The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

The first frame of the picture starts with a song entitled "It's Only A Paper Moon" and when the opening titles came on screen, the film felt reminiscent of a Woody Allen film, but in respect Bogdanovich had gone to extreme lengths of trying to pay homage to the great film maestro Orson Welles. I would have to concur that the cinematography and the credit for the use of deep focus should be credited to James Wong Howe who started an experimental process as far back as 1925, since he was experimenting with camera lenses and lighting to make sequences stand out in the pictures. The film then went on to tell the story of a bible salesman, and just as he was making his sales with a satisfactory customer, he notices an adolescent girl that wants to learn the trick of the trade in selling bibles as part of a con job. One thing that I will note that makes this film a grand masterpiece is the use of black and white cinematography, popular songs in the background as the film's score, the performances by Ryan O'Neal and his daughter Tatum are superb, as well as Madeline Kahn in an Oscar-nominated performance. Another positive aspect about this film is the direction that Bogdanovich outlays from story, character development, and conveying the feel and look of the era of the Great Depression. I saw this film nearly 4 to 5 years ago on DVD, there are some cons to this film, that can make it a bit problematic, first is the length, I understand that the film is long and that when there is not much action, your mind cannot take the stress of too much dialogue sequences, which is what I felt whilst watching this movie. I also felt that some of the sequences like when Ryan O'Neal is out with the Tatum O'Neal in the middle of the town in Texas is a bit antiquated when she ends up getting lost and Ryan had to search all over the area to find her. But, I do have some positive things to say about the camera angles and shots used in the film, for the sequence when Ryan O'Neal is talking to the mechanic at a train station if you look carefully at the far left of the screen, of the open window right behind the man in the train station, you can see two girls playing out back in clear view. It is distracting and takes the focus away from the story, but it is pretty awesome to see something like that in a film such as this. I like the film, and it's a story that has been used in modern films and TV shows to provide inspiration like "Suite Life of Zack and Cody" when they re-used the same story but to con the people in the hotel. That's what I feel about this movie, a grand masterpiece from Peter Bogdanovich.

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"!).

Paper Moon shows us a simpler time, those Depression Era Thirties. In those days everyone was scratching for a dollar some less honestly than others like Ryan O'Neal. He plays a conman whose current scam is being a Bible salesman. Now could there be anything dishonest about a salesman of the Good Book? I won't describe his con, but it's a good one and in Middle America, Kansas of the Thirties, there's lots of suckers ready to be trimmed in this kind of scheme.But O'Neal gets a call on route that a woman he was intimately acquainted with has died. The 10 year old child she left behind could very well be O'Neal's.Ryan only agrees to deliver the girl to an aunt in St. Joseph, Missouri, but real life daughter Tatum kind of grows on him. And she certainly has his conning ways which would convince anyone she really is his daughter. She aids and abets him and comes up with some schemes of her own. Especially one involving Madeline Kahn who is a woman of some easy virtue who Ryan takes up with and Tatum can no way see as a mother figure.Paper Moon with its great musical score of 30s standards is my kind of film for that alone. But with real life father and daughter playing father and daughter on screen there's a special dimension for those really sublime and quality scenes. It's what earned Paper Moon it's Oscar for Tatum O'Neal as Best Supporting Actress. Doubly impressive since Madeline Kahn was also nominated. Paper Moon was also nominated for Best Sound and for Adapted Screenplay.In the cast you will really be surprised at John Hillerman's portrayal of a mean and corrupt redneck sheriff. It is such a far cry from being Higgins on Magnum, PI, Hillerman carries it off so well.I doubt in this day and age that Tatum and Ryan could have had the happy ending they did, but that's probably for the better. Still Paper Moon is nice nostalgic film about some less than honorable people.

Addie Loggins (Tatum O'Neal) is at her mother's burial. Moses Pray (Ryan O'Neal) shows up and is persuaded to deliver her to her aunt in Missouri. Moses is a con man who dated Addie's mother and is possibly her father. He get $200 for her death but uses half to fix his own car. She demands to get the full $200 and he reluctantly agrees to earn the money to give her. They travel on the road where Addie learns Moses' con tricks. They pick up carnival dancer Trixie Delight (Madeline Kahn) at one stop. At another, they con the wrong bootlegger and is hunted by Sheriff Hardin (John Hillerman).The stark black and white visual by Peter Bogdanovich is beautiful. There is a little bit of violence, a good dose of desperation and a large amount of plucky little girl acting. It's an appealing mixture. The fact that Tatum was an amateur does show but it actually adds to her performance. There is an earnestness about it and the chemistry is terrific.