Adapted from the novel, "Addie Pray" (1971) by Joe David Brown, PAPER MOON is the story of Moses Pray and Addie Loggins. With scenery reminiscent of "The Grapes of Wrath," the film is set in the depression-era Midwestern region of the United States. As the movie opens, we see a small group of mourners clustered at a graveside. Among the mourners is Addie, the dead woman's small daughter. Moses Pray -- ostensibly of the "Kansas Bible Company" -- approaches the group, as the service concludes, and two of the elderly women remark that the child bears some resemblance to him and asks if he might be related. "If ever a child needed kin, it's now," one lady says. With no knowledge of who her father is, Addie's only haven is her Aunt's home in St. Joseph, Missouri. Having identified himself as a "traveling man spreading the Lord's gospel in these troubled times," "Mose" is prevailed upon to deliver the helpless child to her Aunt since he's going that way, anyway. Addie, wise beyond her years... Written by
MARK FLEETWOOD <email@example.com>
This was Peter Bogdanovich's second film photographed in black and white, the first being The Last Picture Show (1971). Bogdanovich was quoted as saying, "I have more affection, more affinity for the past. Since I am more interested in it, it comes easier for me." See more »
Addie is inconsistent in the direction in which she rotates her hand when turning off her radio, and more often than not she rotates it clockwise (usually this would be "on") in order to turn it off. See more »
Judge me, oh Lord, for I have lost in mine integrity. I have trusted also in the Lord, therefore I shall not slide. Examine me, oh Lord, and prove me. Try my reins and my heart, for Thy loving kindness is before mine eyes, and I have walked in Thy truth.
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Special thanks to the people in and around Hays, Kansas and St. Joseph, Missouri See more »
It seems slight at first, but with perfect finesse and beauty...a classic
Paper Moon (1973)
Utterly charmed and charming. The story of a father and daughter--the actor and actress O'Neal--echoes the story in the story of a man and a little girl on the road. Yes, they scam and cheat, but they do it with relative innocence. And they are perfectly adorable. The magic between the two is partly good writing, and partly the ease that the two actors already have (or pretend to have) together.
And it's filmed with nostalgic black and white clarity, perfect in a way for the Depression era it portrays, but much more alive and clean than the deep brooding intensity of a real Depression story such as the 1940 Grapes of Wrath. But Peter Bogdanovich is no John Ford, and this is a different kind of tale, with the 1930s as backdrop to a more modern kind of relationship. It has enough subtlety and laughs to make it a classic and a joy. Nothing obviously deep, but yet it sinks in farther than you think.
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