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 <firstname.lastname@example.org>
In the picnic scene, Madeline Kahn initially refused to say the line "Let Miss Trixie sit up front with her big tits," objecting to the vulgarity. Director Peter Bogdanovich convinced her to say the line for only one take. This take appears in the final film. Kahn's odd reaction of embarrassment after saying the line is genuine. See more »
Just before Mose takes Addie to the store for a hair ribbon, Mose and Addie are in a hotel room. As Mose passes by a small wall mirror you can see the shadow of a boom mic and an arm holding it. 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 »
Paper Moon has to be one of the finest pieces of American cinema to grace the 70's. Bogdanovich's direction bares a strong resemblance to The Last Picture Show, but overall this film is much more satisfying and enjoyable. The Black and White photography gives the film a nostalgic beauty that perfectly complements the Depression-era it attempts to recreate. Also notable is the charming Jazz-based score, with a wonderful opening title track, reinforcing the film's charm. As good as the story, direction and music are however, the true stars of the film are the O'Neal twosome. Both bring forth their best performances of their careers, and share a chemistry on screen that only a father and daughter could. Ryan O'Neal brings forth a subtle charm as the wise-talking, but inept hustler Moses Pray. Tatum however, even upstages her father with what has to be the best youth performance in history. She is funny and moving when need be, and always charming, eliciting laughs many times based solely on her malleable facial expressions. Her show-stopping five minute shot, no matter how long it took to film, proves just how fully Tatum was able to embody little Addie Pray. The movie is always entertaining, with never a dull spot, with a strong supporting performance by Madeline Kahn to help keep things rolling during the middle. This is a true classic that should be seen by people of all ages, I can't recommend it enough!
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