以前、所有していましたが、紛失。
再度購入しました。
親子共演ので映画ですが、ティタムオニールの演技がひかります。
ペーパー・ムーン スペシャル・コレクターズ・エディション [DVD]
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フォーマット | ドルビー, ワイドスクリーン, ブラック&ホワイト |
コントリビュータ | ライアン・オニール, マデリン・カーン, ジョー・デヴィッド・ブラウン, テイタム・オニール, ピーター・ボグダノヴィッチ |
言語 | 英語, 日本語 |
稼働時間 | 1 時間 42 分 |
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母親を亡くした少女アディを親戚の家まで送り届けることになった詐欺師のモーゼ。はじめは渋々引き受けたが、大人顔負けの聡明なアディを詐欺の相棒にして旅行を続けることになる。やがて2人の間に芽生えたものは・・・
Amazonより
1930年代の大恐慌期のアメリカ中西部。母を自動車事故で亡くして孤児となった少女アディ(テイタム・オニール)は、母と付き合っていた詐欺師のモーゼ(ライアン・オニール)に連れられ、ミズーリにいる叔母の許まで旅することに。道中、ちゃっかり者のアディと、そんな彼女に助けられながら詐欺セールスを続けるモーゼ。いつしかふたりの間には、本物の親子のような愛情が芽生えていくが…。
『ラストショー』のピーター・ボグダノヴィッチ監督による珠玉の名作。30年代のヒット曲「ペーパームーン」の歌詞さながら、張りぼてだらけの中で心だけは本物というテーマが、この擬似親子関係の交流から切々と漂ってくる(とはいえ、演じているふたりは実際の親子であった)。モノクロ・スタンダード画面の慎ましやかさが、作品の内面からあふれる情緒を増幅してくれる。子役のテイタム・オニールは本作品でアカデミー賞助演女優賞を受賞。(的田也寸志)
登録情報
- アスペクト比 : 1.78:1
- メーカーにより製造中止になりました : いいえ
- 言語 : 英語, 日本語
- 梱包サイズ : 18.03 x 13.76 x 1.48 cm; 83.16 g
- EAN : 4988113756570
- 監督 : ピーター・ボグダノヴィッチ
- メディア形式 : ドルビー, ワイドスクリーン, ブラック&ホワイト
- 時間 : 1 時間 42 分
- 発売日 : 2006/4/21
- 出演 : ライアン・オニール, テイタム・オニール, マデリン・カーン
- 字幕: : 日本語, 英語
- 言語 : 英語 (Mono), 日本語 (Mono)
- 販売元 : パラマウント ジャパン
- ASIN : B000EWBUOE
- 原産国 : 日本
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 14,325位DVD (DVDの売れ筋ランキングを見る)
- - 1,217位外国のドラマ映画
- カスタマーレビュー:
カスタマーレビュー
星5つ中4.5つ
5つのうち4.5つ
全体的な星の数と星別のパーセンテージの内訳を計算するにあたり、単純平均は使用されていません。当システムでは、レビューがどの程度新しいか、レビュー担当者がAmazonで購入したかどうかなど、特定の要素をより重視しています。 詳細はこちら
1,625グローバルレーティング
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コミュニティガイドラインに違反するAmazonアカウントはブロックされます。また、レビューを購入した出品者をブロックし、そのようなレビューを投稿した当事者に対して法的措置を取ります。 報告方法について学ぶ
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2024年5月13日に日本でレビュー済み
Amazonで購入
2024年3月4日に日本でレビュー済み
Amazonで購入
アカデミー最年少も納得で大人っぽい着眼点と子供らしいふるまいがかわいい
2024年5月13日に日本でレビュー済み
Amazonで購入
少し、皮肉も混じえて、最初から最後まで、人の心の機微をリアルに捉え、観る者の笑いを誘う。
主役の二人は実の親子で、互いに良く分かりあっている関係だから、無理がなく、自然だ。
ライアン・オニールは、特に上手い役者ではないから、アカデミー賞にはあまり縁がないが、この映画では、娘のテータムにオスカーを取られてしまった。でも、娘の助演を立派に果たしたことで、本人はさぞ、嬉しかったことだろう。
主役の二人は実の親子で、互いに良く分かりあっている関係だから、無理がなく、自然だ。
ライアン・オニールは、特に上手い役者ではないから、アカデミー賞にはあまり縁がないが、この映画では、娘のテータムにオスカーを取られてしまった。でも、娘の助演を立派に果たしたことで、本人はさぞ、嬉しかったことだろう。
2024年2月19日に日本でレビュー済み
Amazonで購入
コミカルでくつろぎたい時に最高です。テイタム・オニールが初映画で父親のライアンをしのいでしまう映画。二人の感情と絆がエンディングに至るまでに深まり、息が合う過程がとても面白いです。本来のぺてん師が少女に振り回されているような内容のロードムービー。特典も色々あって楽しいです!
2024年2月8日に日本でレビュー済み
Amazonで購入
ケイ・アンナさんがユーチューブで紹介していて観たくなり購入しました、良い内容でしたよ。
2024年2月15日に日本でレビュー済み
Amazonで購入
テータムオニールが可愛い
2023年10月25日に日本でレビュー済み
Amazonで購入
かなり昔に見た作品で、心に残ってたので探し回って見つけました。今見ても遜色なく、娘を演じるテイタムオニールの天才ぶり!彼女を包み込むライアンオニールの優しさ!心が暖まる作品です。
2023年4月6日に日本でレビュー済み
Amazonで購入
「ペーパームーン」は、1973年に公開されたピーター・ボグダノヴィッチ監督のアメリカ映画です。1930年代を舞台に、トリックスター的な詐欺師の親子が巧妙な手口で悪事を働く姿を描いています。
主演の父娘役を演じたライアン・オニールとタトゥム・オニールの演技は見事で、特にタトゥム・オニールの幼いながらもしっかりとした演技は印象的でした。また、映像面でも当時のアメリカの風景や雰囲気を丁寧に再現し、観客をその時代に引き込んでくれます。
ストーリーは詐欺師の親子が巧妙に騙しあう展開で、笑いあり、感動ありの娯楽作品として楽しめます。一方で、詐欺や嘘にまみれた世界観は、人間の欲望や誘惑についても考えさせられます。
全体的に、古き良きアメリカを描いた映画で、当時の風俗や文化にも触れられる作品となっています。親子愛や信頼関係をテーマにしつつ、詐欺師の姿を描くことで、観客に深い印象を残すことに成功した作品と言えます。
主演の父娘役を演じたライアン・オニールとタトゥム・オニールの演技は見事で、特にタトゥム・オニールの幼いながらもしっかりとした演技は印象的でした。また、映像面でも当時のアメリカの風景や雰囲気を丁寧に再現し、観客をその時代に引き込んでくれます。
ストーリーは詐欺師の親子が巧妙に騙しあう展開で、笑いあり、感動ありの娯楽作品として楽しめます。一方で、詐欺や嘘にまみれた世界観は、人間の欲望や誘惑についても考えさせられます。
全体的に、古き良きアメリカを描いた映画で、当時の風俗や文化にも触れられる作品となっています。親子愛や信頼関係をテーマにしつつ、詐欺師の姿を描くことで、観客に深い印象を残すことに成功した作品と言えます。
他の国からのトップレビュー
Davor
5つ星のうち5.0
good movie
2024年3月22日にカナダでレビュー済みAmazonで購入
The story and acting set during the depression is just grand. A very good watch.
Anónimo
5つ星のうち5.0
Con castellano. Buenos extras.
2023年1月30日にスペインでレビュー済みAmazonで購入
La calidad es la esperable es un dvd y los extras están bastante bien, hay un making off algo extenso, tengo ediciones parecidas que llevan un triste videoclip o nada en absoluto
Tita Fürst - Koren
5つ星のうち5.0
Say, its only a paper moon; Sailing over a cardboard sea
2019年2月17日にドイツでレビュー済みAmazonで購入
"Du schuldest mir noch 200 Dollars", sagt die kleine Addie Loggins (Tatum O'Neal) zu (ihrem Filmpartner) Moses Pray (Ryan O’Neal). Der Satz, der sich wie ein Mantra mehrmals in dem Film wiederholt, ist schuld, dass sich die zwei verschiedene Menschen zusammentun und soviel erleben.
Addie ist 9 Jahre jung. Ihre Mutter ist gestorben, es wird ein Begräbnis, bei dem drei Leute anwesend sind. Trostlos. Von der Straße kommt ein Mann, nimmt von einem Grabstein schnell noch einen Blumenstrauß und gesellt sich dazu. Noch ehe er sich umdrehen kann, ist ER die Person, die das Mädchen zu ihrer Tante in die Stadt Saint Joseph; Missouri, fahren soll. Er könnte, so die Bekannte oder die Nachbarin, auch DER Vater von Addie sein. Eine gewisse Ähnlichkeit sei da.
Der Mann, der sich nach der Bibel nennt, verkauft die Bibel an die Witwen (ist ein guter Trick). Man sucht sich in der Zeitung einen Mann, der gerade gestorben ist. Und just dieser hätte vor seinem Tod noch eine teuere Bibel mit der persönlichen Widmung an seine Frau bestellt. Die meisten Witwen kaufen die Bibel, die komischerweise nur mit 1 Dollar Anzahlung bezahlt wurden. Der Preis hängt, man wird es sehen...
Aber zuerst will Moses, wenn er schon das kleine Mädchen (das wie ein Junge aussieht), zu den Verwandten fahren muß, von den örtlichen Sägewerk- Besitzer etwas Geld bekommen. Sein Bruder war der Fahrer des Unfallswagens...
Er droht zwar mit Anwälten, am Ende bekommt er 200 Dollar's.
Er hat die Rechnung ohne den Wirt gemacht. Addie hat gelauscht und weiß jetzt, der Mann, der ihr Vater sein könnte, muß IHR das Geld geben.
Eine unvergleichliche Reise beginnt. Moses ist ein "Geck", er kleidet sich wie ein Dandy, ist auch in der Zeit der großen Krise in den 30 - Jahre des 20 Jhr. eine angenehme Gestalt. Addie hält niemand für ein Mädchen, was sie sehr ärgert.
Weil sie in das Geschäft einsteigt, hört sie auf Moses und kleidet sich etwas "femininer", nur ihre Kappe behält sie.
Und nun beginnt die wirkliche Arbeit. Moses ist bei Addie zu einem Gehilfen, nicht Partner, geworden. Die kann es! Sie zählt die Dollars und Cent', bald werden sie reich sein.
Nur - ein Mann wie Moses, der verliebt sich schon - und das in eine Tänzerin. Trixie Delight (Madeline Kahn) tut für 5 Dollars schon sehr viel. Als der smarte Moses sie und ihre Gehilfin, Imogene mitnimmt, lässt sie sich gut gehen. Addie hingegen sieht ihr Kapital schnell schmelzen. Und Addie fackelt nicht lange.
Abgang Trixie, Hilfe für Imogene, damit sie wenigstens nach Hause kommt (sie will, Addie noch immer nicht).
Warum nur die Bibel verkaufen? Es geht noch mehr! Man kann einen Schwarzhändler um sein Geld erleichtern.
Ob das gut geht?
Heute hat man über 800 Dollars (Mr. Roosevelt würde sich freuen, den zitiert Addie gerne), morgen hat man 20 Dollars und keinen Cent. Und ist in Saint Joseph. Und wo sind die 200 Dollars jetzt?
Addie nimmt für die Fahrt von Zuhause nur ein Radio, das sie jeden Abend hört und Moses gewaltig auf die Nerven geht. Dann eine Schachtel mit kleinen Erinnerungen und mit Zigaretten, denn Addie raucht mit 9 Jahren. Und tut Dinge, die man in ihrem Alter nicht tun sollte. Wer ist hier älter, fragt man sich? Moses, der kleine Ganove, oder Addie, die ihr Leben mit 9 Jahren selbstgestalten musste und, man glaubt es sofort, noch für die Mutter sorgte?
Addie und Moses sind also ein Paar, dass sich in die Welt der Städte mit schönen Namen begeben hat. Man kann sehr viele Witwen trösten, sehr viele 20-Dollar-Scheine verdienen. Addie ist ein Mädchen, das nicht nur klug ist, sie ist ein UNIKUM. Keine Tränen, außer, sie sind gut für das Geschäft. Geweint wird später, wenn überhaupt. Sie muß auf Moses aufpassen, das Geld verdienen. Ohne Übergang ist sie "die Tochter" von Moses geworden, hilft ihm und sich. Wie früher der Mutter, obwohl, viel über Mama wird nicht gesagt. Nur einige Namen der möglichen Väter sind im Spiel. Am liebsten wäre für sie Moses, der verneint das ohne zu zögern. Leider, so sagt Addie,
Der Film aus dem Jahr 1973 ist eine Augenweide. László Kovács (der große Kameramann) hat sich mit P. Bogdanovich (der Regisseur) fur die S/W Variante entschieden. Keine Farbe, also.
Man kennt die Story, in der Bogdanovich über "das Buch von Addie" spricht und dabei das Lied Paper Moon erwähnt. Der Mann, der sie hören sollte, war Orson Welles. Er sagte, schon das Lied ist einen Film wert. Und Bogdanovich "kopierte" Welles, natürlich mit seinem Segen.
Die Kamerabilder sind langsam, verweilen lange auf einer Person. Es gibt keine Schnitte, alles fließt... Addie musste dabei ihre Mimik beherrschen, was sie PERFEKT tut. Die Bilder der Natur sind einzigartig...Die Kostüme, die komischen Situationen - alles wirklich sehr sehr gut. Und warmherzig.
Bogdanovich hat hier wieder mit Ryan O'Neal, Madeline Kahn und natürlich Kovács zusammengearbeitet. 1972 waren die drei in der Komödie "Is’ was, Doc?" zu sehen.
Tatum O'Neal bekam für die Rolle der kleinen Addie den OSCAR (1974). Es wurde eine schwere Bürde für die talentierte Schauspielerin.
Meine (nicht wichtige) Meinung, lieber OHNE Oscar, aber mit viel Hilfe nach diesem Film. Tatum konnte kein Kind sein, ihr Leben hat sie bis heute nicht sehr gut im Griff (leider war sie mehr in negativen Schlagzeilen...). Ich würde ihr alles Beste wünschen. Das Lied - das Bild, das sie Moses gibt - das ist Addie. Aber nach dem Drehen müsste diese Addie Tatum werden und Zeit haben erwachsen zu sein.
So fragt man sich immer noch, wer ist Tatum O'Neal?
Der Film ist einer der besten, die in den 70-Jahren gedreht wurden. Meine Hochachtung (wie oft haben Sie ihn gesehen, hoffe mindestens einmal, mehrere Male wäre besser, er hat nichts von der Schönheit, Esprit, Leichtheit und Traurigkeit verloren!)
Addie ist 9 Jahre jung. Ihre Mutter ist gestorben, es wird ein Begräbnis, bei dem drei Leute anwesend sind. Trostlos. Von der Straße kommt ein Mann, nimmt von einem Grabstein schnell noch einen Blumenstrauß und gesellt sich dazu. Noch ehe er sich umdrehen kann, ist ER die Person, die das Mädchen zu ihrer Tante in die Stadt Saint Joseph; Missouri, fahren soll. Er könnte, so die Bekannte oder die Nachbarin, auch DER Vater von Addie sein. Eine gewisse Ähnlichkeit sei da.
Der Mann, der sich nach der Bibel nennt, verkauft die Bibel an die Witwen (ist ein guter Trick). Man sucht sich in der Zeitung einen Mann, der gerade gestorben ist. Und just dieser hätte vor seinem Tod noch eine teuere Bibel mit der persönlichen Widmung an seine Frau bestellt. Die meisten Witwen kaufen die Bibel, die komischerweise nur mit 1 Dollar Anzahlung bezahlt wurden. Der Preis hängt, man wird es sehen...
Aber zuerst will Moses, wenn er schon das kleine Mädchen (das wie ein Junge aussieht), zu den Verwandten fahren muß, von den örtlichen Sägewerk- Besitzer etwas Geld bekommen. Sein Bruder war der Fahrer des Unfallswagens...
Er droht zwar mit Anwälten, am Ende bekommt er 200 Dollar's.
Er hat die Rechnung ohne den Wirt gemacht. Addie hat gelauscht und weiß jetzt, der Mann, der ihr Vater sein könnte, muß IHR das Geld geben.
Eine unvergleichliche Reise beginnt. Moses ist ein "Geck", er kleidet sich wie ein Dandy, ist auch in der Zeit der großen Krise in den 30 - Jahre des 20 Jhr. eine angenehme Gestalt. Addie hält niemand für ein Mädchen, was sie sehr ärgert.
Weil sie in das Geschäft einsteigt, hört sie auf Moses und kleidet sich etwas "femininer", nur ihre Kappe behält sie.
Und nun beginnt die wirkliche Arbeit. Moses ist bei Addie zu einem Gehilfen, nicht Partner, geworden. Die kann es! Sie zählt die Dollars und Cent', bald werden sie reich sein.
Nur - ein Mann wie Moses, der verliebt sich schon - und das in eine Tänzerin. Trixie Delight (Madeline Kahn) tut für 5 Dollars schon sehr viel. Als der smarte Moses sie und ihre Gehilfin, Imogene mitnimmt, lässt sie sich gut gehen. Addie hingegen sieht ihr Kapital schnell schmelzen. Und Addie fackelt nicht lange.
Abgang Trixie, Hilfe für Imogene, damit sie wenigstens nach Hause kommt (sie will, Addie noch immer nicht).
Warum nur die Bibel verkaufen? Es geht noch mehr! Man kann einen Schwarzhändler um sein Geld erleichtern.
Ob das gut geht?
Heute hat man über 800 Dollars (Mr. Roosevelt würde sich freuen, den zitiert Addie gerne), morgen hat man 20 Dollars und keinen Cent. Und ist in Saint Joseph. Und wo sind die 200 Dollars jetzt?
Addie nimmt für die Fahrt von Zuhause nur ein Radio, das sie jeden Abend hört und Moses gewaltig auf die Nerven geht. Dann eine Schachtel mit kleinen Erinnerungen und mit Zigaretten, denn Addie raucht mit 9 Jahren. Und tut Dinge, die man in ihrem Alter nicht tun sollte. Wer ist hier älter, fragt man sich? Moses, der kleine Ganove, oder Addie, die ihr Leben mit 9 Jahren selbstgestalten musste und, man glaubt es sofort, noch für die Mutter sorgte?
Addie und Moses sind also ein Paar, dass sich in die Welt der Städte mit schönen Namen begeben hat. Man kann sehr viele Witwen trösten, sehr viele 20-Dollar-Scheine verdienen. Addie ist ein Mädchen, das nicht nur klug ist, sie ist ein UNIKUM. Keine Tränen, außer, sie sind gut für das Geschäft. Geweint wird später, wenn überhaupt. Sie muß auf Moses aufpassen, das Geld verdienen. Ohne Übergang ist sie "die Tochter" von Moses geworden, hilft ihm und sich. Wie früher der Mutter, obwohl, viel über Mama wird nicht gesagt. Nur einige Namen der möglichen Väter sind im Spiel. Am liebsten wäre für sie Moses, der verneint das ohne zu zögern. Leider, so sagt Addie,
Der Film aus dem Jahr 1973 ist eine Augenweide. László Kovács (der große Kameramann) hat sich mit P. Bogdanovich (der Regisseur) fur die S/W Variante entschieden. Keine Farbe, also.
Man kennt die Story, in der Bogdanovich über "das Buch von Addie" spricht und dabei das Lied Paper Moon erwähnt. Der Mann, der sie hören sollte, war Orson Welles. Er sagte, schon das Lied ist einen Film wert. Und Bogdanovich "kopierte" Welles, natürlich mit seinem Segen.
Die Kamerabilder sind langsam, verweilen lange auf einer Person. Es gibt keine Schnitte, alles fließt... Addie musste dabei ihre Mimik beherrschen, was sie PERFEKT tut. Die Bilder der Natur sind einzigartig...Die Kostüme, die komischen Situationen - alles wirklich sehr sehr gut. Und warmherzig.
Bogdanovich hat hier wieder mit Ryan O'Neal, Madeline Kahn und natürlich Kovács zusammengearbeitet. 1972 waren die drei in der Komödie "Is’ was, Doc?" zu sehen.
Tatum O'Neal bekam für die Rolle der kleinen Addie den OSCAR (1974). Es wurde eine schwere Bürde für die talentierte Schauspielerin.
Meine (nicht wichtige) Meinung, lieber OHNE Oscar, aber mit viel Hilfe nach diesem Film. Tatum konnte kein Kind sein, ihr Leben hat sie bis heute nicht sehr gut im Griff (leider war sie mehr in negativen Schlagzeilen...). Ich würde ihr alles Beste wünschen. Das Lied - das Bild, das sie Moses gibt - das ist Addie. Aber nach dem Drehen müsste diese Addie Tatum werden und Zeit haben erwachsen zu sein.
So fragt man sich immer noch, wer ist Tatum O'Neal?
Der Film ist einer der besten, die in den 70-Jahren gedreht wurden. Meine Hochachtung (wie oft haben Sie ihn gesehen, hoffe mindestens einmal, mehrere Male wäre besser, er hat nichts von der Schönheit, Esprit, Leichtheit und Traurigkeit verloren!)
LD
5つ星のうち5.0
Paper Moon / La barbe à papa : un blu-ray de qualité pour les anglophones - à quand l'édition française ?
2016年8月11日にフランスでレビュー済みAmazonで購入
Un film absolument délicieux, comme l'assurent les commentaires déjà laissés sur Paper Moon / La barbe à papa (1973). Qui résiste tellement bien à l'usure du temps que l'on aimerait bien qu'il soit un peu mieux mis en valeur dans l'édition vidéo française. En 2015, la collection Masters of Cinema de l'éditeur britannique Eureka a sorti une édition combo dvd et Blu-ray :
Paper Moon - Blu-ray - Import anglais
(voir mes remarques sur cette édition plus bas). A quand la reprise de cette édition par un éditeur français ? Alors que les anciennes éditions dvd françaises ne se trouvent plus qu'en occasion, il est plus que temps. Ceux qui souhaiteront une édition dvd avec piste sonore et sous-titres en français peuvent se porter sur l'italienne :
Paper moon - Luna di carta
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Peter Bogdanovich fait partie de ces cinéastes cinéphiles ayant émergé à la fin des années 60, qui s'ils ont en partie révolutionné le cinéma américain dans les années 70 l'ont fait avec un amour immodéré pour la tradition. C'est d'autant plus que le cas pour Bogdanovitch que chacun de ses premiers films - Targets / La Cible (1968), The Last Picture Show / La dernière séance (1971), What's Up, Doc ? / On s' fait la valise, Docteur (1972) - tient essentiellement de l'hommage et du pastiche respectueux, même s'il apporte un peu de sang neuf à des figures bien connues, et les met plus ou moins au goût du jour. Son quatrième film, Paper Moon, n'échappe pas à cette règle. Tourné en N&B, situé au beau milieu des années 30 pendant la Grande Dépression, le film paye ouvertement sa dette aux maîtres du cinéma américain (essentiellement Charlie Chaplin, John Ford et Howard Hawks). Pour autant, Bogdanovich ne plaque pas une forme figée sur son histoire éprouvée de couple père-fille mal assorti (voir synopsis ci-dessus), et la greffe entre les effets de style à l'ancienne et un filmage plus vif typique du début des années 70 prend particulièrement bien.
De toute façon, tout dans cette adaptation est à saluer. Le roman de Joe David Brown, des plus agréables lui aussi, s'intitulait Addie Pray - il a depuis été réédité sous le titre donné par le réalisateur à son film, Paper Moon: A Novel . Le film alterne idéalement les scènes comiques et les moments plus contemplatifs, et les dialogues sont assez bien écrits pour permettre aux acteurs de faire monter la pression de leurs échanges et d'imprimer un bon rythme de comédie. Il faut évidemment louer ce qu'y font les comédiens. Bogdanovich a évidemment bien eu raison de refaire appel à ses deux acteurs de What's Up, Doc ?, Madeline Khan et Ryan O'Neal. Quant au couple qu'il forme avec sa propre fille Tatum, il s'avère irrésistible. Il faut dire qu'avec un abattage pareil, Tatum O'Neal n'a pas volé son Oscar de la meilleure actrice dans un second rôle (même si elle a là un premier rôle à part égale avec son père). Pour finir, il convient de dire tout le bien qu'on peut penser du travail réalisé à l'image par Bogdanovich avec son chef opérateur Laszlo Kovacs. Ils racontent que c'est Orson Welles lui-même qui leur a donné la clef (l'utilisation du filtre rouge) pour que leur N&B soit suffisamment contrasté. Ces contrastes et la grande profondeur de champ contribuent à la très grande réussite visuelle du film, qui rappelle que la comédie mérite elle aussi un travail formel trop souvent laissé de côté au profit des seuls scénario, dialogues et gags. Sur un sujet éprouvé mais porteur, bien écrit et formellement abouti, souvent amusant sans chercher à être drôle tout le temps et à tout prix, plein de charme et de sentiments sans jamais devenir mièvre ou sentimental, non dénué de dureté, Paper Moon est de ce point une vue une comédie des plus réussies et mérite qu'on puisse continuer à le voir plus largement qu'il n'est possible de le faire à l'heure qu'il est.
EDITION DVD / BLU-RAY ANGLAISE MASTERS OF CINEMA : Paper Moon - Blu-ray - Import anglais
L'édition sortie par Eureka présente donc le film dans les deux formats, dvd et Blu-ray. L'image et le son sont de très bonne qualité, même si le master manque parfois légèrement de contrastes et que les gris l'emportent parfois. Le Blu-ray est un cran au-dessus du dvd, mais celui-ci est déjà très correct. Il n'y a ni piste sonore ni sous-titres français comme je l'indiquais déjà plus haut, mais on pourra choisir de voir le film avec des sous-titres anglais si on le souhaite. Les anglophones auront donc tout intérêt à se porter sur cette édition, bien meilleure que le dvd édité au préalable par Paramount. Au titre des suppléments, on trouvera trois modules vidéo, dans lesquels interviennent aussi bien Bogdanovich que Kovacs. A cela s'ajoute un commentaire audio du réalisateur tout au long du film. Un livret de 28 pages avec un petit essai de Michael Brooke complète cette édition bien conçue. En attendant enfin une édition française de la même farine...
Au chapitre de la débrouille et des enfants pendant la Grande Dépression, en sus du roman de Joe David Brown, on peut aussi lire les chroniques d'A.E. Hotchner The Boyhood Memories of A. E. Hotchner: King of the Hill and Looking for Miracles / King of the Hill , et voir leur adaptation au cinéma par Steven Soderbergh, Criterion Collection : King of the Hill - Dvd + Blu-ray - Import américain .
Peter Bogdanovich fait partie de ces cinéastes cinéphiles ayant émergé à la fin des années 60, qui s'ils ont en partie révolutionné le cinéma américain dans les années 70 l'ont fait avec un amour immodéré pour la tradition. C'est d'autant plus que le cas pour Bogdanovitch que chacun de ses premiers films - Targets / La Cible (1968), The Last Picture Show / La dernière séance (1971), What's Up, Doc ? / On s' fait la valise, Docteur (1972) - tient essentiellement de l'hommage et du pastiche respectueux, même s'il apporte un peu de sang neuf à des figures bien connues, et les met plus ou moins au goût du jour. Son quatrième film, Paper Moon, n'échappe pas à cette règle. Tourné en N&B, situé au beau milieu des années 30 pendant la Grande Dépression, le film paye ouvertement sa dette aux maîtres du cinéma américain (essentiellement Charlie Chaplin, John Ford et Howard Hawks). Pour autant, Bogdanovich ne plaque pas une forme figée sur son histoire éprouvée de couple père-fille mal assorti (voir synopsis ci-dessus), et la greffe entre les effets de style à l'ancienne et un filmage plus vif typique du début des années 70 prend particulièrement bien.
De toute façon, tout dans cette adaptation est à saluer. Le roman de Joe David Brown, des plus agréables lui aussi, s'intitulait Addie Pray - il a depuis été réédité sous le titre donné par le réalisateur à son film, Paper Moon: A Novel . Le film alterne idéalement les scènes comiques et les moments plus contemplatifs, et les dialogues sont assez bien écrits pour permettre aux acteurs de faire monter la pression de leurs échanges et d'imprimer un bon rythme de comédie. Il faut évidemment louer ce qu'y font les comédiens. Bogdanovich a évidemment bien eu raison de refaire appel à ses deux acteurs de What's Up, Doc ?, Madeline Khan et Ryan O'Neal. Quant au couple qu'il forme avec sa propre fille Tatum, il s'avère irrésistible. Il faut dire qu'avec un abattage pareil, Tatum O'Neal n'a pas volé son Oscar de la meilleure actrice dans un second rôle (même si elle a là un premier rôle à part égale avec son père). Pour finir, il convient de dire tout le bien qu'on peut penser du travail réalisé à l'image par Bogdanovich avec son chef opérateur Laszlo Kovacs. Ils racontent que c'est Orson Welles lui-même qui leur a donné la clef (l'utilisation du filtre rouge) pour que leur N&B soit suffisamment contrasté. Ces contrastes et la grande profondeur de champ contribuent à la très grande réussite visuelle du film, qui rappelle que la comédie mérite elle aussi un travail formel trop souvent laissé de côté au profit des seuls scénario, dialogues et gags. Sur un sujet éprouvé mais porteur, bien écrit et formellement abouti, souvent amusant sans chercher à être drôle tout le temps et à tout prix, plein de charme et de sentiments sans jamais devenir mièvre ou sentimental, non dénué de dureté, Paper Moon est de ce point une vue une comédie des plus réussies et mérite qu'on puisse continuer à le voir plus largement qu'il n'est possible de le faire à l'heure qu'il est.
EDITION DVD / BLU-RAY ANGLAISE MASTERS OF CINEMA : Paper Moon - Blu-ray - Import anglais
L'édition sortie par Eureka présente donc le film dans les deux formats, dvd et Blu-ray. L'image et le son sont de très bonne qualité, même si le master manque parfois légèrement de contrastes et que les gris l'emportent parfois. Le Blu-ray est un cran au-dessus du dvd, mais celui-ci est déjà très correct. Il n'y a ni piste sonore ni sous-titres français comme je l'indiquais déjà plus haut, mais on pourra choisir de voir le film avec des sous-titres anglais si on le souhaite. Les anglophones auront donc tout intérêt à se porter sur cette édition, bien meilleure que le dvd édité au préalable par Paramount. Au titre des suppléments, on trouvera trois modules vidéo, dans lesquels interviennent aussi bien Bogdanovich que Kovacs. A cela s'ajoute un commentaire audio du réalisateur tout au long du film. Un livret de 28 pages avec un petit essai de Michael Brooke complète cette édition bien conçue. En attendant enfin une édition française de la même farine...
Au chapitre de la débrouille et des enfants pendant la Grande Dépression, en sus du roman de Joe David Brown, on peut aussi lire les chroniques d'A.E. Hotchner The Boyhood Memories of A. E. Hotchner: King of the Hill and Looking for Miracles / King of the Hill , et voir leur adaptation au cinéma par Steven Soderbergh, Criterion Collection : King of the Hill - Dvd + Blu-ray - Import américain .
Amazon Customer
5つ星のうち5.0
PAPER MOON [1973 / 2015] [Masters of Cinema] [Blu-ray + DVD]
2016年3月20日に英国でレビュー済みAmazonで購入
PAPER MOON [1973 / 2015] [Masters of Cinema] [Blu-ray + DVD] Tatum O'Neal Makes A Sensational Screen Debut! A Charming Mixture of Hawksian Comedy and Fordian Lyricism!
Continuing a run of Seventies smash-hits for director Peter Bogdanovich after the enormous success of his ‘The Last Picture Show’ and ‘What’s Up, Doc?’ and ‘PAPER MOON’ saw the filmmaker sustaining his collaboration with actor Ryan O’Neal, and introduced the world to the precocious talent of the future ‘Barry Lyndon’ star's daughter Tatum O’Neal, then 10 years of age, who for her performance was the youngest ever actress to be awarded an Academy Awards® for Best Supporting Actress.
After meeting a newly orphaned girl named Addie Loggins [Tatum O’Neal], con man Moses Pray [Ryan O’Neal), who may or may not be Addie s father, is enlisted to deliver the newly orphaned Addie to her aunt in Missouri. Shortly after however, the two realise that together they make an efficient scam-artist duo. Adventure ensues as the pair blaze through the American Midwest, stealing, swindling, and selling the moon...
With its stunning black-and-white cinematography shot by the great László Kovács and its superb evocation of Depression-era locales, Paper Moon endures as one of the key American comedies of the 1970s. The Masters of Cinema Series is proud to present the film in its UK home viewing premiere in a new Dual-Format edition.
FILM FACT: Awards and Nominations: 1973 Academy Awards®: Win: Best Supporting Actress for Tatum O'Neal. Nominated: Best Supporting Actress for Madeline Kahn. Nominated: Best Sound for Richard Portman and Les Fresholtz. Nominated: Best Adapted Screenplay for Alvin Sargent. 1973 Golden Globes® Awards: Nominated: Best Actress in a Motion Picture Musical or Comedy for Tatum O'Neal. Nominated: Best Actor in a Motion Picture Musical or Comedy for Ryan O’Neal. Director of photography László Kovács used a red filter on the camera on Orson Welles' advice. Peter Bogdanovich also used deep focus cinematography and extended takes in the film.
Cast: Ryan O'Neal, Tatum O'Neal, Madeline Kahn, John Hillerman, P.J. Johnson, Jessie Lee Fulton, James N. Harrell, Lila Waters, Noble Willingham, Bob Young, Jack Saunders, Jody Wilbur, Liz Ross, Yvonne Harrison, Ed Reed, Dorothy Price, Eleanor Bogart, Dorothy Forster, Lana Daniel, Herschel Morris, Dejah Moore, Ralph Coder, Harriet Ketchum, Desmond Dhooge, Kenneth Hughes, George Lillie, Burton Gilliam, Floyd Mahaney, Gilbert Milton, Randy Quaid, Tandy Arnold, Dennis Beden, Vernon Schwanke, Hugh Gillin, Art Ellison, Rose-Mary Rumbley, Jack Benny Jeff Colyer (uncredited), Jim Jordan (uncredited), Marian Jordan (archive sound) (uncredited) and Don Wilson (archive sound) (uncredited)
Director: Peter Bogdanovich
Producers: Frank Marshall, Peter Bogdanovich, Francis Ford Coppola (uncredited) and William Friedkin (uncredited)
Screenplay: Alvin Sargent and Joe David Brown (novel)
Cinematography: László Kovács
Video Resolution: 1080p [Black-and-White]
Aspect Ratio: 1.78:1
Audio: English: 2.0 LPCM Audio Stereo
Subtitles: English SDH
Running Time: 102 minutes
Region: Region B/2
Number of discs: 2
Studio: Paramount Pictures / Eureka Entertainment Ltd
Andrew’s Blu-ray Review: key film in the 'road movie' genre, ‘PAPER MOON’ [1973] introduces us to a traveling salesman named Moses Pray [Ryan O'Neal] who cons widows into buying his Bibles. While attending the funeral of one of his former girlfriends, Moses Pray discovers that the deceased left behind a nine-year-old daughter named Addie Loggins [Tatum O'Neal]. He soon finds himself pressured into escorting the young orphan to relatives in St. Joseph, Missouri. However, Moses Pray ' new traveling companion is no angel, as she smokes and curses all the time, and she's a quick study in the art of the hustle. In record time, Moses Pray enlists her as a partner in his deception of unsuspecting rubes.
Based on the novel Addie Pray by Joe David Brown, Paper Moon was Peter Bogdanovich's last popular success before a string of flops like ‘Daisy Miller’ [1974], ‘At Long Last Love’ [1975], and ‘Nickelodeon’ [1976] made him box-office poison in the mid-seventies. It's hard to say why he went off the tracks on those subsequent productions but ‘PAPER MOON’ is a winner all the way, from its evocative Black-and- White cinematography that perfectly captures the Midwest during the Depression to the vintage soundtrack which includes tunes performed by Ozzie Nelson, Hoagy Carmichael, and Paul Whiteman and His Orchestra.
Director Peter Bogdanovich, who was a film critic before he became a filmmaker, was heavily influenced by the work of Howard Hawks and John Ford and you can see their influence throughout this film; the humour has the sharpness of Hawks' best comedies while the characters and settings recall the work of Ford and his affection for rural America. In fact, there is homage to John Ford in the scene where Moses Pray and Addie Loggins are in a diner and across the street; their playing at the cinema house is playing John Ford's ‘Steamboat Round the Bend’ [1935].
Originally, Paul Newman and his daughter, Nell Potts, were to star in ‘PAPER MOON’ with John Huston as the director but the project fell through. Luckily, the assignment fell to Peter Bogdanovich who cast Ryan O'Neal and his daughter Tatum. It was Tatum O’Neal's first film role and, from most reports, she was difficult on the set. Peter Bogdanovich said later that working with Tatum O'Neal was "one of the most miserable experiences of my life." Nevertheless as stated earlier, the end result won Tatum O’Neal the Best Supporting Actress Oscar, making her the youngest actress to ever win that award. The other Academy Awards® nominations for ‘PAPER MOON’ were for Best Sound, Best Adapted Screenplay, and Best Supporting Actress Madeline Kahn who almost steals the film with her sad-funny portrayal of Trixie Delight, a pathetic carnival stripper.
Peter Bogdanovich knew these films inside out, which put him in a unique position with ‘PAPER MOON’ to know when and how to alter the formula. He retains the brisk pacing and sharp wit. Moses Pray and Addie Loggins are scrappy in the way and ‘PAPER MOON’ also serves up some timely correctives; the African American maid, a mainstay of the studio era and is removed from the tyrannical confines of ethnic stereotypes. Imogene's [P.J. Johnson] hopes and fears are aligned with Addie Loggins's. Poverty is the great American leveller, and we see that writ large in a quiet but significant stolen moment between the pair. Indeed, amidst the bluster and hijinks of Paper Moon, there's a sense of people lost in a country on its knees. The frailty of Moses Pray and Addie Loggins connection is accentuated by the uncertain times. The authorities could be round every corner and time is running out. It ends in a heart-breaking sequence involving a souvenir photograph. It's a moment that would be mawkish in lesser hands, but we sense that the film's potent melancholic thread has been driving to this moment. Extra textual factors are also a consideration; Ryan O’Neal and Tatum O’Neal would become estranged for years, but at least the film embalmed their beautiful, brittle symmetry. When we last see this pair, they are heading off toward the horizon, in a truck as noisy and un-roadworthy as the car in which Moses first picks up Addie, and both as broke as they were when they first met. Their journey has been circular, yet its future trajectory remains wide open. Sadly, the real Tatum O’Neal would become estranged from her real father Ryan O'Neal when he hooked up with Farrah Fawcett in 1979.
Blu-ray Video Quality – Eureka Entertainment Ltd has brought you something really special, as there is something hugely attractive about monochrome 35mm, but add some red and green filters to the mix to darken skies and enhance skin tones and it's hard to fall back in love with colour again. Such is the case with ‘PAPER MOON,’ as it has an aesthetic that is wonderfully captured by the 1080p HD transfer here. The contrast is punchy, delivering coal whole blacks and an attractive tonal range, and a sharpness that really brings out the textures in clothing, faces and background detail, which thanks to László Kovács' deep focus cinematography is every bit as clear as the foreground. The film grain is always visible and just occasionally more pronounced, but always feels right for the film stock and never feels artificially enhanced. As you would hope, there's hardly a dust spot to be seen, and there's not a trace of picture instability. The framing is 1.78:1, a slight crop from the original 1.85:1. Playback Region B/2: This will not play on most Blu-ray players sold in North America, Central America, South America, Japan, North Korea, South Korea, Taiwan, Hong Kong and Southeast Asia. Learn more about Blu-ray region specifications.
Blu-ray Audio Quality – Eureka Entertainment Ltd has also done a superb professional presentation in bringing the film ‘PAPER MOON’ with a really stunning clean and surprisingly crisp Linear 2.0 LCM Audio Mono soundtrack with impressively distinct rendering of dialogue, except one shot that was recorded live on location, and seductive rendering of the period tunes and songs of the period that stand in for a the traditional music score that directors usually prefer, but not the director Peter Bogdanovich, he feels the music and songs he used in the film, gave the film that extra special experince. There is a faint hiss detectable on a couple of the quieter scenes, but you'll probably not notice it and it never interferes. But overall it is a brilliant audio presentation.
Blu-ray Special Features and Extras:
Glorious New Black-and-White 1080p transfer of the film.
Optional English subtitles for the deaf and hard-of-hearing.
Audio Commentary: Commentary from a 2003 features director/producer Peter Bogdanovich: Here Peter Bogdanovich guides us on the making of the film ‘PAPER MOON.’ Peter Bogdanovich informs us that he is very proud of the film, and offers a heap of praise for the cast and crew. But despite all the congratulatory remarks, he offers quite a bit of trivia on the film. Peter Bogdanovich talks about the location shooting in Kansas and Missouri, especially setting up certain key shots, manipulating the audience, the music in the film, inspirations and what a "Directors Company" film is. Peter Bogdanovich talks about the typeface used for the titles of the film, and how Polly Platt found the typeface. Peter Bogdanovich talks about the novel “Addies Prayer” and why he thought that title would not be ideal for the film’s title. Peter Bogdanovich found in the novel “Addies Prayer” all the song titles listed for the period in the 1930s, that he felt would be so ideal to use in the film, especially the song “It’s Only A Paper Moon.” Peter Bogdanovich talks about that the 90% of the film was shot in a radius of 50 miles in Hayes in the middle of Kansas, which was ideal as it was completely flat landscape. When you see Tatum O’Neal listens to the radio and hears “The Jack Benny Show,” they had to get permission from Jack Benny himself. Whenever you see Tatum O’Neal light up a cigarette, Peter Bogdanovich informs us that they are not real cigarettes, but instead they are made out of lettuce leaves and were only available in Texas. We find out that ‘PAPER MOON’ was shot on a very tight shoestring budget of $3,000,000, which was below average in 1973, and of course money was worth more in those days. Peter Bogdanovich even mentions the short-lived American television series based on the film, that starred Jodi Foster and the reason why it was not at all popular: especially as it was filmed in colour, YUK! We also definitely get a very informative audio track that covers all the bases. If you're a fan of the film ‘PAPER MOON,’ you owe it to yourself a listen, as you learn some much fascinating information. But at the end of this audio commentary, Peter Bogdanovich informs us that he was very proud of making the film, and that it was a perfect film and also proud of all who contributed towards making the film ‘PAPER MOON.’
Special Feature: The Next Picture Show [2003] [480i] [1.33:1] [14:10] This just under fifteen-minute special feature, features director Peter Bogdanovich [Director/Writer] talking about his film ‘PAPER MOON.’ The director talks about every aspect of the production from how he got involved with the film to how he got Ryan O'Neil and Tatum O'Neal on board and then why he wanted the title changed. As usual, the director might rub some people up the wrong way, but I've always been a fan of his films, so I enjoy these little chats that Paramount Pictures did for their original inferior DVDs of Peter Bogdanovich films. I think this one features some pretty good stories told including how Tatum O’Neal ended up getting the part as well as another actress in the film. There's also another story about Orson Welles and his response to the new title, where Peter Bogdanovich telephoned Orson Welles in Rome and asked him if he liked the title “Paper Moon,” and Orson Welles response and shouts down the phone, “The Title is so good, you shouldn’t even make the picture, you should just release the Title.” Polly Platt [Production Designer] is also interviewed and discusses some of the issues that came up with the locations and how they wanted to picture to be very authentic looking. Frank Marshall [Associated Producer] is also interviewed and comments on some of the cast members and talks about how Peter Bogdanovich liked to have actors from his previous films. When Peter Bogdanovich wants to make a film in a set period in time, especially with a period piece like the film ‘PAPER MOON,’ which was set in in 1935, and felt it was appropriate to include the music of that period, to make it more authentic, than have a special music score composed, and when he heard the song title “It’s Only A Paper Moon” he felt it evoked the period perfectly and seeing the words “Paper Moon” felt that was also ideal for the film’s title. One thing Peter Bogdanovich says at the end of this short special, is that, “I always get a little nervous before a first day shooting, a little bit apprehensive, and then it is a strange thing, I walk on the set, there is all the trucks, all the crew, cables, dressing rooms and all that, I then say to myself, what is all that about, this is home.” At such a short running time they obviously cannot get into too many details, but fans of the film should still enjoy this look back at its making. Directed by Laurent Bouzereau. Screenplay by Laurent Bouzereau.
Special Feature: Asking For The Moon [2003] [480i] [1.33:1] [16:30] The second feature on the ‘PAPER MOON’ features Director/Writer Peter Bogdanovich, Cinematographer László Kovács, Production Designer Polly Platt and Associated Producer Frank Marshall. I'm really not sure why this just wasn't part of the first feature “The Next Picture Show” [reviewed above], because it is pretty much covering similar subjects, but either way, fans should really enjoy this just over 16 minute short. Director Peter Bogdanovich talks about why he wanted to film ‘PAPER MOON’ in Black-and-White and he talks about Orson Welles staying at his house and why Peter Bogdanovich wanted his cinematography László Kovács to speak to Orson Welles with him before they started shooting and László Kovács recalls a good story about Orson Welles saying to him, “use red filters my boy” and László Kovács says, “is that right, only a red filter” and Orson Welles says, “oh yes, only a red filter, because the red filter extenuates the red tones and also makes the whites look very chalky, and it holds back the blue and makes it look almost black and creates a big visual impact in any Black-and-White films and from here on the special feature turns to various issues in the shooting of ‘PAPER MOON.’ Peter Bogdanovich also talks about why he wanted none of the images to be out of focus and why it was so important to him not to have many short takes and instead long takes with no editing. Peter Bogdanovich then gets into a few times where they had to shoot scenes over thirty six times because Tatum O'Neil would mess up her lines and caused a lot of logistic problems. There are some great outtakes that show Peter Bogdanovich rehearsing by playing the Ryan O'Neil part and there's some great stuff with Ryan O'Neil and Tatum O’Neal, including a scene where Tatum O’Neal keeps messing up the scene, which causes her father Ryan O'Neil to have to eat more waffles. Polly Platt [Production Designer] informs us that all the clothes for Madeline Khan was designed by her, but was made at the Paramount Pictures Studio. The suits that Ryan O’Neal wears had been originally made for George Raft, as it had stitched inside a label stating that fact. Ryan O’Neal wanted to do all his own driving and all the driving stunts scenes you view are with Ryan O’Neal. One thing that Peter Bogdanovich was not sure of, on how to end the film and because they just kept driving and got lost, but eventually Polly Platt came across this long dirt road that went off into the horizon and Peter Bogdanovich thought this was totally perfect way to film the end of ‘PAPER MOON,’ especially as you see Ryan O’Neal and Tatum O’Neal chasing after the runaway vehicle and then driving off into the distance, but of course the pay off line near the end of the film, where Tatum O’Neal says, “You still owe me $200,” and of course this helped to bring everything together and a satisfying end to some brilliant times is shooting the film ‘PAPER MOON.’
Special Feature: Getting The Moon [2003] [480i] [1.33:1] [4:15] The third special feature on the film ‘PAPER MOON’ from Paramount Pictures and again Peter Bogdanovich [Director/Writer] starts off talking about how he finished the film ‘PAPER MOON’ and got the first preview ready to give a personal premiere for all involved in the film on Christmas Day present. We also hear about Paramount Pictures studio doing one hundred and thirty sneak previews across America in selected cinemas and director Peter Bogdanovich adds that while a majority of the people loved the film and it was a hit not all of the critics agreed. Peter Bogdanovich then talks about how disappointed he was that himself, Ryan O'Neil and cinematographer László Kovács involved with the film ‘PAPER MOON’ were not nominated for the Oscars® and he adds that he refused to go because of this, which is probably why some people can't stand him, but I definitely remain a big fan of him. From here on Peter Bogdanovich talks about how proud he was of Tatum O’Neal and then we get a few comments from László Kovács and Polly Platt. At just over four minutes there's certainly not enough here to pack any real punch, but as always it's fun for fans of the film to hear these comments. At least Peter Bogdanovich was honest about saying why he didn't go to the Oscars® and Peter Bogdanovich and Ryan O’Neal in hindsight was keen to have gone to support Tatum O’Neal. But at the end of this special feature Peter Bogdanovich informs us that he was very proud on all who worked on the film, because it was a 100% team effort and feels the film still works today, because it does not look dated, because it was filmed to look like the 1930s and especially being filmed in Black-and-White. Well I second that feeling about the film ‘PAPER MOON’ and I am so proud that us folks here in the United Kingdom has had this special exclusive Limited Edition Blu-ray release from the EUREKA organisation and at this moment in time I have not heard of a North American Region A/1 Blu-ray release. The ‘PAPER MOON’ Three Featurette Credits were as follows: Written, Directed & Produced by Laurent Bouzereau. Edited by Jeff Pickett. Cinematography by Jeff Byrd and Ron Seigal. Sound by Brett Brooke and Witek Rosowski.
BONUS: A beautiful 28 Page Booklet, featuring a new essay on the film entitled “IT’S ONLY A PAPER MOON…” by Michael Brooke. We also have lots of rare production stills. “NOTES ON VIEWING;” explaining the incorrect and correct aspect ratio of the film ‘PAPER MOON.’ Plus “Blu-ray and DVD Credits.”
Finally, Peter Bogdanovich's ‘PAPER MOON’ is a fabulous period piece that sees rural America very much like the films of John Ford and Howard Hawks did. Its script is excellent and the entire cast is fantastic, but the film belongs to the young Tatum O'Neal, who remains the youngest person ever to win a competitive Academy Awards® recognition. Eureka Entertainment Ltd technical presentation of ‘PAPER MOON’ is absolutely stunning. The Blu-ray also comes with some very informative archival interviews with the American director Peter Bogdanovich and the late cinematographer László Kovács. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Fan
Le Cinema Paradiso
WARE, United Kingdom
Continuing a run of Seventies smash-hits for director Peter Bogdanovich after the enormous success of his ‘The Last Picture Show’ and ‘What’s Up, Doc?’ and ‘PAPER MOON’ saw the filmmaker sustaining his collaboration with actor Ryan O’Neal, and introduced the world to the precocious talent of the future ‘Barry Lyndon’ star's daughter Tatum O’Neal, then 10 years of age, who for her performance was the youngest ever actress to be awarded an Academy Awards® for Best Supporting Actress.
After meeting a newly orphaned girl named Addie Loggins [Tatum O’Neal], con man Moses Pray [Ryan O’Neal), who may or may not be Addie s father, is enlisted to deliver the newly orphaned Addie to her aunt in Missouri. Shortly after however, the two realise that together they make an efficient scam-artist duo. Adventure ensues as the pair blaze through the American Midwest, stealing, swindling, and selling the moon...
With its stunning black-and-white cinematography shot by the great László Kovács and its superb evocation of Depression-era locales, Paper Moon endures as one of the key American comedies of the 1970s. The Masters of Cinema Series is proud to present the film in its UK home viewing premiere in a new Dual-Format edition.
FILM FACT: Awards and Nominations: 1973 Academy Awards®: Win: Best Supporting Actress for Tatum O'Neal. Nominated: Best Supporting Actress for Madeline Kahn. Nominated: Best Sound for Richard Portman and Les Fresholtz. Nominated: Best Adapted Screenplay for Alvin Sargent. 1973 Golden Globes® Awards: Nominated: Best Actress in a Motion Picture Musical or Comedy for Tatum O'Neal. Nominated: Best Actor in a Motion Picture Musical or Comedy for Ryan O’Neal. Director of photography László Kovács used a red filter on the camera on Orson Welles' advice. Peter Bogdanovich also used deep focus cinematography and extended takes in the film.
Cast: Ryan O'Neal, Tatum O'Neal, Madeline Kahn, John Hillerman, P.J. Johnson, Jessie Lee Fulton, James N. Harrell, Lila Waters, Noble Willingham, Bob Young, Jack Saunders, Jody Wilbur, Liz Ross, Yvonne Harrison, Ed Reed, Dorothy Price, Eleanor Bogart, Dorothy Forster, Lana Daniel, Herschel Morris, Dejah Moore, Ralph Coder, Harriet Ketchum, Desmond Dhooge, Kenneth Hughes, George Lillie, Burton Gilliam, Floyd Mahaney, Gilbert Milton, Randy Quaid, Tandy Arnold, Dennis Beden, Vernon Schwanke, Hugh Gillin, Art Ellison, Rose-Mary Rumbley, Jack Benny Jeff Colyer (uncredited), Jim Jordan (uncredited), Marian Jordan (archive sound) (uncredited) and Don Wilson (archive sound) (uncredited)
Director: Peter Bogdanovich
Producers: Frank Marshall, Peter Bogdanovich, Francis Ford Coppola (uncredited) and William Friedkin (uncredited)
Screenplay: Alvin Sargent and Joe David Brown (novel)
Cinematography: László Kovács
Video Resolution: 1080p [Black-and-White]
Aspect Ratio: 1.78:1
Audio: English: 2.0 LPCM Audio Stereo
Subtitles: English SDH
Running Time: 102 minutes
Region: Region B/2
Number of discs: 2
Studio: Paramount Pictures / Eureka Entertainment Ltd
Andrew’s Blu-ray Review: key film in the 'road movie' genre, ‘PAPER MOON’ [1973] introduces us to a traveling salesman named Moses Pray [Ryan O'Neal] who cons widows into buying his Bibles. While attending the funeral of one of his former girlfriends, Moses Pray discovers that the deceased left behind a nine-year-old daughter named Addie Loggins [Tatum O'Neal]. He soon finds himself pressured into escorting the young orphan to relatives in St. Joseph, Missouri. However, Moses Pray ' new traveling companion is no angel, as she smokes and curses all the time, and she's a quick study in the art of the hustle. In record time, Moses Pray enlists her as a partner in his deception of unsuspecting rubes.
Based on the novel Addie Pray by Joe David Brown, Paper Moon was Peter Bogdanovich's last popular success before a string of flops like ‘Daisy Miller’ [1974], ‘At Long Last Love’ [1975], and ‘Nickelodeon’ [1976] made him box-office poison in the mid-seventies. It's hard to say why he went off the tracks on those subsequent productions but ‘PAPER MOON’ is a winner all the way, from its evocative Black-and- White cinematography that perfectly captures the Midwest during the Depression to the vintage soundtrack which includes tunes performed by Ozzie Nelson, Hoagy Carmichael, and Paul Whiteman and His Orchestra.
Director Peter Bogdanovich, who was a film critic before he became a filmmaker, was heavily influenced by the work of Howard Hawks and John Ford and you can see their influence throughout this film; the humour has the sharpness of Hawks' best comedies while the characters and settings recall the work of Ford and his affection for rural America. In fact, there is homage to John Ford in the scene where Moses Pray and Addie Loggins are in a diner and across the street; their playing at the cinema house is playing John Ford's ‘Steamboat Round the Bend’ [1935].
Originally, Paul Newman and his daughter, Nell Potts, were to star in ‘PAPER MOON’ with John Huston as the director but the project fell through. Luckily, the assignment fell to Peter Bogdanovich who cast Ryan O'Neal and his daughter Tatum. It was Tatum O’Neal's first film role and, from most reports, she was difficult on the set. Peter Bogdanovich said later that working with Tatum O'Neal was "one of the most miserable experiences of my life." Nevertheless as stated earlier, the end result won Tatum O’Neal the Best Supporting Actress Oscar, making her the youngest actress to ever win that award. The other Academy Awards® nominations for ‘PAPER MOON’ were for Best Sound, Best Adapted Screenplay, and Best Supporting Actress Madeline Kahn who almost steals the film with her sad-funny portrayal of Trixie Delight, a pathetic carnival stripper.
Peter Bogdanovich knew these films inside out, which put him in a unique position with ‘PAPER MOON’ to know when and how to alter the formula. He retains the brisk pacing and sharp wit. Moses Pray and Addie Loggins are scrappy in the way and ‘PAPER MOON’ also serves up some timely correctives; the African American maid, a mainstay of the studio era and is removed from the tyrannical confines of ethnic stereotypes. Imogene's [P.J. Johnson] hopes and fears are aligned with Addie Loggins's. Poverty is the great American leveller, and we see that writ large in a quiet but significant stolen moment between the pair. Indeed, amidst the bluster and hijinks of Paper Moon, there's a sense of people lost in a country on its knees. The frailty of Moses Pray and Addie Loggins connection is accentuated by the uncertain times. The authorities could be round every corner and time is running out. It ends in a heart-breaking sequence involving a souvenir photograph. It's a moment that would be mawkish in lesser hands, but we sense that the film's potent melancholic thread has been driving to this moment. Extra textual factors are also a consideration; Ryan O’Neal and Tatum O’Neal would become estranged for years, but at least the film embalmed their beautiful, brittle symmetry. When we last see this pair, they are heading off toward the horizon, in a truck as noisy and un-roadworthy as the car in which Moses first picks up Addie, and both as broke as they were when they first met. Their journey has been circular, yet its future trajectory remains wide open. Sadly, the real Tatum O’Neal would become estranged from her real father Ryan O'Neal when he hooked up with Farrah Fawcett in 1979.
Blu-ray Video Quality – Eureka Entertainment Ltd has brought you something really special, as there is something hugely attractive about monochrome 35mm, but add some red and green filters to the mix to darken skies and enhance skin tones and it's hard to fall back in love with colour again. Such is the case with ‘PAPER MOON,’ as it has an aesthetic that is wonderfully captured by the 1080p HD transfer here. The contrast is punchy, delivering coal whole blacks and an attractive tonal range, and a sharpness that really brings out the textures in clothing, faces and background detail, which thanks to László Kovács' deep focus cinematography is every bit as clear as the foreground. The film grain is always visible and just occasionally more pronounced, but always feels right for the film stock and never feels artificially enhanced. As you would hope, there's hardly a dust spot to be seen, and there's not a trace of picture instability. The framing is 1.78:1, a slight crop from the original 1.85:1. Playback Region B/2: This will not play on most Blu-ray players sold in North America, Central America, South America, Japan, North Korea, South Korea, Taiwan, Hong Kong and Southeast Asia. Learn more about Blu-ray region specifications.
Blu-ray Audio Quality – Eureka Entertainment Ltd has also done a superb professional presentation in bringing the film ‘PAPER MOON’ with a really stunning clean and surprisingly crisp Linear 2.0 LCM Audio Mono soundtrack with impressively distinct rendering of dialogue, except one shot that was recorded live on location, and seductive rendering of the period tunes and songs of the period that stand in for a the traditional music score that directors usually prefer, but not the director Peter Bogdanovich, he feels the music and songs he used in the film, gave the film that extra special experince. There is a faint hiss detectable on a couple of the quieter scenes, but you'll probably not notice it and it never interferes. But overall it is a brilliant audio presentation.
Blu-ray Special Features and Extras:
Glorious New Black-and-White 1080p transfer of the film.
Optional English subtitles for the deaf and hard-of-hearing.
Audio Commentary: Commentary from a 2003 features director/producer Peter Bogdanovich: Here Peter Bogdanovich guides us on the making of the film ‘PAPER MOON.’ Peter Bogdanovich informs us that he is very proud of the film, and offers a heap of praise for the cast and crew. But despite all the congratulatory remarks, he offers quite a bit of trivia on the film. Peter Bogdanovich talks about the location shooting in Kansas and Missouri, especially setting up certain key shots, manipulating the audience, the music in the film, inspirations and what a "Directors Company" film is. Peter Bogdanovich talks about the typeface used for the titles of the film, and how Polly Platt found the typeface. Peter Bogdanovich talks about the novel “Addies Prayer” and why he thought that title would not be ideal for the film’s title. Peter Bogdanovich found in the novel “Addies Prayer” all the song titles listed for the period in the 1930s, that he felt would be so ideal to use in the film, especially the song “It’s Only A Paper Moon.” Peter Bogdanovich talks about that the 90% of the film was shot in a radius of 50 miles in Hayes in the middle of Kansas, which was ideal as it was completely flat landscape. When you see Tatum O’Neal listens to the radio and hears “The Jack Benny Show,” they had to get permission from Jack Benny himself. Whenever you see Tatum O’Neal light up a cigarette, Peter Bogdanovich informs us that they are not real cigarettes, but instead they are made out of lettuce leaves and were only available in Texas. We find out that ‘PAPER MOON’ was shot on a very tight shoestring budget of $3,000,000, which was below average in 1973, and of course money was worth more in those days. Peter Bogdanovich even mentions the short-lived American television series based on the film, that starred Jodi Foster and the reason why it was not at all popular: especially as it was filmed in colour, YUK! We also definitely get a very informative audio track that covers all the bases. If you're a fan of the film ‘PAPER MOON,’ you owe it to yourself a listen, as you learn some much fascinating information. But at the end of this audio commentary, Peter Bogdanovich informs us that he was very proud of making the film, and that it was a perfect film and also proud of all who contributed towards making the film ‘PAPER MOON.’
Special Feature: The Next Picture Show [2003] [480i] [1.33:1] [14:10] This just under fifteen-minute special feature, features director Peter Bogdanovich [Director/Writer] talking about his film ‘PAPER MOON.’ The director talks about every aspect of the production from how he got involved with the film to how he got Ryan O'Neil and Tatum O'Neal on board and then why he wanted the title changed. As usual, the director might rub some people up the wrong way, but I've always been a fan of his films, so I enjoy these little chats that Paramount Pictures did for their original inferior DVDs of Peter Bogdanovich films. I think this one features some pretty good stories told including how Tatum O’Neal ended up getting the part as well as another actress in the film. There's also another story about Orson Welles and his response to the new title, where Peter Bogdanovich telephoned Orson Welles in Rome and asked him if he liked the title “Paper Moon,” and Orson Welles response and shouts down the phone, “The Title is so good, you shouldn’t even make the picture, you should just release the Title.” Polly Platt [Production Designer] is also interviewed and discusses some of the issues that came up with the locations and how they wanted to picture to be very authentic looking. Frank Marshall [Associated Producer] is also interviewed and comments on some of the cast members and talks about how Peter Bogdanovich liked to have actors from his previous films. When Peter Bogdanovich wants to make a film in a set period in time, especially with a period piece like the film ‘PAPER MOON,’ which was set in in 1935, and felt it was appropriate to include the music of that period, to make it more authentic, than have a special music score composed, and when he heard the song title “It’s Only A Paper Moon” he felt it evoked the period perfectly and seeing the words “Paper Moon” felt that was also ideal for the film’s title. One thing Peter Bogdanovich says at the end of this short special, is that, “I always get a little nervous before a first day shooting, a little bit apprehensive, and then it is a strange thing, I walk on the set, there is all the trucks, all the crew, cables, dressing rooms and all that, I then say to myself, what is all that about, this is home.” At such a short running time they obviously cannot get into too many details, but fans of the film should still enjoy this look back at its making. Directed by Laurent Bouzereau. Screenplay by Laurent Bouzereau.
Special Feature: Asking For The Moon [2003] [480i] [1.33:1] [16:30] The second feature on the ‘PAPER MOON’ features Director/Writer Peter Bogdanovich, Cinematographer László Kovács, Production Designer Polly Platt and Associated Producer Frank Marshall. I'm really not sure why this just wasn't part of the first feature “The Next Picture Show” [reviewed above], because it is pretty much covering similar subjects, but either way, fans should really enjoy this just over 16 minute short. Director Peter Bogdanovich talks about why he wanted to film ‘PAPER MOON’ in Black-and-White and he talks about Orson Welles staying at his house and why Peter Bogdanovich wanted his cinematography László Kovács to speak to Orson Welles with him before they started shooting and László Kovács recalls a good story about Orson Welles saying to him, “use red filters my boy” and László Kovács says, “is that right, only a red filter” and Orson Welles says, “oh yes, only a red filter, because the red filter extenuates the red tones and also makes the whites look very chalky, and it holds back the blue and makes it look almost black and creates a big visual impact in any Black-and-White films and from here on the special feature turns to various issues in the shooting of ‘PAPER MOON.’ Peter Bogdanovich also talks about why he wanted none of the images to be out of focus and why it was so important to him not to have many short takes and instead long takes with no editing. Peter Bogdanovich then gets into a few times where they had to shoot scenes over thirty six times because Tatum O'Neil would mess up her lines and caused a lot of logistic problems. There are some great outtakes that show Peter Bogdanovich rehearsing by playing the Ryan O'Neil part and there's some great stuff with Ryan O'Neil and Tatum O’Neal, including a scene where Tatum O’Neal keeps messing up the scene, which causes her father Ryan O'Neil to have to eat more waffles. Polly Platt [Production Designer] informs us that all the clothes for Madeline Khan was designed by her, but was made at the Paramount Pictures Studio. The suits that Ryan O’Neal wears had been originally made for George Raft, as it had stitched inside a label stating that fact. Ryan O’Neal wanted to do all his own driving and all the driving stunts scenes you view are with Ryan O’Neal. One thing that Peter Bogdanovich was not sure of, on how to end the film and because they just kept driving and got lost, but eventually Polly Platt came across this long dirt road that went off into the horizon and Peter Bogdanovich thought this was totally perfect way to film the end of ‘PAPER MOON,’ especially as you see Ryan O’Neal and Tatum O’Neal chasing after the runaway vehicle and then driving off into the distance, but of course the pay off line near the end of the film, where Tatum O’Neal says, “You still owe me $200,” and of course this helped to bring everything together and a satisfying end to some brilliant times is shooting the film ‘PAPER MOON.’
Special Feature: Getting The Moon [2003] [480i] [1.33:1] [4:15] The third special feature on the film ‘PAPER MOON’ from Paramount Pictures and again Peter Bogdanovich [Director/Writer] starts off talking about how he finished the film ‘PAPER MOON’ and got the first preview ready to give a personal premiere for all involved in the film on Christmas Day present. We also hear about Paramount Pictures studio doing one hundred and thirty sneak previews across America in selected cinemas and director Peter Bogdanovich adds that while a majority of the people loved the film and it was a hit not all of the critics agreed. Peter Bogdanovich then talks about how disappointed he was that himself, Ryan O'Neil and cinematographer László Kovács involved with the film ‘PAPER MOON’ were not nominated for the Oscars® and he adds that he refused to go because of this, which is probably why some people can't stand him, but I definitely remain a big fan of him. From here on Peter Bogdanovich talks about how proud he was of Tatum O’Neal and then we get a few comments from László Kovács and Polly Platt. At just over four minutes there's certainly not enough here to pack any real punch, but as always it's fun for fans of the film to hear these comments. At least Peter Bogdanovich was honest about saying why he didn't go to the Oscars® and Peter Bogdanovich and Ryan O’Neal in hindsight was keen to have gone to support Tatum O’Neal. But at the end of this special feature Peter Bogdanovich informs us that he was very proud on all who worked on the film, because it was a 100% team effort and feels the film still works today, because it does not look dated, because it was filmed to look like the 1930s and especially being filmed in Black-and-White. Well I second that feeling about the film ‘PAPER MOON’ and I am so proud that us folks here in the United Kingdom has had this special exclusive Limited Edition Blu-ray release from the EUREKA organisation and at this moment in time I have not heard of a North American Region A/1 Blu-ray release. The ‘PAPER MOON’ Three Featurette Credits were as follows: Written, Directed & Produced by Laurent Bouzereau. Edited by Jeff Pickett. Cinematography by Jeff Byrd and Ron Seigal. Sound by Brett Brooke and Witek Rosowski.
BONUS: A beautiful 28 Page Booklet, featuring a new essay on the film entitled “IT’S ONLY A PAPER MOON…” by Michael Brooke. We also have lots of rare production stills. “NOTES ON VIEWING;” explaining the incorrect and correct aspect ratio of the film ‘PAPER MOON.’ Plus “Blu-ray and DVD Credits.”
Finally, Peter Bogdanovich's ‘PAPER MOON’ is a fabulous period piece that sees rural America very much like the films of John Ford and Howard Hawks did. Its script is excellent and the entire cast is fantastic, but the film belongs to the young Tatum O'Neal, who remains the youngest person ever to win a competitive Academy Awards® recognition. Eureka Entertainment Ltd technical presentation of ‘PAPER MOON’ is absolutely stunning. The Blu-ray also comes with some very informative archival interviews with the American director Peter Bogdanovich and the late cinematographer László Kovács. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Fan
Le Cinema Paradiso
WARE, United Kingdom