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A bible salesman teams up with an orphan girl to form a money-making con team in Depression-era Kansas.
Expertly balancing tones, Paper Moon is a deft blend of film nostalgia and finely tuned performances -- especially from Tatum O'Neal, who won an Oscar for her debut.
It is very fussy about period detail, and goes to some length to evoke the dim days of Depression America, while just about everything else is left to slide.
A charming mixture of Hawksian comedy and Fordian lyricism.
From its opening monochrome close-up of nine-year-old Addie Loggins at the barely attended outdoor funeral of her mother, Peter Bogdanovich's Depression-era road movie Paper Moon (1973) is dominated by the presence of Tatum O'Neal.
It's everything a road picture is supposed to be, a life-changing personal journey, a quest, a bit old-fashioned and a hoot.
The film never makes up its mind whether it wants to be an instant antique or a comment on one.
A cute little family drama about a young con artist and her father as they build a grifting empire.
Tatum O'Neal makes a sensational screen debut.
I wonder how many moviegoers will be prepared for the astonishing confidence and depth that Tatum brings to what's really the starring role.
What's most interesting about Paper Moon is that it has the tone and timbre of a comedy, but the setting and style of the film are somber and more reminiscent of a European art film.
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