Paper Moon
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Synopsis
Maverick director Peter Bogdanovich affectionately recreates the world of the 1930s Dust Bowl in this beloved, briskly entertaining chronicle of one of cinema’s unlikeliest crime sprees. Real-life father and daughter Ryan and Tatum O’Neal (who became the youngest-ever Oscar winner for her spark-plug performance) play off each other with almost musical agility as a Bible-hawking con man and the precocious, recently orphaned tomboy who falls into his care—and soon rivals her newfound father figure’s skill as a swindler. With period-perfect detail, glowing monochrome imagery by cinematographer László Kovács, and a memorable supporting cast (including the inimitable Madeline Kahn), Paper Moon is a witty, loving portrait of two natural-born hustlers on a road trip through Depression-era America.
Picture 10/10
Peter Bogdanovich’s Paper Moon receives a substantial upgrade from The Criterion Collection, presented in 4K UHD with Dolby Vision on a triple-layer disc in the director’s preferred aspect ratio of 1.66:1. The 2160p/24hz ultra high-definition presentation is sourced from a brand-new 4K restoration, derived from a scan of the 35mm original camera negative. The release also includes a standard dual-layer Blu-ray featuring a 1080p presentation of the film and all video supplements.
The film has long been overlooked on home video, with its only notable releases being a North American DVD and a UK Blu-ray from Eureka’s Masters of Cinema series. While the Eureka Blu-ray improved upon the DVD, it was still limited by an older high-definition master, plagued by visible noise, a lack of fine detail, and weaker grayscale. It was serviceable for its time, but the film was overdue for a proper restoration.
That long-awaited restoration has finally arrived, and the results are well worth the wait. This new presentation is superb, delivering an astonishingly film-like image that far surpasses previous editions. The fresh scan captures fine detail and grain remarkably, while Criterion’s encode delivers a clean, natural texture throughout. The black-and-white cinematography, shot by Laszlo Kovacs, now shines in a way it just never did before. The grayscale and contrast are significantly, offering a wider range of grays that blend seamlessly, while the stark contrasts—darker skies and hotter whites created with the help of a red filter—are handled beautifully, with no loss of detail in highlights.
Dolby Vision and HDR further enhance the presentation, deepening blacks and ensuring smooth gradations across the tonal range. Nighttime interiors lit by single light sources look especially striking, with rich shadows and clean, detailed transitions.
The restoration work is meticulous, leaving no visible blemishes or damage. In the end, Paper Moon has never looked better, and this will make a lot of admirers happy.
Audio 7/10
Criterion includes the film’s original monaural soundtrack in lossless single-channel PCM, and it sounds good overall. Dialogue and sound effects are crisp, with ample range, and the track remains clean throughout, free from distortion or significant damage. The music, sourced from period recordings, carries a slightly hollow quality with limited depth and dynamic range compared to the rest of the audio. However, this characteristic works in the film’s favor, adding a layer of authenticity that works with the film's period and its tone.
Extras 9/10
Criterion assembles a solid selection of special features for their Paper Moon release, blending archival material from Paramount with newly produced content. While a lot of the material will be familiar to fans of the film who have already purchased it, several thoughtful new additions further enhance this edition.
Carried over from the 2002 DVD and Eureka’s Blu-ray are Peter Bogdanovich’s engaging audio commentary and the three-part documentary The Making of “Paper Moon”. In his commentary, Bogdanovich delves deeply into the film’s production, recounting how he joined the project following the fallout of another production, and detailing the adjustments he made to Alvin Sargent’s script with Sargent’s input. He discusses casting choices, particularly Tatum O’Neal’s breakthrough role, and offers insight into his technical preferences, such as his penchant for in-camera editing. Bogdanovich also elaborates on his decision to shoot in black-and-white, explaining that color would have made the film look “too pretty,” especially with its photogenic leads.
This is all complemented by the 36-minute documentary presented in three parts (Next Picture Show, Asking for the Moon, and Getting the Moon). It reiterates much of what’s covered in the commentary but offers additional perspectives from production designer Polly Platt, cinematographer Laszlo Kovacs, and associate producer Frank Marshall. Kovacs discusses achieving the film’s distinct look through filters and lighting, while Platt reflects on her multi-faceted contributions, including scouting locations, sourcing props, and even convincing Bogdanovich to take on the project after initially dismissing the script. The documentary also covers the film’s reception and Tatum O’Neal’s historic Oscar win.
Criterion has unearthed a 9-minute introductory featurette from Paramount’s 1989 LaserDisc edition, unused since its original release. Though it rehashes details found elsewhere—such as Bogdanovich’s editing style, casting process, and choice to shoot in black-and-white—it does feature the filmmaker expressing his preference for the 1.66:1 aspect ratio, a format he ensured for the LaserDisc after the film had previously been shown open matte on video. The featurette also delivers a delightful dose of nostalgia with its late-80s/early-90s aesthetic, complete with hokey video wipes (only the star-wipe doesn't get used).
A newly commissioned 25-minute video essay by Peter Tonguette, “Keep Your Sunny Side Up”: The Ballad of Addie and Moze, focuses on the central relationship between the two characters, exploring its evolution and how Bogdanovich visually constructs key moments. While some observations feel a bit obvious, the essay’s breakdown of individual sequences—especially those detailing the cons—proves insightful.
A standout addition is a new feature with Frank Marshall, who narrates home movie footage he and Platt shot while scouting locations in Kansas. Marshall recounts their route along I-70 and the towns they discovered, with Criterion cleverly juxtaposing the home movie footage against the final film to highlight adjustments made during production. This feature transforms what could have been a straightforward archival piece into an engaging essay on the film’s visual design.
Archival material includes an 18-minute excerpt from a 2002 interview with Polly Platt, where she discusses the film’s look and her contributions, from costumes (sourced from Paramount’s vaults) to key props, including Addie’s lace hat and Ryan O’Neal’s suit, which George Raft originally wore in one of their films (she's unsure on which one). An 11-minute excerpt from a 1973 episode of The Tonight Show Starring Johnny Carson is also included, featuring Bogdanovich and the O’Neals. Tatum, though quieter than usual, effortlessly charms Carson and the audience. While it’s a wonderful addition, the interview feels oddly edited, likely due to the removal of film clips.
The package is rounded out with the film’s 4-minute trailer—complete with behind-the-scenes footage and outtakes—and a fold-out insert featuring an essay by Mark Harris. A reproduction of Addie’s photo and cigar box prop in the interior artwork adds a charming touch to the packaging.
Though there’s room for further exploration (outside of mention in Harris' essay in sporadically through the features, the original novel doesn't get a lot of mention), this Criterion release is the most comprehensive edition of Paper Moon yet, with its blend of archival and newly produced features offering a well-rounded look at the film’s production and legacy.
Closing
Criterion’s 4K release of Paper Moon is a long-overdue upgrade and features a gorgeous new restoration and comprehensive set of supplements.
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