When
Paper Moon was first released, in 1973, it was already a throwback. Compared with other great films of that amazing year�
The Exorcist,
Mean Streets,
The Long Goodbye,
Serpico,
American Graffiti (among so many others)�it must have seemed downright archaic. Part buddy film, road movie, and picaresque, the film's contrasty black-and-white cinematography, long takes, and classical storytelling techniques ensured its status as an instant period piece. And yet this jaunty cross between
The Sting (also 1973),
The Grapes of Wrath, and
The Little Rascals, with an unlikely love story at its center, became a sizable hit and remains one of the more purely enjoyable movie experiences.
As any student of film will tell you, for a few brief years in the early 1970s, Peter Bogdanovich was God. After cutting his teeth as an actor, Esquire film critic, and eager acolyte of low-budget king Roger Corman (for whom he directed 1967's
Targets), Bogdanovich took the cinematic world by storm with his morose, artful adaptation of Larry McMurtry's novel,
The Last Picture Show (1971). Critical hosannas greeted the cocky wunderkind, whose devotion to his Old Hollywood idols�notably John Ford, Orson Welles, and Howard Hawks�was reflected in every carefully composed frame of his black-and-white potboiler.
Read more �
