May 20, 2026

Ryan and Tatum O’Neal Shine in Peter Bogdanovich’s Paper Moon (1973)

Ryan and Tatum O’Neal Shine in Peter Bogdanovich’s Paper Moon (1973)
Ryan and Tatum O’Neal Shine in Peter Bogdanovich’s Paper Moon (1973)
Cinematic Flashback Podcast
Ryan and Tatum O’Neal Shine in Peter Bogdanovich’s Paper Moon (1973)
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Season 2

In this episode of the Cinematic Flashback Podcast, Chuck Bryan and Matt Sargent take a deep dive into Peter Bogdanovich’s Paper Moon (1973), the Depression-era road movie starring real-life father and daughter Ryan and Tatum O’Neal. What begins as a simple grifter story slowly reveals itself to be one of the most heartfelt and emotionally layered films of the 1970s.

The discussion explores how Paper Moon emerged from the bold experiment known as The Directors Company — a short-lived attempt by Paramount and Gulf+Western to give major filmmakers unprecedented creative freedom with low-budget productions. Chuck and Matt discuss how Paper Moon emerged during a period when studios were giving filmmakers more creative freedom, while also exploring Peter Bogdanovich’s direction, the film’s low-budget production, and why the movie became such a major success in 1973.

The episode also examines the unforgettable chemistry between Ryan and Tatum O’Neal, Tatum’s Academy Award-winning performance, the film’s black-and-white cinematography by László Kovács, and why Addie Loggins may actually be the true lead of the movie. Along the way, Chuck and Matt discuss con artists, Depression-era America, Madeline Kahn’s scene-stealing performance, the emotional ambiguity of the ending, and why the film still resonates decades later.

Does Paper Moon groove through the decades or lose its beat? Join us as we hop into the Wayback Machine and revisit one of the most charming, funny, and surprisingly emotional films of 1973.

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WEBVTT

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But who got your ticket to Saint Joe?

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Who got your knee high in a Coney Island? And

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throw in twenty dollars extra, not to mention eighty five

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cents for that telegram. You wouldn't have had any of

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that without me. Now, I didn't have to take it,

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but I took you, didn't I all right? I think

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that's fair enough. We're both a little better off. We'll

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get to Saint Joe. I get myself a little better car.

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Fair is fair.

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Now break your knee high and eat your Coney Island.

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I bought my two hundred dollars.

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I don't have your two hundred dollars no more. And

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you know it.

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If you don't give me my two hundred dollars, I'm

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gonna tell please man how you gotten. He'll make you

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give it to me because it's mine.

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But I don't have.

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Then get it.

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Welcome to the Cinematic Flashback Podcast. Get ready to hop

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into the wayback machine as we journey through the wild, bold,

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and unforgettable films of the nineteen seventies. Each episode, we

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break down a classic movie or a forgotten jim seeing

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how we performed then and now and wrapping things up

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by asking did it groof of the decades or did.

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It lose its feed?

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I am your host, Chuck Bryan, and today we are

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reviewing Peter Bogdanovich's nineteen seventy three film Paper Moon, starring

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real life father daughter Ryan and Tatum O'Neil matt. Today

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we've got depression era grifters, a nine year old who

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just might be the smartest person in the room, and

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something a little bigger. What happens when Hollywood decides to

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hand the keys over to the directors and just see

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what they can do with it?

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How the heck are you? Man? I am well, and

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as always I am your trusty sidekick, And if you

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wait just a minute, I will have this personalized bible

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all ready for you, all printed in child of the

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major gold letters.

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This was the first time I saw Paper Moon, and

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it was so very different from the sting. We probably

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could have worked this one into last month's road trip theme.

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What do you think? I agree we should have seen

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the film before we would have known. But it was

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it was, It was fun, and it's fun how our

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path through nineteen seventies has taken us on these side jaunts.

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If you will, I might say, yeah.

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But as as we will see, there's a there's a

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big heart inside of this story. Yeah for sure, Matt,

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who's talking to us today? I found a comment on

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our Breaking Away Encore presentation, and this is actually pretty neat.

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We have a subscriber named Steve Bassford and he's a

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regular on our Facebook page. Now you know how much

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I liked Breaking.

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Away, right? I had a yeah, yeah, long history with

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that movie as a young person, and I just love it. Well.

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Steve has written a book called Breaking Away, The Quintessential

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Underdog Movie, which I one hundred percent agree with him.

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It is absolutely the quintessential underdog movie. Steve has done

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a deep dive into every scene, the cast, the brains

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behind the movie. He interviewed the actors like Amy Wright

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who played Moucher's girlfriend, Eddie van Guys who played the

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Italian villain, and Moore. If you like the movie Breaking Away,

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and maybe if you liked it half as much as

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I like it, then we recommend that you pick up

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a copy of Steve's book, Breaking Away, the Quintessential Underdog Movie.

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Where can we purchase this book? You can purchase it

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on Amazon, Barnes and Noble, and most bookseller websites. We

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appreciate Steve and he has been with the Cinematic Flashback

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for some time. I have always appreciated Steve, and he

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gives really great feedback on Facebook.

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He would have been a fun person to have on

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that podcast, and hopefully as our reach expands and people

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start suggesting movies, they might also say, Hey, I happen

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to have written this book about this movie, and then

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we'd say, Wow, that might be a great person to

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have as a special guest. So I think we might

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have missed it with Steve since he had such a

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great book in so many details on Breaking Away. But honestly,

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listen to our podcast read his book, I think you'll

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get even more out of what I consider to be

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one of the coolest films of the nineteen seventies.

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Well, let's begin talking about today's movie, paper Moon, and

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I want to start with the very first credit that

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you're going to see when you watch the film. It

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says that Paper Moon was produced by the director's company,

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and this is not the first time we've come across

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them on The Cinematic Flashback. In the intro, I tease

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this idea about what happens when Hollywood hands the keys

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over to directors and just let them go. Well, this

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is that story. By mid nineteen sixties, Paramount is going

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through its struggles. You know, it's not a dead studio,

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but it's definitely on the ropes. There were eight studios

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in Hollywood, and somehow Paramount was number nine. So how

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do you fix a failing studio? Well, this is where

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Golf and Western Industries steps in, led by Charles Bluehorn,

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and he buys the studio. Now, Bluehorn makes a key move.

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He promotes Robert Evans to head of production. And we've

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mentioned Robert Evans before things start to turn around over

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at Paramount. You get a major hit with Love Story

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starring Ryan O'Neil and Ally McGraw. It is a huge

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box office and it's not just one hit. Paramount starts

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putting together a run with films like Rosemary's Baby, Love Story,

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The Godfather, Chinatown. Paramount begins to lead this new Hollywood wave.

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But Bluehorn he's thinking bigger than just making these hits.

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He's looking at different ways in which to make movies,

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a way in which there is less studio oversight and

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more creative freedom given to the directors. He cuts a

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deal with three of the hottest directors in Hollywood, Francis

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for Coppola, William Friedkin, and Peter Bogdanovitch, and the idea

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is pretty simple. They can make whatever film they want,

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just keep the budget under three million dollars and guess

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what it appears to work. Bogdanovitch delivers Paper Moon, which

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is a big hit. Copola follows it up with the Conversation,

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so The Conversation did not financially do as well as

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Paper Moon, and Freakin he never made a film for

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the Director's Company. He went off to make his film

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The Exorcist, which exceeded the three million dollar budget just

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a little bit. The real problem with the Director's Company.

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You had these three filmmakers who loved the idea of

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creative freedom, but had no real interest in building something together.

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When Bogdanovich follows up Paper Moon with Daisy Miller and

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it's a flop, the whole thing starts to unravel.

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Can you imagine getting three of these high powered directors

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who are used to being you know, type A personalities

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and directs and try to get them to collaborate and

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work together. I think it was maybe doomed from the start.

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Have you ever heard of United Artist? Yes?

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So United Artist was a similar idea that was more

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focused around the actors. So it was started up way

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back when by Charlie Chaplin, and the idea is it

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gives these actors more agency in the scripts and in

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the projects that they're doing, and at the same time,

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it gives them, on the other side, more of that

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uptake to get more out of it. And Bluehorn was

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looking to try to do that specifically with directors because

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at the time, if you'll remember the movies that were

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really big hits starting I mean even starting with Easy Writer,

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were these films that were really ridiculously cheap to mate

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but had a huge boon. Bluehorn is the president of

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Gulf and Western, so of course he's looking how can

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I make movies for a little money that makes a

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lot back at the box office.

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I mean, I don't disagree with the idea of limiting

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the budget a little bit because it means that the

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creative people that are making them will feel more free

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to do things that might not be guaranteed to be winners. Right,

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if you're spending twenty million dollars, it's like you're going

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to use the formula because you can't afford to not

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make back its money plus something, whereas if it's three

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million dollars, I mean, even back then, three million dollars

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was not very much when you look at what an

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entire production of a film has to be. So the

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idea that you might blow three million dollars on swing

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and a miss, sure, you can do ten of those

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for the cost of one apocalypse now or something.

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Right, Oh gosh, yeah, to quote meat Loaf, two out

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of three eighth bad. And we got paper Moon, and

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we got The Conversation, and if you look at their budgets,

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they're all under three million. And we get to talk

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about Paper Moon today. If you look at both those films,

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I mean, the Conversation very important, film, really interesting, but

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it takes a lot of intention to watch that movie.

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It's a little bit like you really got to follow

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what's going on, and there's a lot going on, and

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of course Gene Hackman on the screen is always going

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to be intense, right, So it's a tougher.

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Watch in my opinion than Paper Moon, which, like you,

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this was my first time seeing this movie, though I

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had heard about it for years, and unfortunately it was

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probably what I heard about was the conflict between Ryan

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O'Neill and Tatum O'Neill and in their later life all

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of that rigormarole, which is all very sad. I mean, honestly,

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there's no other word for it's just sad. Yeah, because

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in this movie she is so amazing.

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Go ahead and give us a synopsis of paper Mode.

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We'll do My father and daughter, Ryan and Tatumneil team

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up as slick con artists Moses Prey and Addie Logins

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in nineteen thirties Kansas, when Mose is unexpectedly saddled with

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getting the nine year old Addie to relatives in Missouri

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after the death of her mother. His attempt to duper

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out of her money backfires and he's forced to take

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her on as a partner. Swindling their way through farm country,

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the pair is nearly done in by a burlesque dancer

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played by Madeline Cohn and an angry boot lagger. Well,

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I think we are ready to get into the production details,

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but first we need to take a quick break. Madic

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flash Back and Madic flash Back.

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Deep your snip.

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Hi Cancels nineteen thirty six, Out of the Darkest Days

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of the depression comes the adventures of two unlikely con artists,

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mos Prey and his companion Addie Loggins.

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Oh erdy is a bootlegger.

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Oh no, sir, not me.

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Friend, must be some mistake.

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Ryan O'Neill is mos Prey. Tata O'Neil, daughter of Ryan O'Neill,

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is Addie Logghams our very first film role. This is

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the Peter Bogdanovitch production Paper Moon.

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Say it's only a paper more tailing over a cardboard, right,

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I'm crazy?

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Keep your side inside up, Keep it up.

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I'm telling us time almost got down. Jail mystics.

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You have Oh my god, stop that paper.

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I'm gonna hit him down. Don't don't you go making

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the decisions. I make the decisions. All you gotta do

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is look like a pretty little girl shooting at us.

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Isn't he gone?

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You met my mom in a bar room.

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Just because a man meets a woman in a bar

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room don't mean he's your paw. Eat your coney Island.

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You don't have to worry.

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I ain't about to leave some poor little child stranded

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in the middle of nowhere.

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I got scruples too. You know you know what that

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is scruples.

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Now. I don't know what it is, but if you've gotten,

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be sure that they've long somebody else.

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We ain't gonna make it.

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You're going to ruin it, ain't you?

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Hang on? Oh Daily Wall, don't miss this one from

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the maker off the Last Picture Show and What's up?

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Doc?

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Won't be sorry?

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Welcome back. Let's get into the production details. Paper Moon

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saw its wide release on May ninth, nineteen seventy three,

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and was distributed by Paramount Pictures. It had a running

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time of one hundred and two minutes. With a budget

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of two point five million, The movie would go on

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to gross thirty one million at the box office. It

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was based on the novel Addie Prey by Joe David Brown.

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Director Peter Bogdanovitch thought it sounded too much like a

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snake or a lizard. While selecting music for the film,

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he came across the nineteen thirty three standard It's only

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a paper Moon, with the two words paper moon jumping out.

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He felt that it captured the film's idea that something

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fragile and not quite real can still feel magical if

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you believe in it. The screenplay was by Alvin Sargent,

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The cinematographer was Laslo Kovak's. He did six films with

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Bogdanovic and his breakthrough came earlier with Easy Rider. The

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movie was edited by Verna Fields. Among the films that

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she edited included Bogdanovic's What's Up, Doc, George Lucas's American Graffiti,

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and Spielberg's The Sugarland Express. In that other summertime favorite movie, Jaws,

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The film was nominated for three Academy Awards. Both Madeline

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conn and Tatum O'Neil were nominated for Best Supporting Actress.

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Tatum won, and it made her the youngest competitive Academy

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Award winner at the age of ten. And I think

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she would have won for Best Actress in a Leading Role,

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but that's just my opinion. Coincidentally, Linda Blair was also

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nominated that year as Reagan from The Exorcist. Blair was

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twelve years old. The film would go on to spawn

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a TV series that featured Christopher Connelly in the role

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of Mo's and Jodie Foster as Addie. Papermoon has a

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ninety one percent critics rating on Rotten Tomatoes and in

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ninety five percents audience rating.

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Matt Why don't we talk about this cast. I'm going

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to start out with the lead character played by Ryan O'Neill,

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Mose Prey or Moses Prey.

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I sell a good book, ma'am, just moving through the

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country with the Lord's good news.

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Eddie child, don't you have your aunt Billy living in

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Saint Joseph.

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Saint Joseph, Missouri.

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It's her poor mother's sister, child, only known relative.

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That's all.

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You're driving your chariot to Missouri. Sir, you could deliver

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this child Hurricanehull.

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Well, I wouldn't exactly call.

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It a chariot, Reverend. I'll write the woman a letter tonight.

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Hold it. I have to think him on this, you know.

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I mean, I may have to make a few stops

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along the way.

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I never travel with no child before, but I got

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no place to go. Well, as the Lord, expect to

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have no choice to act.

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Hellad works in mysterious ways.

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Ryan had hoped this film would exonerate him from the

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overwhelming success of Love Story. The success of that film

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threatened to type cast him as an ivy league yuppie.

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You know, Matt, we've talked about Love Story a couple

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of times. At some point I think we might need

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to bite the bullet and just review it, because maybe

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you can get a guest to do that one.

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I just I cannot stand that movie. I'll have to

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see about that one. I can't believe the overwhelming impact

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that that movie had in nineteen seventy. It was I

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think we were watching that film. The kid stays in

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the picture. It's it's a good movie. Yeah, if you

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haven't seen this movie yet, you do need.

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To watch it.

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It's a story about rise and fall of Robert Evans. Yeah,

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it goes through a whole detail of what we were

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talking about, how he turned around Paramount Pictures and then

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you know, kind of the fallout in his life. Obviously,

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Alan McGrath figures into that picture a little bit. Along

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with some of these earlier films like Love Story. It

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was really interesting. I enjoyed watching it. It really tells

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you a lot of the backstory of what was going

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on with the whole movie industry. Then I will tell you,

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as someone who lived through nineteen seventy and seventy one

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and having four sisters, Love Story was probably launched into

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wildly popularity because every girl had to go see it.

301
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Yes, right, it was a chick flick of chick flicks

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and was it the start of the chick flick? I

303
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think it was definitely the starting seed of that whole genre.

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I have a little bit of trivia about it. Who

305
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was also up to play Mo's prey? What would you

306
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think of Paul Newman? I think he might have been Okay,

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he might have been too old for the role at

308
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the time, Yeah, because he would not have come off

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as the way Ryan O'Neil was. He was. Yeah, he

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was a grifter. Yeah, he knew stuff. He wasn't He

311
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wasn't polished, you know, he was definitely doing the standard

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grifts that he had heard about. He wasn't. Paul Newman

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was in the sting the very experienced con artist type one,

314
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So I think I wouldn't have He's a good actor,

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so maybe he would have been.

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Okay, let me pitch another one. What is and these

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are Bob Evans regulars? Now, what about Jack Nicholson?

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Uh? No, Jack Nicholson would not have been good. I

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think it would have been a different film. I think

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there'd been no relationship between Addie and most no relationship whatsoever,

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and we know we've seen that in other Jack nicholson movies.

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The guy does not share screen with anyone, and one

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of them most endearing parts of this film is because

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Ryan O'Neill is, you know, Worts and all could share

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a screen with a nine year old on a toe

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to toe level. That was part of the joy of

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that watching that. Jack Nicholson could never do that. He

328
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never has done that. Watch him in any film. He

329
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is the actor. Everybody else's people there to serve him

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in the scene. I mean, that's that's my personal opinion.

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Tell me how you really feel, Matt, Matt, I always

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know I'm going to get how you really That's what

333
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I love about you, man. Okay, one more Bob Evans regular.

334
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What about Warren Batty. I think Warren Baty would have

335
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been good in this film. I think Warren Beatty to me,

336
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Warren Beatty and Ryan O'Neil, it's like the same dude.

337
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It been interchangeable.

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Yeah. I think the one intangible that we have to

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look back to is the fact that Ryan and Tatum

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O'Neil were father and daughter. That comes through in this film,

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even though they're supposedly not related. I will cast you

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back to the idea that the name of the movie

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was originally called Addie Prey. It wasn't Addie Loggins. So

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there's an intangible there of having the two of them

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as father and daughter in the film that I believe

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does come through. Now let's move to Tatum O'Neill, Lucas.

347
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Yeah, that's something I get.

348
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I'm not complain on the saying it'll take it through Lucas.

349
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I'm gotay, I get it.

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Those are pretty good talentent there. We could do some

351
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business in there. Well, what do you mean we're out

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of Bibles? Why didn't you tell me we're out of Bible?

353
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You give you you know you've got an excuse for

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everything by fish.

355
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If we're running out of Bible, she should have told

356
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me where we're running out of Bibles?

357
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Well, then we got to get a new one.

358
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Let's get new ones.

359
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We can pick them up in Great Bend.

360
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Great Ben's the other wrong.

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Feels like you already moved to Tatum.

362
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Yeah.

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I was trying to make it, but we've moved down

364
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To talk about the co star of this movie. I

365
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don't think she is the best supporting actress. I one

366
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hundred percent agree with you. She should have won Best Actress.

367
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She wasn't a supporting actress. She was the whole movie.

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She was in there scene. You know, we looked at

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our running time for this film. I mean it's like

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an hour and forty minutes, but she's in it for

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like one hundred and six minutes. I mean she's in

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it for the majority. Now, I believe this is what

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I read. The reason why both she and Linda Blair

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were nominated for Supporting Actress was due to their age,

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and I think the awards have since changed so that

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you do have younger actors being nominated for leading roles.

377
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It is interesting to sort of give her her due.

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Tatam O'Neill wins the Academy Award and it was absolutely deserved,

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and like I said before, is actually deserved to be

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Best Actress because she is fully fifty percent of every

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scene she's in, if not more. There's many scenes where

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she is leading the scene.

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You're absolutely right, Tatum O'Neill is the star of this

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show and that Ryan O'Neill's character is just reacting to her.

385
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That's all he has to do is react to Tatum.

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It comes off very genuine in the film, and I

387
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really I love.

388
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That this is why. I think it was W. C.

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Fields that said, don't ever appear with the child as

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an actor. You're always going to look bad compared to

391
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a precocious child. And I think this is essentially that.

392
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I believe that they always wanted this to be a

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father daughter combination because when they had floated Paul Newman,

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at the same time, they were also considering Nell Ponts

395
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his daughter to play Addie.

396
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In thinking that Paul Newman might have had his daughter

397
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in to play Addie, I have to rethink my saying

398
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that Paul Newman might not have been right as Moe's.

399
00:21:36.079 --> 00:21:38.599
I think maybe with his daughter in it would have

400
00:21:38.720 --> 00:21:42.000
given that same dynamic that Ryan and Tatum had. So

401
00:21:42.480 --> 00:21:44.880
maybe a'll soften that statement that Paul Newman might have

402
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been able to play this if his daughter was playing

403
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the Addie character. What do you think of Miss Tricksie

404
00:21:51.759 --> 00:21:53.400
the Light played by Madeline Cohn?

405
00:21:54.720 --> 00:21:57.400
I just love it, love it, love it all. This

406
00:21:57.720 --> 00:22:01.680
why it is absolutely the thing for my particular kind

407
00:22:01.720 --> 00:22:03.920
of appearance. You know, it wouldn't be bad for you

408
00:22:04.079 --> 00:22:05.720
to have a new dress too. The right kind of

409
00:22:05.799 --> 00:22:08.519
dress makes all the difference in the days, especially since

410
00:22:08.559 --> 00:22:11.480
you got the right kind of bone structure. Oh oh,

411
00:22:12.880 --> 00:22:16.240
oh my, oh my, daddy, But wouldn't you look handsome

412
00:22:16.319 --> 00:22:18.039
sitting down on the wheel of a thing like that,

413
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because you know everything is in the bone structure. You know,

414
00:22:21.519 --> 00:22:23.480
a person can tell his whole life on what his

415
00:22:23.640 --> 00:22:24.559
bone structure is.

416
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I try to push out.

417
00:22:26.039 --> 00:22:28.519
It was sort of the weirdest segue in a movie,

418
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You're on vacation. I mean, I've always liked Maddeline conn

419
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I think she said severely underrated actor.

420
00:22:33.680 --> 00:22:36.240
When I was looking at this, I found our next

421
00:22:36.440 --> 00:22:41.000
three actors would appear in Blazing Saddles. Yeah, Madeline Cohn

422
00:22:41.240 --> 00:22:43.559
who played Lil von Stoop That I said that, right,

423
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Lil von Stup, Little Deuce Cooper, and John Hillerman who

424
00:22:47.720 --> 00:22:51.559
played Howard Johnson, and then Burton Gilliam played Lyle. All

425
00:22:51.640 --> 00:22:53.920
three of them would appear next year in mel Brooks's

426
00:22:54.000 --> 00:22:55.920
Blazing Saddles. I think we could do a month of

427
00:22:56.119 --> 00:23:00.039
seventies movies, comedies that you could not make today, and

428
00:23:00.240 --> 00:23:03.839
I would put Blazing Saddles and The Jerk because those

429
00:23:03.880 --> 00:23:07.440
films are hilarious. Again, one of my favorites is Young Frankens.

430
00:23:07.680 --> 00:23:09.119
Let's let's talk about John Hillerman.

431
00:23:09.240 --> 00:23:12.480
Now playing games with esmus Oh, I didn't know who

432
00:23:12.559 --> 00:23:14.640
was back there. It's a risky thing to do. I

433
00:23:14.759 --> 00:23:18.279
get your tires shut off. Were you in? Me and

434
00:23:18.359 --> 00:23:19.799
my little girl are going to Saint Joe.

435
00:23:20.240 --> 00:23:23.640
Oh live there nearby a bunch of business.

436
00:23:23.880 --> 00:23:28.440
Uh, livestock, mostly mules and horses, some cattle. That's funny.

437
00:23:29.200 --> 00:23:30.519
And heard us a bootlegger.

438
00:23:30.960 --> 00:23:33.200
Oh no, sir, not me. Friend, must be some mistake.

439
00:23:34.880 --> 00:23:40.319
Maybe maybe not the way I hear it. You just

440
00:23:40.440 --> 00:23:43.279
had a transaction by the old barn. Would you hear

441
00:23:43.319 --> 00:23:46.119
a thing like that? Oh, a friend of the family.

442
00:23:46.400 --> 00:23:50.039
I didn't really notice they were brothers. He takes dual Rose,

443
00:23:50.200 --> 00:23:54.160
Deputy Harden and his twin brother, Jess Harden. But it's

444
00:23:54.640 --> 00:23:56.319
funny now that you mentioned it, because now I look

445
00:23:56.359 --> 00:23:57.559
back and okay, that makes.

446
00:23:57.359 --> 00:23:59.680
It slipped by me that they were the same actors,

447
00:24:00.000 --> 00:24:03.440
because the character of Jess Harden has a mustache, and

448
00:24:03.640 --> 00:24:05.839
you don't really see much of them. I see much

449
00:24:05.880 --> 00:24:09.359
more of Deputy Harden, who doesn't have the mustache. And

450
00:24:09.759 --> 00:24:13.039
I have to admit, in my mind, John Hillerman is

451
00:24:13.279 --> 00:24:17.119
always Higgins from Magnum Piah did not see him in

452
00:24:17.200 --> 00:24:19.799
this role. And then I was really blown away when

453
00:24:19.799 --> 00:24:23.799
I realized that he was Howard Johnson from Blazing Sapples.

454
00:24:25.400 --> 00:24:27.799
That is so funny. And he was a great character

455
00:24:28.000 --> 00:24:31.000
in Magnum p I, honestly very nuance. So it's funny

456
00:24:31.079 --> 00:24:32.960
that he had all these things he appeared in in

457
00:24:33.039 --> 00:24:35.440
the past, and then he ended up at Magnipi, which

458
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I think probably made more money than all the movies

459
00:24:37.640 --> 00:24:42.359
put together. Probably definitely. Those residuals are very kind. He's

460
00:24:42.400 --> 00:24:43.559
still making money from it.

461
00:24:43.720 --> 00:24:45.960
The next actor that we wanted to mention was Burton

462
00:24:45.960 --> 00:24:49.559
Gilliam who plays Floyd and Floyd as a small role.

463
00:24:49.880 --> 00:24:52.599
He seems familiar, and of course that's when I see

464
00:24:52.640 --> 00:24:56.640
that he played Lyle in Blazing Saddles. Next we have

465
00:24:56.920 --> 00:24:59.839
actress PJ. Johnson who played I'm a Gene.

466
00:25:00.279 --> 00:25:03.319
She willly do all that dancing, but if you want

467
00:25:03.359 --> 00:25:06.440
to call it damns, all she'd do is wag a

468
00:25:06.559 --> 00:25:08.400
hips and shake over a little.

469
00:25:08.920 --> 00:25:10.920
How come she need that job at there?

470
00:25:11.279 --> 00:25:13.279
Because the boss made a job make up put out

471
00:25:13.400 --> 00:25:16.319
for his friends. Because she don't believe in putting off

472
00:25:16.359 --> 00:25:19.720
for free. She put out much just like a gum machine.

473
00:25:20.279 --> 00:25:23.279
It drops on in and she'll put somehow how much

474
00:25:23.319 --> 00:25:27.599
she charged most she can get, but she always asks

475
00:25:27.759 --> 00:25:31.759
five dollars. She ain't putting off your photo. She says,

476
00:25:31.759 --> 00:25:33.160
she's the one way to get all she can for.

477
00:25:33.319 --> 00:25:34.119
She put out for him.

478
00:25:34.599 --> 00:25:36.079
She tell her he was my paw.

479
00:25:36.599 --> 00:25:37.880
Well not exactly.

480
00:25:38.000 --> 00:25:40.480
And p K was fifteen years old at the time

481
00:25:40.839 --> 00:25:44.319
and she is from Houston, Texas. She became something of

482
00:25:44.440 --> 00:25:48.359
a local movie celebrity in her hometown following the film's release,

483
00:25:48.640 --> 00:25:52.440
and PJ would reprise her role on the TV show

484
00:25:52.720 --> 00:25:55.720
and would also appear in the sequel to The Last

485
00:25:55.799 --> 00:25:58.000
Picture Show, which was called Texasville.

486
00:25:58.319 --> 00:26:00.519
She was very good in this film. Sad that we

487
00:26:00.599 --> 00:26:02.680
didn't see her in lots and lots of films.

488
00:26:03.119 --> 00:26:05.920
Last but not least in a very small, small role,

489
00:26:06.039 --> 00:26:09.240
maybe a cameo if you will, was Randy Quaid as

490
00:26:09.799 --> 00:26:10.279
Lee role.

491
00:26:10.799 --> 00:26:14.559
I'm laughing because he's so funny. It was quintessential. Randy

492
00:26:14.640 --> 00:26:19.000
Quaid played a big goofball who's going to wrestle with

493
00:26:19.279 --> 00:26:23.160
Moe's and it was hilarious. That's a great scene. Definitely

494
00:26:23.240 --> 00:26:25.039
look out for that when you watch the movie.

495
00:26:24.920 --> 00:26:28.400
And movie audiences, we'll see a lot more of Randy

496
00:26:28.519 --> 00:26:33.920
Quaid when The last detail premieres in December of seventy three.

497
00:26:34.400 --> 00:26:36.880
All right, when we come back, we're diving into our

498
00:26:36.960 --> 00:26:39.240
thoughts on paper Moon, but first we need to take

499
00:26:39.480 --> 00:26:40.240
a quick break.

500
00:26:40.480 --> 00:26:41.279
Don't go anywhere.

501
00:26:42.559 --> 00:26:52.640
Nomadic flash Back, Dearly beloved, we are gathered here today

502
00:26:52.720 --> 00:26:56.319
to celebrate Death Dave's nineteen eighty four, a video podcast

503
00:26:56.400 --> 00:26:58.759
that will take you through the greatest pop culture year

504
00:26:58.920 --> 00:26:59.680
we have ever seen.

505
00:27:01.160 --> 00:27:06.079
My fellow American Slacks O s. I am a candidate,

506
00:27:06.440 --> 00:27:07.400
and we'll seek.

507
00:27:07.240 --> 00:27:15.319
Reelection from movies, music, sports, comics, television, and more. This

508
00:27:15.440 --> 00:27:18.200
show will be a chronological journey through every aspect of

509
00:27:18.240 --> 00:27:22.559
the year. So who's going to drive you home and

510
00:27:22.640 --> 00:27:25.160
not let the glory days pass you by? Death Dave's

511
00:27:25.240 --> 00:27:29.559
nineteen eighty four. It's a hard habit to break, but

512
00:27:29.680 --> 00:27:30.359
time after.

513
00:27:30.240 --> 00:27:33.160
Time I'll show you why nineteen eighty four was the

514
00:27:33.240 --> 00:27:34.160
best year ever.

515
00:27:34.519 --> 00:27:36.480
So who you gonna call? Available?

516
00:27:36.559 --> 00:27:36.680
Now?

517
00:27:36.799 --> 00:27:38.200
Subscribe and follow today.

518
00:27:38.640 --> 00:27:47.440
I'll be back Amatic Flashback.

519
00:27:49.200 --> 00:27:51.599
Lady, you may mistake, huh.

520
00:27:51.799 --> 00:27:54.559
I'll give you four dollars seventy five cents, but I

521
00:27:54.680 --> 00:27:56.000
give you a twenty dollars bill.

522
00:27:56.400 --> 00:27:59.160
Huh, huh, you give me a five No man, it

523
00:27:59.279 --> 00:28:01.799
was twenty dollars bill. You give me a.

524
00:28:01.880 --> 00:28:04.480
Five, and I'll give you four dollars and seventy five cents.

525
00:28:06.400 --> 00:28:08.200
It was a twenty dollar bill.

526
00:28:12.240 --> 00:28:14.000
Got no twenties in with no fives.

527
00:28:14.640 --> 00:28:15.160
What's all her?

528
00:28:15.160 --> 00:28:16.440
Turnoil? What's going on here?

529
00:28:16.720 --> 00:28:17.279
This little girl?

530
00:28:17.359 --> 00:28:19.359
Give me a five dollar bill and I give her change.

531
00:28:19.519 --> 00:28:21.720
I give her a twenty dollars bill. I know I did.

532
00:28:21.839 --> 00:28:24.480
It was a birthday present for my healing and Wichita,

533
00:28:24.799 --> 00:28:27.000
and she wrote happy Birthday Addy on the enemy. You

534
00:28:27.200 --> 00:28:32.599
just go look and see. That's it, right, dear, that's

535
00:28:32.680 --> 00:28:35.279
my twenty dollar bill I got for mine Helen and Wichita.

536
00:28:35.640 --> 00:28:37.279
Give the child a twenty dollar bill.

537
00:28:37.519 --> 00:28:38.119
I'm giving it.

538
00:28:39.119 --> 00:28:40.440
Give the childer a twenty dollar bill.

539
00:28:40.519 --> 00:28:42.480
Miss Brownwell, yes, sir, Give her a piece of candy,

540
00:28:42.519 --> 00:28:43.400
Miss Brownwell, sir.

541
00:28:43.920 --> 00:28:45.240
Pay attention to things, mister.

542
00:28:45.079 --> 00:28:45.880
Brownwell, yes sir.

543
00:28:47.759 --> 00:28:50.000
Welcome back. Check and I are about to get into

544
00:28:50.079 --> 00:28:53.720
our thoughts about Paper Moon, so there may inadvertently be spoilers,

545
00:28:53.799 --> 00:28:56.319
so beware. This might be a good time to pause

546
00:28:56.400 --> 00:28:58.960
the podcast and watch the film. Paper Moon is not

547
00:28:59.079 --> 00:29:02.000
available on two, but you can rent it from wherever

548
00:29:02.240 --> 00:29:05.599
you rent movies. Okay, let's get into it. This movie,

549
00:29:05.720 --> 00:29:08.799
it feels really really simple, but it does shift the

550
00:29:08.920 --> 00:29:11.359
more you sit with it. When did that start happening

551
00:29:11.440 --> 00:29:15.960
with you? Almost right away, because the whole interaction during

552
00:29:16.039 --> 00:29:20.279
the opening scenes at the graveside really started to sort

553
00:29:20.319 --> 00:29:23.480
of tell that there's a lot more going on than

554
00:29:23.599 --> 00:29:26.200
sort of meeting the eye. That was just sort of

555
00:29:26.319 --> 00:29:30.400
what would you call a mouse boosh, nice, a little

556
00:29:30.480 --> 00:29:34.599
starter there. Nice. Once the interaction between Addie and Pray

557
00:29:34.799 --> 00:29:37.160
start to happen, you really start to see that there's

558
00:29:37.400 --> 00:29:38.839
there's going to be a lot more layers.

559
00:29:39.240 --> 00:29:42.119
I found it interesting that in the very start of

560
00:29:42.160 --> 00:29:45.240
the film that you learn a little bit about Moe's

561
00:29:45.640 --> 00:29:50.240
as he even approaches the graveside. Now it's the graveside

562
00:29:50.400 --> 00:29:53.680
of ADDIE's mother. Mose walks up, he parks his car,

563
00:29:53.799 --> 00:29:56.680
he's walking up, he bends down, he picks up flowers

564
00:29:56.880 --> 00:30:00.640
off of another gravesite, walks over, and at some point

565
00:30:00.680 --> 00:30:04.359
after everyone's walking away, he looks down into the grave

566
00:30:04.640 --> 00:30:07.319
and says something along the fact of you know, you

567
00:30:07.400 --> 00:30:10.039
were a good woman, you know, kind of implying that

568
00:30:10.160 --> 00:30:12.880
there was maybe a one night stand kind of a relationship,

569
00:30:12.960 --> 00:30:16.039
and he throws the flowers down, but the film opens

570
00:30:16.200 --> 00:30:20.319
up on a tight close up of Addie. The expression

571
00:30:20.400 --> 00:30:22.559
that's on her face is an expression you're going to

572
00:30:22.640 --> 00:30:24.319
see throughout the whole film.

573
00:30:24.880 --> 00:30:27.880
Just to add to your point about MOSE's appearance is

574
00:30:28.119 --> 00:30:31.960
not to forget that the car is, you know, backfiring

575
00:30:32.200 --> 00:30:34.920
and chugging and barely running as it comes up, So

576
00:30:35.119 --> 00:30:36.920
right off the bat, you know this guy is not

577
00:30:37.000 --> 00:30:39.480
a man of means or anything. And then he immediately

578
00:30:39.519 --> 00:30:42.799
steals the flowers like he described. At what point did

579
00:30:42.839 --> 00:30:46.880
you realize that maybe Mose wasn't exactly one hundred percent

580
00:30:46.960 --> 00:30:47.519
in charge?

581
00:30:48.000 --> 00:30:51.680
The moment Addie realizes that she could ask for that

582
00:30:51.880 --> 00:30:54.599
money and out of nowhere, she just says, I want.

583
00:30:54.559 --> 00:30:56.359
My two hundred dollars.

584
00:30:56.880 --> 00:31:00.839
Yeah, that's the moment that I think we thought Mose

585
00:31:00.960 --> 00:31:04.079
was in control because of how he was manipulating the

586
00:31:04.240 --> 00:31:06.759
owner of that mill, and then all of a sudden

587
00:31:06.960 --> 00:31:10.839
we realize that Addie has the power in this relationship.

588
00:31:10.920 --> 00:31:13.799
What about you, Yeah, I think maybe you didn't point

589
00:31:13.799 --> 00:31:16.680
out one particular fact that anybody who's had a child

590
00:31:16.920 --> 00:31:20.480
knows that you cannot make them eat. You can ask

591
00:31:20.559 --> 00:31:23.920
them to eat, but the power lies with them. So

592
00:31:24.440 --> 00:31:27.440
in this scene, she absolutely is refusing to eat the

593
00:31:27.519 --> 00:31:30.359
food or drink the knee high. She is absolutely in

594
00:31:30.480 --> 00:31:33.799
control of that. And then so to me, when the

595
00:31:34.079 --> 00:31:36.400
and you owe me two hundred dollars pops out to me,

596
00:31:36.480 --> 00:31:39.559
it was like, yep, she's she's in control.

597
00:31:40.000 --> 00:31:42.279
It was great. It was a great scene. Whoever filmed it,

598
00:31:42.480 --> 00:31:45.079
the sort of harping on the coney dog because he

599
00:31:45.200 --> 00:31:47.279
must have said the word I don't know twelve times.

600
00:31:47.480 --> 00:31:50.359
It's repeated quite a minute. Yeah, And it's funny because

601
00:31:50.440 --> 00:31:52.759
she will not even touch it. She is one hundred

602
00:31:52.759 --> 00:31:54.839
percent in control at this point, and she knows it.

603
00:31:55.079 --> 00:31:57.160
She brings out that you owe me two hundred dollars

604
00:31:57.319 --> 00:31:59.920
basically at the right moment when he's trying to make

605
00:32:00.119 --> 00:32:02.680
noise about how he's buying her a train ticket and

606
00:32:02.759 --> 00:32:06.319
he's buying her this food, and she just shuts him down.

607
00:32:06.400 --> 00:32:07.759
It's amazing. It's really good.

608
00:32:07.960 --> 00:32:11.200
One of the aspects that you see about Addie. She's

609
00:32:11.279 --> 00:32:14.640
lost her mother, but she is also looking for who

610
00:32:14.720 --> 00:32:18.000
her father is. She is looking at Moe's as a

611
00:32:18.240 --> 00:32:22.720
father figure. There's also a big hint that maybe Mo's

612
00:32:23.119 --> 00:32:24.599
is the father, whether.

613
00:32:24.440 --> 00:32:24.960
He knows it.

614
00:32:25.079 --> 00:32:25.240
Or not.

615
00:32:25.599 --> 00:32:28.559
Yeah, yeah, they definitely hint around about that. But I

616
00:32:28.599 --> 00:32:31.559
think it's unsettled on purpose, and I think it makes

617
00:32:31.599 --> 00:32:33.440
it a better film that it's unsettled.

618
00:32:33.480 --> 00:32:38.440
Sure, I was very surprised at how mature she was.

619
00:32:38.880 --> 00:32:41.960
She immediately has that understanding about the two hundred dollars.

620
00:32:42.200 --> 00:32:44.240
A young kid her age and I may not have

621
00:32:44.400 --> 00:32:47.799
even been paying attention, but you notice that Addie is

622
00:32:48.079 --> 00:32:51.960
always paying attention. For example, when they start to do

623
00:32:52.119 --> 00:32:56.880
their Bible scam, Addie begins sizing up the women and

624
00:32:56.960 --> 00:32:59.119
the family at the door to be able to tell

625
00:32:59.359 --> 00:33:02.200
how much to pay for the Bible. Right right, there's

626
00:33:02.279 --> 00:33:05.440
this woman who obviously has twelve children. She can't afford

627
00:33:05.480 --> 00:33:07.839
a Bible. They actually give away the Bible, but then

628
00:33:07.880 --> 00:33:10.039
she goes up to the one woman's house, a very

629
00:33:10.279 --> 00:33:13.400
wealthy woman, and she charged them twenty four dollars.

630
00:33:13.519 --> 00:33:16.559
And it's sad because she only would have gotten that

631
00:33:16.759 --> 00:33:20.119
knowledge by living kind of a rough and tumble life

632
00:33:20.160 --> 00:33:23.319
with her mother, who was obviously a woman down on

633
00:33:23.400 --> 00:33:27.240
her luck. She frequented the bars and stuff. So you know,

634
00:33:27.759 --> 00:33:30.920
it's sad that Addie, as a young person, would already

635
00:33:31.039 --> 00:33:33.599
know these kinds of ins and outs and actually knows

636
00:33:33.680 --> 00:33:37.599
people better than Bray does. Right, he's very surface level.

637
00:33:37.720 --> 00:33:41.599
She was definitely stepping past that into what these people

638
00:33:41.720 --> 00:33:45.079
needed to hear to get them to buy the Bible.

639
00:33:45.359 --> 00:33:49.039
So she's older than what her age would belie right, yeah, sure,

640
00:33:49.279 --> 00:33:52.000
more mature, Yeah, definitely much more mature. What did you

641
00:33:52.039 --> 00:33:56.920
think when she lit up that cigarette? Oh, that's so funny.

642
00:33:57.400 --> 00:34:00.400
It was so funny, but it was right along with

643
00:34:00.519 --> 00:34:05.680
what you're this iconoclastic little person sort of speaking adult

644
00:34:05.839 --> 00:34:08.920
words and sort of somewhat understanding and remembering. At the

645
00:34:08.920 --> 00:34:11.440
same time, this little girl just lost her mom, so

646
00:34:11.639 --> 00:34:14.119
she really has not had much of a chance to grieve.

647
00:34:14.480 --> 00:34:17.679
It's it's you know, it's bittersweet to me that it's like,

648
00:34:17.840 --> 00:34:20.159
she's okay, she's old enough and mature enough kind of

649
00:34:20.199 --> 00:34:21.760
deal with it. But at the same time, you're like,

650
00:34:21.840 --> 00:34:24.039
she's just a little kid, you know, she shouldn't have

651
00:34:24.159 --> 00:34:26.519
to deal with this. My takeaway, that wasn't her first

652
00:34:26.559 --> 00:34:29.679
cigarette she's ever. Oh no, she had it in the box.

653
00:34:29.920 --> 00:34:33.760
I think she herself. She lit the match with her fingernail.

654
00:34:36.800 --> 00:34:39.199
But also, at the same time, she is tough, but

655
00:34:39.320 --> 00:34:42.199
she's also very vulnerable. Do you remember the scene where

656
00:34:42.239 --> 00:34:44.840
she's looking at herself in the mirror. She also carries

657
00:34:45.000 --> 00:34:47.840
this cigar box. In the bottom of the cigar.

658
00:34:47.639 --> 00:34:50.679
Box is all of her memories of her mother, like

659
00:34:50.960 --> 00:34:55.360
her pearls, her perfume. She wears her hat throughout the

660
00:34:55.599 --> 00:34:58.440
entire film. And you realize all of this because there's

661
00:34:58.519 --> 00:35:01.599
one single picture of her and her mother, And of

662
00:35:01.639 --> 00:35:03.599
course at leads to the I thought it was kind

663
00:35:03.639 --> 00:35:06.119
of a funny scene where she's splashing the perfume all

664
00:35:06.280 --> 00:35:08.639
over her, and then the payoff is the next day.

665
00:35:09.199 --> 00:35:11.480
But the greatest part is that is like you didn't

666
00:35:11.480 --> 00:35:14.679
even realize back in the old days, the windscreen came up, Yeah,

667
00:35:14.760 --> 00:35:19.440
you could open the front window. That was pretty funny.

668
00:35:19.519 --> 00:35:21.440
That was a neat nostalgic thing. And the other thing

669
00:35:21.480 --> 00:35:24.159
we haven't even talked about, which is so funny to me.

670
00:35:24.599 --> 00:35:26.400
We didn't even talk about the whole films in black

671
00:35:26.440 --> 00:35:28.920
and white. Oh gosh, how could we forget that? I know,

672
00:35:29.280 --> 00:35:31.280
but it's one of those things where you know, it

673
00:35:31.599 --> 00:35:34.239
just doesn't seem to make a lot of difference, and

674
00:35:34.360 --> 00:35:39.000
it adds to the stark grayness of the times. You know,

675
00:35:39.159 --> 00:35:42.960
you're talking about the nineteen early nineteen thirties, right, and.

676
00:35:43.599 --> 00:35:46.480
It was actually nineteen thirty six, which was the same

677
00:35:46.840 --> 00:35:49.239
year that The Sting was to have taken place.

678
00:35:49.400 --> 00:35:51.599
Yeah, so it's still you're still coming out of the

679
00:35:51.679 --> 00:35:56.119
effects of the Great Depression, you know, so times are tough.

680
00:35:56.440 --> 00:36:00.360
The Black and White was a very interesting way to God,

681
00:36:00.440 --> 00:36:04.199
I feel like a seventies movie to you. Uh, I

682
00:36:04.280 --> 00:36:09.360
don't know, I think so. Yeah, gosh, I don't.

683
00:36:09.840 --> 00:36:13.360
It doesn't hit. It doesn't have that same hit as

684
00:36:13.559 --> 00:36:16.880
a seventies movie. Yeah, I might agree with that. It's

685
00:36:16.920 --> 00:36:19.039
always hard to sort of figure out how they trying

686
00:36:19.119 --> 00:36:22.320
to emote the time of the film and what is

687
00:36:22.480 --> 00:36:26.320
the nuance that having a seventies film brings to the

688
00:36:26.480 --> 00:36:30.199
lens of the time they're filming. You know, it's very meta.

689
00:36:30.400 --> 00:36:33.239
I mean, you go down several years here. So after

690
00:36:33.320 --> 00:36:35.800
watching The Sting, I always felt like I was watching

691
00:36:36.039 --> 00:36:38.639
a movie, right, because it's so well produced, it's so

692
00:36:38.800 --> 00:36:41.920
well set everything. It feels like that that very well

693
00:36:41.960 --> 00:36:43.960
could have been a movie made in the seventies when

694
00:36:44.000 --> 00:36:46.599
I watch it. When I watched this film, this film

695
00:36:46.639 --> 00:36:50.239
could have been made much earlier because it's a low

696
00:36:50.320 --> 00:36:53.800
budgeted film and Bogdanovich is using. I think he's making

697
00:36:53.880 --> 00:36:58.000
the most of everything that he can within that budget

698
00:36:58.079 --> 00:37:00.880
limit that he has. Yeah agree with that that it

699
00:37:00.960 --> 00:37:03.199
all makes a lot of sense. So if you didn't

700
00:37:03.320 --> 00:37:07.559
know that the actor and actress playing Mose and Addie

701
00:37:07.719 --> 00:37:10.920
were father and daughter, would it play the same. I'll

702
00:37:10.920 --> 00:37:13.239
give you my take on it is. I think it

703
00:37:13.440 --> 00:37:16.760
endeared me to the movie. It gave me a predisposition

704
00:37:16.880 --> 00:37:20.079
of positivity to the movie before I watched it, because

705
00:37:20.079 --> 00:37:22.079
I thought it would be cool to see a father

706
00:37:22.199 --> 00:37:24.880
and daughter acting together. And I think you also saw

707
00:37:24.960 --> 00:37:28.400
that on Golden Pond with Henry Fonda and Jane Fonda,

708
00:37:28.440 --> 00:37:31.199
which is a fantastic movie, not a seventies movie, but

709
00:37:31.320 --> 00:37:34.159
still worth watching. That was a father daughter dynamic of

710
00:37:34.320 --> 00:37:38.519
two powerhouse actors in top form. In my opinion, Henry

711
00:37:38.559 --> 00:37:41.320
Fonda was an amazing actor, and in her own right,

712
00:37:41.480 --> 00:37:42.360
Jane was as well.

713
00:37:42.639 --> 00:37:45.920
I think it gave me a positive predisposition to the

714
00:37:46.039 --> 00:37:48.239
film because I think it's cool that a father and

715
00:37:48.360 --> 00:37:49.960
daughter got to do this film, and she was so

716
00:37:50.119 --> 00:37:52.880
young and she won an Academy Award. I think it

717
00:37:52.960 --> 00:37:54.760
added something, but I don't think it would have been

718
00:37:54.800 --> 00:37:56.320
the end of the world if they weren't related.

719
00:37:56.480 --> 00:37:59.920
I definitely agree with you that the father and daughter

720
00:38:00.400 --> 00:38:04.840
relationship brought a lot of familiarity. You know how sometimes

721
00:38:04.880 --> 00:38:08.639
you watch child actors and it always feels like maybe

722
00:38:08.679 --> 00:38:12.760
they're not quite as up to snuff as the adult actors.

723
00:38:13.239 --> 00:38:15.360
It can sometimes it can be a little bit disjointed

724
00:38:15.559 --> 00:38:17.239
unless it plays into.

725
00:38:17.440 --> 00:38:19.039
How the role is written right.

726
00:38:19.199 --> 00:38:23.440
So I think, for example, here there's already conflict between

727
00:38:23.519 --> 00:38:27.960
the two. Mos really doesn't want her along until he

728
00:38:28.159 --> 00:38:31.119
realizes that she would be good for his con games

729
00:38:31.239 --> 00:38:34.280
as having a little girl with him. She's also looking

730
00:38:34.360 --> 00:38:37.519
for this father figure to fill a role in her

731
00:38:38.079 --> 00:38:40.920
life that she doesn't want to go off to live

732
00:38:40.960 --> 00:38:43.320
with her aunt and uncle. They keep repeating, you have

733
00:38:43.440 --> 00:38:46.360
the same jaw. It's so true. You look at them

734
00:38:46.400 --> 00:38:49.400
and you see it, you know through Wow. I think

735
00:38:49.440 --> 00:38:51.599
it adds a lot to the film, speaking of things

736
00:38:51.639 --> 00:38:53.320
that add a lot, and you can see things that

737
00:38:53.519 --> 00:38:56.679
maybe maybe was weird or didn't add so much. Sure,

738
00:38:56.719 --> 00:38:59.239
I think we have that whole segment of Tricksy Delight

739
00:38:59.360 --> 00:39:02.360
played by mattn To me, it felt like a big

740
00:39:02.480 --> 00:39:06.519
shift between Act one in Act three or something. I mean,

741
00:39:06.559 --> 00:39:08.840
it was like it was weird to me because Moe's

742
00:39:08.920 --> 00:39:12.599
made such a shift in his personality and his activities

743
00:39:12.719 --> 00:39:14.039
and his going and buying.

744
00:39:13.880 --> 00:39:16.559
More cars, and it was weird. It was act too.

745
00:39:16.679 --> 00:39:19.719
I would bet that in the source material there's some

746
00:39:20.079 --> 00:39:23.679
more justification for this. In other words, it wouldn't like

747
00:39:23.800 --> 00:39:25.440
we all have read books and then we go to

748
00:39:25.519 --> 00:39:28.079
the movie and we're like, Okay, I'm filling in the

749
00:39:28.159 --> 00:39:30.599
banks here because oh that's the scene. I did enjoy it,

750
00:39:30.679 --> 00:39:32.360
but I know all the stuff that led up to it,

751
00:39:32.440 --> 00:39:34.639
that's why it happened. Whereas if you're somebody who's never

752
00:39:34.719 --> 00:39:36.760
read the book, you're like, why did that happen?

753
00:39:37.000 --> 00:39:37.159
You know?

754
00:39:37.400 --> 00:39:39.199
And that's where I was a little bit with this.

755
00:39:39.400 --> 00:39:41.639
But I did enjoy the scene because it kind of

756
00:39:41.960 --> 00:39:47.239
showed Addie at her full powers of discernment and the

757
00:39:47.559 --> 00:39:52.159
full on power of her ability to solve a situation.

758
00:39:52.800 --> 00:39:56.440
You're going to ruin it, ain't you. Look, I don't

759
00:39:56.480 --> 00:39:58.920
want to wipe you out, and I don't want you

760
00:39:59.000 --> 00:40:01.960
wiping me out, you know, So I'm going to level

761
00:40:02.039 --> 00:40:05.400
with you. Okay, Now, I say with me, it's just

762
00:40:05.480 --> 00:40:08.880
a matter of time. I don't know why, but somehow

763
00:40:09.320 --> 00:40:11.440
I just don't manage to hold on me along.

764
00:40:12.760 --> 00:40:14.639
So if you wait it out, let it, it'll be over,

765
00:40:14.800 --> 00:40:14.960
you know.

766
00:40:16.760 --> 00:40:19.840
I mean, even if I want a fellow, somehow I

767
00:40:20.000 --> 00:40:24.119
managed to get it screwed up. Maybe I'll get a

768
00:40:24.159 --> 00:40:28.960
new past shoes, a nice dress, a few laughs. Times

769
00:40:28.960 --> 00:40:33.559
are hard. If you fool around on the hill up here,

770
00:40:34.360 --> 00:40:37.480
then you don't get nothing. I don't get nothing, You

771
00:40:37.559 --> 00:40:38.280
don't get nothing.

772
00:40:41.239 --> 00:40:46.400
Madeline Con was amazing in this film. I loved the character.

773
00:40:47.039 --> 00:40:51.039
She is the foil if you will with Addie. She

774
00:40:51.280 --> 00:40:54.679
is the one coming in between her and Moe's. And

775
00:40:54.800 --> 00:40:57.199
you know that Addie does not like it, and I

776
00:40:57.519 --> 00:41:01.559
love that she finds a compatriot and I'm a chain.

777
00:41:01.920 --> 00:41:02.079
You know.

778
00:41:02.800 --> 00:41:06.840
I'm going to leave the details of their con but

779
00:41:07.159 --> 00:41:08.320
it's a fun saying.

780
00:41:08.719 --> 00:41:12.199
Well, hello, Cupid stricks. You want to see She says

781
00:41:12.239 --> 00:41:13.079
it's really important.

782
00:41:14.039 --> 00:41:15.360
Five Oh she does?

783
00:41:15.599 --> 00:41:17.280
Does she win right now?

784
00:41:17.639 --> 00:41:18.559
Well, I can't get.

785
00:41:18.480 --> 00:41:21.360
Off right now, but she says it's real important. Well,

786
00:41:21.480 --> 00:41:23.960
you tell her I'll come up later tonight when the

787
00:41:24.079 --> 00:41:24.800
moon is full.

788
00:41:25.000 --> 00:41:26.239
But you can't come tonight.

789
00:41:26.599 --> 00:41:28.480
She won't even be here afternight.

790
00:41:29.159 --> 00:41:31.800
Matter of fact, she won't even be here after today.

791
00:41:32.280 --> 00:41:35.760
She won't huh, well, you won't be sorry.

792
00:41:37.920 --> 00:41:40.440
I guess I could go up for a few minutes.

793
00:41:40.760 --> 00:41:43.400
What's that room number again? Two thirty five?

794
00:41:43.599 --> 00:41:44.639
She's waiting for you.

795
00:41:45.360 --> 00:41:46.519
Okay, you tell her.

796
00:41:46.559 --> 00:41:47.679
I'm all the way up, so you are.

797
00:41:48.719 --> 00:41:49.599
You're gonna love it.

798
00:41:49.719 --> 00:41:53.920
It's the most complicated con in the entire film, and

799
00:41:54.000 --> 00:41:56.000
I wanted to say that if your heart just doesn't

800
00:41:56.119 --> 00:41:59.239
melt when Addie makes his little eyebrows raises up and

801
00:41:59.320 --> 00:42:05.400
down when she's intimating to Floyd the clerk as to

802
00:42:05.519 --> 00:42:06.639
what she's talking about.

803
00:42:08.119 --> 00:42:10.679
It was very funny, and I would just it is great.

804
00:42:10.840 --> 00:42:12.360
I think it's a good idea to leave it to

805
00:42:12.440 --> 00:42:15.039
the audience to watch it because it's such a fun

806
00:42:15.559 --> 00:42:18.920
setup and orchestration of this thing, and then how it

807
00:42:19.039 --> 00:42:22.000
resolves is all very very very cool. We need to

808
00:42:22.039 --> 00:42:34.280
take a quick break, but we'll be right backmatic.

809
00:42:29.159 --> 00:42:30.000
Flash back.

810
00:42:32.599 --> 00:42:35.840
In the actual Egyptian Tomb of Green Look ready and

811
00:42:36.280 --> 00:42:39.480
featuring ulicious Miss Cheeter light.

812
00:42:42.519 --> 00:42:42.800
You did?

813
00:42:42.920 --> 00:42:43.960
I ain't that fun.

814
00:42:45.880 --> 00:42:46.159
Right now?

815
00:42:46.239 --> 00:42:46.679
Sweetheart?

816
00:42:46.719 --> 00:42:47.559
How are you taking minute?

817
00:42:47.719 --> 00:42:48.159
Not? Now?

818
00:42:48.280 --> 00:42:48.639
You hear me?

819
00:42:51.199 --> 00:42:53.800
I can't help that, And excuse me, understand he can't

820
00:42:53.920 --> 00:42:57.719
gonna finish many times as I like that's how many times, and.

821
00:42:57.760 --> 00:42:58.920
I might see a half dozen more.

822
00:42:59.000 --> 00:43:00.679
Now, why don't you go play or something?

823
00:43:00.719 --> 00:43:01.760
I want to play bingo?

824
00:43:01.960 --> 00:43:03.599
Then why don't you go write another love note to

825
00:43:03.639 --> 00:43:04.400
Saint Roosevelt.

826
00:43:04.480 --> 00:43:05.199
Maybe I will.

827
00:43:05.320 --> 00:43:07.159
I stop standing around here checking on me. You don't

828
00:43:07.159 --> 00:43:08.639
have to worry. I ain't about to leave some poor

829
00:43:08.639 --> 00:43:10.679
little child stranded in the middle of nowhere. I got

830
00:43:10.719 --> 00:43:11.320
scruples too.

831
00:43:11.400 --> 00:43:12.519
You know you know what that is.

832
00:43:12.639 --> 00:43:13.159
Scruples.

833
00:43:13.400 --> 00:43:15.400
Yeah, I don't know where it is. But if you've gotten,

834
00:43:15.519 --> 00:43:16.320
be sure back.

835
00:43:16.199 --> 00:43:17.320
The roan somebody else.

836
00:43:18.360 --> 00:43:20.239
I wanted to bring up a thing about the film

837
00:43:20.360 --> 00:43:23.320
name because I think it sure it matters in this way,

838
00:43:23.400 --> 00:43:27.800
because the original name of the film was going to

839
00:43:27.840 --> 00:43:31.320
be Addie Prey, but after hearing the song It's Only

840
00:43:31.400 --> 00:43:35.679
a paper Moon, Brogdanovich renamed it, and he added a

841
00:43:35.719 --> 00:43:38.960
scene where Addie has her picture taken in a paper moon,

842
00:43:39.079 --> 00:43:42.480
specifically to justify using the title. But I think there's

843
00:43:42.639 --> 00:43:46.880
also another part of that photograph is that there was

844
00:43:46.920 --> 00:43:50.039
supposed to be a photograph of Mo's and Addie in

845
00:43:50.119 --> 00:43:53.039
the paper Moon, and it doesn't get taken, and she

846
00:43:53.719 --> 00:43:56.039
throughout the film carries around the photo of her and

847
00:43:56.159 --> 00:43:58.519
her mom. So I think there's a little tie in

848
00:43:58.719 --> 00:44:02.000
with that not happen. But it also you know, if

849
00:44:02.079 --> 00:44:06.599
you think about it, it not happening because they are together.

850
00:44:06.960 --> 00:44:09.760
It happened with her mom, but her mom is not gone,

851
00:44:09.960 --> 00:44:12.079
So to me, it can be taken as a sort

852
00:44:12.079 --> 00:44:14.760
of positive or a negative. So you know, Matt, this

853
00:44:14.920 --> 00:44:15.599
is why I.

854
00:44:15.679 --> 00:44:17.880
Love having you as a co host here on the

855
00:44:17.920 --> 00:44:20.719
Cinematic Flashback podcast because I will do all of this

856
00:44:20.880 --> 00:44:24.400
research on stuff, and you will look at the film

857
00:44:24.480 --> 00:44:26.760
and you will just see what it is in all

858
00:44:26.840 --> 00:44:30.320
those deeper contacts that I just sometimes I don't pull out.

859
00:44:30.519 --> 00:44:33.679
I love your analysis, man, I just thought it was

860
00:44:33.800 --> 00:44:35.920
fun when I read that. I sort of then started

861
00:44:35.920 --> 00:44:37.639
to think on it a little bit, and then how

862
00:44:37.760 --> 00:44:41.000
that scene went with her being a little bit salty

863
00:44:41.119 --> 00:44:44.519
at not having a photo with him taken. I really

864
00:44:44.599 --> 00:44:46.679
do go backwards on some of these things because a

865
00:44:46.760 --> 00:44:49.599
film was very intentional, right that the director is telling

866
00:44:49.719 --> 00:44:53.079
us a story, and typically the stuff that doesn't tell

867
00:44:53.119 --> 00:44:55.559
the story gets left on the cutting room floor. So

868
00:44:55.639 --> 00:44:58.360
if he included that scene, he was trying to say

869
00:44:58.440 --> 00:45:01.320
something about it, right, which was, yeah, it's a picture

870
00:45:01.360 --> 00:45:04.280
of her mom. She would then have a picture of

871
00:45:04.480 --> 00:45:07.679
her dad. Yeah, but no it doesn't happen, So there's

872
00:45:07.679 --> 00:45:10.760
still it could be to his purpose of keeping that

873
00:45:10.960 --> 00:45:14.239
relationship nebulous. Is it real or is it? Is it

874
00:45:14.360 --> 00:45:15.880
real because they made it real?

875
00:45:16.880 --> 00:45:23.119
Is only a paper more failing all a cardboardy.

876
00:45:26.519 --> 00:45:28.920
I went and looked at some of the words or

877
00:45:28.960 --> 00:45:29.519
paper moon.

878
00:45:30.039 --> 00:45:32.920
There's the line where it says, without your love, it's

879
00:45:32.920 --> 00:45:35.639
a honky tonk parade, without your love. It's a melody

880
00:45:35.920 --> 00:45:38.880
played and a penny arcade. It's a Barnum and Bailey.

881
00:45:39.119 --> 00:45:41.840
World's just as phony as it can be. But it

882
00:45:41.880 --> 00:45:44.960
wouldn't be. Make believe if you believed in me. That

883
00:45:45.400 --> 00:45:48.599
is the heart of what Addie is looking for, and

884
00:45:48.719 --> 00:45:50.760
that brings us to the ending. Is this actually a

885
00:45:50.800 --> 00:45:51.360
happy ending?

886
00:45:51.599 --> 00:45:55.639
I think it is because it basically says things are

887
00:45:55.719 --> 00:45:58.639
going to go on into the future with the two

888
00:45:58.760 --> 00:46:01.880
of them, and honestly, come what may. As it goes

889
00:46:01.960 --> 00:46:05.639
into the future, we don't know, but it's pretty clear

890
00:46:05.800 --> 00:46:08.519
that they're going to go into the future together, which

891
00:46:08.559 --> 00:46:11.679
I think is the best resolution. It also leaves it

892
00:46:11.760 --> 00:46:14.119
open for serialization in a series.

893
00:46:17.320 --> 00:46:21.920
The final shot is of them driving down this long road.

894
00:46:22.280 --> 00:46:24.519
The road just goes on and on forever until the

895
00:46:24.639 --> 00:46:28.480
road goes over the horizons. So I felt it resolved

896
00:46:28.639 --> 00:46:29.000
a lot.

897
00:46:29.360 --> 00:46:31.519
I don't want to go any more details about which

898
00:46:32.000 --> 00:46:35.519
happens at the during the ending sequence because it is,

899
00:46:35.719 --> 00:46:38.159
it's moving, and it's nice in the film to see it.

900
00:46:38.519 --> 00:46:41.679
But I do think that last scene was interesting because

901
00:46:42.039 --> 00:46:44.639
one of the things I liked is they this truck

902
00:46:44.719 --> 00:46:47.599
that they got was such a ramshackle truck from Leroy.

903
00:46:47.760 --> 00:46:50.599
They absolutely had to work together to get it down

904
00:46:50.679 --> 00:46:53.719
the road, which I think was significant. Right, they had

905
00:46:53.760 --> 00:46:56.079
to push it to go, she was driving, he was

906
00:46:56.280 --> 00:46:58.920
running behind, and then climbs in Yeah, there you go again.

907
00:46:59.440 --> 00:46:59.920
I love that.

908
00:47:00.320 --> 00:47:02.760
To me, that was sort of the Okay, we're we're

909
00:47:02.800 --> 00:47:05.320
now going to work together and not against each other, right,

910
00:47:05.440 --> 00:47:08.159
We're gonna yeah, we're in this together, which was to

911
00:47:08.280 --> 00:47:11.920
me sort of the best, the best ending you could

912
00:47:12.000 --> 00:47:14.760
look for, because obviously in a film like this, you're

913
00:47:14.840 --> 00:47:18.039
always waiting for the other shoe to drop. Is something

914
00:47:18.199 --> 00:47:20.320
going to happen to one of them or the other,

915
00:47:20.679 --> 00:47:23.559
I mean something really bad, and so it is one

916
00:47:23.599 --> 00:47:26.440
of those there's a bit of tension. So this scene

917
00:47:26.480 --> 00:47:30.440
at the end is very very nice, in my opinion,

918
00:47:30.639 --> 00:47:31.599
really joyful.

919
00:47:32.039 --> 00:47:35.239
It doesn't it doesn't resolve any questions other than the

920
00:47:35.360 --> 00:47:38.639
fact that they're going to work together. Man, I think

921
00:47:38.639 --> 00:47:41.519
it's time to ask a question. Did Paper Moon groove

922
00:47:41.559 --> 00:47:43.679
through the decades or did it lose its beat?

923
00:47:43.960 --> 00:47:47.199
So I'll answer this way. I went into this thinking

924
00:47:47.519 --> 00:47:50.000
that I would not enjoy this movie. I mean, honest

925
00:47:50.079 --> 00:47:52.280
to goodness, I had ever seen it before. But I

926
00:47:52.400 --> 00:47:54.639
really there are a lot of stories about Ryan and

927
00:47:54.760 --> 00:47:59.719
Tatum O'Neill out there and their stormy relationships through their lives,

928
00:47:59.719 --> 00:48:02.360
which it's just nothing but sad. All of that was

929
00:48:02.559 --> 00:48:05.599
just not very pleasant. But all of that notwithstanding, I

930
00:48:05.880 --> 00:48:09.280
enjoyed this film. The dynamic of Addie and Mo's was

931
00:48:09.320 --> 00:48:12.719
the whole thing. The relationship is formed, it grows and

932
00:48:12.880 --> 00:48:15.599
comes to fruit all within the film, and to me,

933
00:48:15.760 --> 00:48:18.719
that is why the open ended ending feels right. They

934
00:48:18.760 --> 00:48:20.920
are going to go along together from that point on,

935
00:48:21.199 --> 00:48:24.360
not in a traditional relationship, but maybe in the healthiest

936
00:48:24.400 --> 00:48:27.599
one each one has ever had so far in their lives.

937
00:48:27.840 --> 00:48:30.840
I declare this film still grews. However, not having seen

938
00:48:30.880 --> 00:48:32.480
it back in the day, I am not sure if

939
00:48:32.519 --> 00:48:34.840
it groofed back in the Day. I enjoyed it, and

940
00:48:34.960 --> 00:48:36.119
I highly recommend it.

941
00:48:36.440 --> 00:48:39.440
Matt the thirty million dollars it made at the box

942
00:48:39.559 --> 00:48:43.880
office says that it grooved back in the day figure.

943
00:48:44.039 --> 00:48:46.280
One of the things that I kept thinking about this movie.

944
00:48:46.679 --> 00:48:50.119
In some ways it just reminded me of watching A

945
00:48:50.199 --> 00:48:53.840
Little Rascals. Yeah, the children in the Little Rascals were

946
00:48:54.079 --> 00:48:58.800
always in control and they always drove the story. One

947
00:48:58.840 --> 00:49:01.079
of the things that I love about The Last Picture

948
00:49:01.159 --> 00:49:04.519
Show was how Bogdanovitch transported me to a small dying

949
00:49:04.559 --> 00:49:08.039
town in Texas. One striking quality of that film was

950
00:49:08.119 --> 00:49:10.119
that he chose to shoot it in black and white,

951
00:49:10.239 --> 00:49:12.639
and I was very surprised to see that he was

952
00:49:12.719 --> 00:49:15.920
able to do it again in Paper Moon. I'm excited

953
00:49:16.000 --> 00:49:18.880
to see What's Up Doc later in December. I knew

954
00:49:19.000 --> 00:49:21.679
from the moment that Addie demanded her two hundred dollars

955
00:49:21.760 --> 00:49:23.760
that I was going to like this film, and the

956
00:49:23.920 --> 00:49:26.199
rest of the movie just proved me right, even if

957
00:49:26.239 --> 00:49:29.960
sometimes I wasn't really sure where it was going. Unfortunately,

958
00:49:30.079 --> 00:49:32.519
when you research a movie, you come across the rather

959
00:49:32.639 --> 00:49:35.760
tragic tale of the O'Neills, and it is rather sad

960
00:49:35.920 --> 00:49:38.239
because you so want to believe what you see on

961
00:49:38.360 --> 00:49:40.880
the screen, because what you see on the screen is

962
00:49:40.920 --> 00:49:43.760
a sweet ending that I really wish that the two

963
00:49:43.840 --> 00:49:46.239
of them could have had in real life. But I

964
00:49:46.400 --> 00:49:49.400
agree with the consensus on Rotten Tomatoes and I think

965
00:49:49.599 --> 00:49:54.039
this movie still grooves. Comparing this to The Sting, I

966
00:49:54.199 --> 00:49:59.239
think the Sting has a much more satisfying closing, but

967
00:49:59.360 --> 00:50:03.320
I think the Paper Moon has so much more heart.

968
00:50:03.920 --> 00:50:08.519
I would agree with your analysis one hundred percent. I

969
00:50:08.679 --> 00:50:13.320
do think that the Sting wraps everything together much like

970
00:50:13.440 --> 00:50:16.039
we said in that podcast, sort of like the old

971
00:50:16.320 --> 00:50:20.400
episodes of Mission Impossible, where every single thing works correctly,

972
00:50:20.519 --> 00:50:25.079
click bang, everything's in a small box and everything worked,

973
00:50:25.119 --> 00:50:28.639
and that's very satisfying at your sort of analytical level.

974
00:50:29.039 --> 00:50:32.280
This movie none of that happens. None of everything is

975
00:50:32.360 --> 00:50:35.519
kind of click click click, and everything works. It's all

976
00:50:35.679 --> 00:50:38.320
kind of a seat of the pants. But like you

977
00:50:38.440 --> 00:50:42.480
point out, I think this has more heart. Well. That

978
00:50:42.719 --> 00:50:44.960
wraps up our art of the con month.

979
00:50:45.559 --> 00:50:49.159
Coming in June, we're kicking off our Origin series where

980
00:50:49.280 --> 00:50:51.960
we take a look at the early films of two

981
00:50:52.079 --> 00:50:57.000
directors who would leave a massive mark on seventy cinema. First,

982
00:50:57.440 --> 00:51:00.039
we head into the Far Future with George Lucas. This

983
00:51:00.159 --> 00:51:03.880
is THCHX eleven thirty eight, a dystopian vision of a

984
00:51:04.000 --> 00:51:07.880
world where the prison doors are completely unlocked, but humanity

985
00:51:07.920 --> 00:51:12.079
has been conditioned not to care. Then we hit the

986
00:51:12.239 --> 00:51:15.119
highway and have a deadly run in What the Truck

987
00:51:15.400 --> 00:51:19.559
as we drive deep into the desert with Steven Spielberg's Duel.

988
00:51:20.079 --> 00:51:23.559
Both of these films revealed talents that are just about

989
00:51:23.639 --> 00:51:28.039
to explode onto the cinematic landscape, with ideas and themes

990
00:51:28.159 --> 00:51:31.880
that these directors will continue to expand on for years

991
00:51:31.920 --> 00:51:35.400
to come. We're really looking forward to diving into these

992
00:51:35.480 --> 00:51:36.280
films with you.

993
00:51:36.880 --> 00:51:39.199
Thanks for tuning in. Let us know what you thought

994
00:51:39.239 --> 00:51:43.360
about Paper Moon. You can reach us at Wwwcinematicflashback dot

995
00:51:43.559 --> 00:51:46.000
com and don't forget to leave us a rating and

996
00:51:46.079 --> 00:51:49.360
a review. We might just read it on air or

997
00:51:49.760 --> 00:51:53.480
make a call out to you for your contribution and

998
00:51:54.000 --> 00:51:56.880
your comments. If you enjoy the show, help us grow

999
00:51:57.360 --> 00:52:01.400
by sharing it with your friends. Really be that person

1000
00:52:01.639 --> 00:52:05.000
who annoys your friends by saying you have you listened

1001
00:52:05.000 --> 00:52:08.440
to this podcast? It's pretty good? Join us next time

1002
00:52:08.519 --> 00:52:10.920
as we hop back into the wayback machine and head

1003
00:52:11.000 --> 00:52:14.760
once again into the nineteen seventies for another classic. We'll

1004
00:52:14.800 --> 00:52:15.320
see you then.

1005
00:52:16.519 --> 00:52:28.000
Sure this little baby has to go wake you tanky

1006
00:52:28.079 --> 00:52:28.599
all the time.

1007
00:52:29.480 --> 00:52:31.400
Well, don't you worry none. We'll just plan on stopping

1008
00:52:31.440 --> 00:52:32.039
here for dinner.

1009
00:52:32.119 --> 00:52:34.719
But we just stopped for it, and we that line.

1010
00:52:34.800 --> 00:52:37.079
That's right, And now we're stopping for dinner.

1011
00:52:37.480 --> 00:52:39.159
Come on, I ain't hungry.