Director:
Peter BogdanovichGuión:
Alvin SargentCámara:
László KovácsReparto:
Ryan O'Neal, Tatum O'Neal, Madeline Kahn, John Hillerman, P.J. Johnson, Noble Willingham, Randy Quaid, Art Ellison, Hugh Gillin, Burton Gilliam (más)Sinopsis(1)
En plena depresión de los años 30 en América, Moses, un vendedor de biblias bastante poco ético se hace cargo de Addie, una huérfana a quien debe llevar a Missouri para vivir con una tía suya. En el camino, el hombre descubre que la pequeña es un diablillo que sabe fumar, no para de blasfemar y es tan manipuladora como él mismo. Así, unen su ingenio de timadores para hacer cualquier tipo de negocio y trapicheo con éxito. Su relación se vuelve tan cercana que la niña no admite las relaciones de Moses, con Trixie, una bella bailarina. Más tarde, tratando de saldar una deuda con la pequeña Addie, el hombre entabla negocios con un contrabandista y es apaleado casi hasta la muerte. En el final de su camino, ya cumplida su encargo de llevar a Addie hasta su familia, ésta se niega a dejar a su inseparable compañero. (Movistar+)
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Reseñas (3)
Paper Moon is reminiscent of classical Hollywood, which was very skilled at working with predictable human emotions and excelled at the craft of filmmaking in its melodramas. However, it had two fundamental flaws, namely sentimentality and the associated naivety in its approach to characters and social reality. Peter Bogdanovich avoided these two flaws in his comedy-drama set in interwar America, creating a charming film about the relationship between a small-time swindler and a sharp-witted orphan, who clearly inherits the influence of her mother, who earns a living through the oldest profession. The itinerant bible salesman and trader of human naivety may think he can quickly get rid of the feisty girl and make a profit, but she has a different idea and the skills to achieve it. It is true that little Tatum O'Neal mostly relies on her defiant expression throughout the film, and I can recall many more convincing child actors, as well as the fact that more could have been done with a similar storyline. Nevertheless, the film is of high quality due to its elegance and lack of pandering. Overall impression: 85%.
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A classic tale of an unlikely couple with its greatest added value being the bleak portrayal of an empty and exhausted rural central United States during the Great Depression. For example, the brief passage where the investor waits on the corner of a building for Mozes, who lies battered nearby, recalls in its desolation (despite being set on Main Street) and silence (Mozes lures Addie there with a barely audible hiss) a nightmare scene from Bergman's Wild Strawberries or an episode from Jurek's New Wave films. Yet these are only illustrations of the time.
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This black-and-white film about a world made up of conmen and patsies is not black-and-white at all. On the contrary, it is tremendously empathetic and emotionally colourful.
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