lak-52805
This movie is very simple and there isn't much to say about it. A kid takes his classmate's homework accidentally and needs to return it. Along the way he seeks help of anyone that will listen because he only knows what village the classmate lives in and has no address. Every single conversation and set of dialogue in this movie is agonizing. In the first scene it's great and builds tension, but it grows old quickly. In every conversation someone is obviously right and the other (who is older most of the time) is incredibly stubborn. And so that's the point of the movie, the old are too stubborn and conceded to give the younger generation a chance. I've never been so annoyed watching the same thing over and over, but I get it's message so I guess the movie wins. As for the production, the sets were probably real villages in Iran, so it had a realistic and natural feel to it. Also, the direction and cinematography isn't bad, it just isn't anything impressive. Although, the ending credits music that also plays while Ahmad is running is fairly catchy, so it's got that going for it. I know people love this movie and it's message but it just wasn't for me. So to an average movie that's message was too long for 80 minutes, I give it...3.1/5
howyoodoon
It's difficult to watch this film with any impartiality, as it was one of the formative films of my childhood years. Seeing it now, over 40 years after it came out, I'm convinced it's one of the finest American films ever made. Many other viewers here have pointed out the main reasons for its greatness--so I'd like to shine a light on, perhaps, some of the less-credited components of the film's success. I'm calling them "Paper Moon's Unsung Heroes":Unsung hero #1: There's been little mention here of the actor who truly anchors this film--and gives the finest performance of his career-- Ryan O'Neal. He delivers a fully-realized, multi-faceted performance, more than worthy of an Oscar nomination (if not a "win"), in my opinion-- and he received neither. Try watching Paper Moon with your eye on O'Neal pere, rather than his adorable, scene- stealing daughter. Firstly, of course, he was one of the handsomest actors of his era, which makes such an undertaking a painless effort. But watch the subtlety of his expressions, and his nuanced comic turns. For example, in the hotel scene, where he's having his breakfast, when Imogene comes down to tell him that 'Miss Trixie' is having her "ladies' time," his reaction, turning from concerned to mortified, as he rapidly sits back down, while dropping his voice by an octave...now THAT'S comedy! His comic delivery in his first big scene with Addie (the "diner scene") is also brilliant. In fact, I can't think of a single scene where he is not completely "true-to- character". In the hands of another actor, this deceptively difficult role could have been played as 'malevolent'. O'Neal's performance shows 'Moze' to be a lovable rascal who does what he has to do in order to survive during the Great Depression. Imagine, say, Jack Nicholson in the role...It would certainly have been a different film altogether. (Sidebar comment: I realize one shouldn't judge a film actor's performance with how they are 'off-screen'--but if what Tatum says about him in her books and interviews is true, O'Neal is not quite-as-lovable a rogue, off-screen. She claims that when the Oscar nominations were announced, she did sort of a "Nahh- nah-nah-nah-nahh," to him, as bratty 10-year-olds are known to do-- and he fully punched her in the face! Gulp. All four of his children are either addicts, alcoholics or in major therapy. But I digress). The #2 "unsung hero(-ine) of this movie is the late, brilliant Polly Platt, Peter Bogdanovich's first wife (and soon-to-be-ex-wife, as he had already taken up with Cybill Shepard when this film was made). Ms. Platt designed the costumes and realized the whole "look" of the film, which Bogdanovich fully-credits her for. I can't think of any other American film of the last 50 years that so completely captures the 1930's in such a flawlessly realistic way. The attention to detail is staggering--look at any single "extra" in this film, and they are all absolutely spot-on correct to the look of that era (the hotel clerk in the 'bootlegger hotel,' with her perfect '30s "Marcelle wave" comes to mind. Unsung hero #3: Gary Chason, who PERFECTLY cast this film, including several first-time actors (Tatum O'Neal, of course...as well as Burton Gilliam, ("Floyd the Hotel Clerk"), P.J. Johnson (Imogene), among many others). I'm hard-pressed to think of another film--ever- -in which every single role is so perfectly-filled...and often by first-time actors! Unsung hero #4: László Kovács, the brilliant cinematographer. Every single shot is so perfectly thought-out and realized. In the hands of a lesser-visionary, "Paper Moon" would certainly have been a lesser film than it is (and imagine if it had been shot in COLOR!). FINALLY--he's certainly not "unsung"--but clearly, he's "under- sung": PETER BOGDANOVICH! This film is a work of sheer genius, and all roads lead back to him. I consider Paper Moon the crowning achievement of his career (with apologies to "Last Picture Show"). It's almost as if his career has followed the same "arc" as that of his great hero, mentor and friend, Orson Welles. Both of them had their greatest successes, straight out of the gate...and then were rather hung-out-to-dry by Hollywood, as if considered "passé". I keep waiting for the world to WAKE UP and realize Paper Moon is one of the absolute FINEST films in history--and should be lauded accordingly! Why is Peter Bogdanovich NOT still being given the opportunity to direct major Hollywood studio films?? The man is one of the true cinematic geniuses of our era. And yes, he is certainly a 'peer' of his hero, Mr. Welles. Could we please give him the reverence he deserves? ("Special Mention" to Tatum O'Neal, too! It seems to be "common wisdom" today, that she was simply some kind of "human puppet" for Bogdanovich to manipulate every word and movement of. I beg to differ, strongly. Some of her expressions and line deliveries are so singularly charming and individualistic--proving that she is clearly an innately-skilled and intuitive actress. This performance was no fluke. This girl/lady deserves more credit than she's given, and I say she absolutely deserved that Oscar...though it should have been for "Best Actress,"--with, of course, Madeline Kahn as "Best Supporting Actress"!).
gizmomogwai
Two years after The Last Picture Show (1971), a sophisticated drama, Peter Bogdanovich gives us another black and white period piece. But Paper Moon is something else, a hybrid of crime comedy and maybe a family drama. It starts with 9-year-old Addie at her mother's funeral, where she meets a friend of her mother, the con man Moses Pray. Moze gets $200 for Addie in compensation for her mom's death, then blows half of it on a new car for himself. The film begins to pick up and become very funny when the little girl demands her money back, showing herself worldly and forceful for her age- likely a product of being raised by a "loose" woman. Addie also suspects Moze may be her dad, which he denies- after a long pause, indicating he either knows he is or believes it's possible.What we have from here is an unusual (maybe) father-daughter story, in which the two bond, but never in a sweet and sugary way. They don't get sentimental- instead, she picks up Moze's tricks and joins in the fun, making his con jobs more equitable by sparing the impoverished and getting more out of the rich. They're on the wrong side of the law, but in their own way, each does have scruples. In the end, Addie is offered a sweet and sugary life in a comfortable home- and doesn't want it, because she prefers life with Moze, because she isn't perfect and doesn't want perfect, and the audience can feel that's who she is and can understand.Paper Moon slows down a little in the middle, when Madeline Kahn comes into the picture and Moze and Addie mess with a bootlegger. But in my view, the big payoff comes when they're arrested and pull off an extremely clumsy escape. It's a good laugh, and adds to Paper Moon's many charms.
