Paper Moon [4K UHD]

Studio: The Criterion Collection

Nov 26, 2024 Web Exclusive By Kaveh Jalinous Photography by The Criterion Collection

Sometimes, a film feels like a miracle. A true testament to everything just coming together right. A script perfectly synced to the themes of its story. Actors perfectly synced to their characters. A true, beating heart. Peter Bogdanovich’s Paper Moon (1973) feels like one of those films. In the classic film, everything just works. And moreover, it feels like the quintessential American film, while simultaneously beckoning viewers to revisit their assumptions of what the quintessential American film may even be.

The story of Paper Moon is simple. At her mother’s small funeral in Kansas, now-orphaned 11-year-old Addie (Tatum O’Neal) is as baffled as the three other people in attendance when an unknown man pulls up to the function in his loud, beat-down car. The first thing people comment on: the man, whose name is Moses (Ryan O’Neal), bears a striking resemblance to Addie. Moses can’t stand the comments; from what it seems, neither can Addie. Not sure of where Addie should go, the funeral attendees ask Moses to drive Addie to her aunt’s house in Missouri. Reluctantly, he agrees.

As the two spend more time together, Addie learns more about Moses’ life. It turns out he works as a Bible salesman-slash-conman, who preys on recent widows he reads about in the obituaries section to upcharge them on ‘special edition’ bibles. Addie quickly begins to help Moses with his scam. As the two drive throughout the state, they cross paths with new characters and clash with one another in ways that feel painfully familial.

That’s the beauty of Paper Moon. While the film opens on the question of whether Addie and Moses are related, it becomes clear early on that—despite their objections—they almost have to be. Appearances aside (after all, Tatum O’Neal is Ryan O’Neal’s daughter), the two share pretty much the exact same personality—interacting with people, conning their “clients” and fighting with one another in identical fashion. That’s what makes their quasi-friendship so charming. There’s a sense of love and compassion that drives the film’s story, however simple or linear it may feel on the surface. And most of those emotions can be drawn from these two characters, whose simple actions feel consistently complicated and nuanced.

Much like Bogdanovich’s other acclaimed ‘70s classic, The Last Picture Show, Paper Moon is a striking critique of the American Dream. Throughout the film, Addie and Moses are always in search of something; in search of the cash to keep them moving, in search of new people to con and, technically, in search of a place for Addie to live. Their journey takes them through the entire cycle of the American Dream: the possibility of being able to make a name or life for themselves, followed by the shattering realization that, despite any success they have, they’ll always end up right back where they started. The clash between the ideal and real America are less pronounced than in The Last Picture Show, on account of this film’s lighter script and more approachable story. But, it’s very much still there, a testament to both Alvin Sargent’s excellent script and Bogdanovich’s framing of the midwest—whose vast expanses easily double as metaphors for the endlessness of American ambition.

The 4K digital restoration of Paper Moon looks absolutely stunning, perfectly capturing the aforementioned midwestern landscapes and plains with sharp and striking contrasts. The Criterion Collection’s release brings this gorgeous new restoration together with an exciting array of special features. Among the best: audio commentary with Bogdanovich, a three-part making of documentary and a video essay by Peter Tonguette, Bogdanovich’s biographer.

(www.criterion.com/films/29964-paper-moon)

Comments