Neal was never better), the cinematography is exceptional and it's to the eternal credit of director Bogdanovich and his writer Alvin Sargeant that the caper never sinks into mushiness. By avoiding the earnestness that pervades so many Depression Era tales and perfectly balancing character with situation, it rolls along so merrily that you don't realise how touching it is until the very end. Having (criminally) never seen Paper Moon before, I suspect that it must have had more than a passing influence on a great many other movies, including my all-time favourite Midnight Run. Watching it is an experience to be savoured and treasured, and one that I'm looking forward to repeating time and again.

Exceptionally winning and entertaining film, a lovely piece of yesterday groomed by extraordinary cinematographer Laszlo Kovacs and director Peter Bogdanovich. Adapted by Alvin Sargent from the novel "Addie Pray", story of a con-artist in the Depression who gets saddled with a streetwise orphan doesn't mess with moral issues, instead plows ahead with high laughter and gritty sentiment. Smashing performances by everyone in the cast: Ryan O'Neal in particular does some of his finest work; 9-year-old Tatum O'Neal, with her lisp and icy stare, is clever and endearing, winning the Supporting Oscar; Madeline Kahn is a hoot as Trixie Delight; P.J. Johnson wonderful as Kahn's maid. Simply terrific--and one of the finest films ever made.

Unlike many films of the early 1970s, plenty before and after, viewing this doesn't continually remind you of the time of its creation, but instead deposits you into the age of the Great Depression where your mind resides for the duration. The development of the relationship between Moses and Addie is near perfect, their capers, scrapes and mischief endearingly conjuring a bond they both desperately need. I didn't expect this to be anything like as engrossing, charming and engaging as it was, perhaps being the father of two daughters with attitude enhanced the experience, but whatever it was left a lasting impression.