Paper Moon (1973) Pitch-Perfect Homage to the Golden Age of 1930’s Hollywood (Review)

Films that trade in the retro have become a commodity post-2010, with a countless barrage either slavishly replicating or parodying bygone ages – especially the 1980s. Such films have escaped the cult domain and penetrated the mainstream, truly the mark that something has had its day in the sun. It wasn’t always this way. Cinema is forever replicating itself and with the drove of Kung Fury’s populating the world, it would be easy to forget the high-end of this endeavour. Enter Peter Bogdanovich’s, Paper Moon.

Paper Moon perfectly adopts the style of the classic Hollywood era comedy-drama to tell the story of 9-year-old Tatum O’Neal (Addie), a young girl whose mother is buried in the opening frame. Left with nothing to her name and no close family, save for an Aunt on the opposite end of the country, the only person left to help is the suspicious ‘Moze’ (played by real-life Dad, Ryan O’Neal). Initially, the plan was for Moze to cash in on Addie, drop her off at the nearest train station and move on, but thanks to an intense exchange in a diner that plan changed. Instead, the hostile Addie and Moze drive cross-country grifting their way to Aunt Billie.

That aforementioned intense exchange in the diner is the very moment where the concept crystallizes and becomes something special. As would be expected, Addie is quietly reserved at her new-found circumstances and standoffish with her new guardian, Moze wants to be rid of the troublesome kid. He fails to assert a misguided parental dominance which creates an emotional conflict that is every bit as intense as a marquee moment in an action movie.

With that change in plans, the film relishes the time-honoured road movie narrative of Addie and Moze moving from one escapade to the next. First, they sell sloppily personalized Bibles to Widows, and then they are joined by Madeline Kahn’s wonderfully monikered Trixie Delight, before having a run-in with bootleggers. Even with the two constantly breaking the law and manipulating others, there is a wonderful innocence to the film – a key part of which comes from the performances of the central pair and their chemistry.

Even though the plot suggests that Moze may well be Addie’s Dad, it’s neither confirmed nor denied. However, the reality of the two leads gives the young Tatum confidence afforded by few other child actors. Traditionally, these two would have to get comfortable with each other off-set, but because that isn’t necessary she performs with naturalism and intelligence that all kids have, what more there isn’t an ounce of cloying precociousness that the role would be entwined with if the movie was cast another way. Not only is she good with her Dad, but that confidence also allows her the opportunity to outshine Madeline Kahn – something few actors ever achieved.

Rewinding back to the opening statement, Paper Moon and Bogdanovich perfectly recreate the style and tone of the 30s or 40s Hollywood picture, from the hazy and nostalgic Americana of the black & white photography, stacking the credits at the beginning of the film (accompanied by jaunty melody) and the playful timeless sense of humour. It’s only in looking at the film post-viewing that the realisation sank in that this wasn’t a 40s classic; in fact, this is from the last Hollywood boom period – the 1970s. Bogdanovich uses the effortlessly evocative sense of place and time to subvert expectations. Using the sassy cuteness of Tatum, the film addresses the changing state of the nation by stealing a glance at both police corruption and the final throes of slavery. With the style and rebellious detours Paper Moon always feels fresh and a world away from the hollow cover acts that 80s nostalgia films become.

Peter Bogdanovich, Editor Verna Fields and DoP László Kovács have done wonderful things with Joe David Brown’s source novel. Like those who can say “I remember when this all used to be fields”, Paper Moon reminds of humble homespun whimsy and the spirit of adventure – the perfect capsule of what Hollywood can be. Masters of Cinema do their usual trick of finding or developing the best print imaginable, restoring Bogdanovich’s forgotten opus to life. Their extras game improving with each release, the booklet is as good as ever with a newly commissioned essay by Michael Brooke, on the disc, there is a nostalgic and informative commentary by Bogdanovich as well as a bevvy of making-of videos. Yet another class act from Masters of Cinema.

Thanks for reading our review of Paper Moon

For more Movie talk, check out our podcast CINEMA ECLECTICA Paper Moon was reviewed on Episode 22