Le Challenger

LIARS MOON is a genuine rarity: a very well produced teenage "Romeo and Juliet' drama made in 1981 and set in the deep south of the good ol' USA in 1950 - and thank god, nobody jumps off the Tallahatche Bridge a-la Ode To Billy Joe. I do believe this gorgeous film made no impression at the time... and I recently found this exquisite film on DVD in 2008 - and I am thrilled to tell ya all, this is a really really good film. There are many excellent and interesting aspects to LIARS MOON: the fantastic and accurate set design and art direction; the astute casting; the fact that the film is also made on genuine locations that really add HUD and RACING WITH THE MOON big studio quality imagery; and then there is Matt Dillon... aged about 18 and on the cusp of super-stardom thanks to THE OUTSIDERS and RUMBLEFISH. Other great acting parts belong to Broderick Crawford, Yvonne de Carlo and Susan Tyrrell, each equally effective in this beautifully created film. The photography and the lighting especially add authenticity with superb photography and image ideology. The costumes and use of real locations are the sort of quality wish-list we all want to see in a film of this style and emotion. It all works because this film is made with love care and some healthy budget. Find it and show it to teenagers.. especially daughters and nieces who will swoon squeal and cry on cue for a delicious family night at home on DVD ..in a film that does not flinch from difficult topics and good romantic suspense. In the credits you will also find Patrick Swayze's mum as choreographer.

I saw the 'lighter' version of this period drama which was still a somewhat depressing saga, but nonetheless bittersweet tale of romance between the classes in conservative 1950's Texas. Fisher and Dillon make a charming couple who run afoul their disapproving parents who've more in common than they realise.

Connelly is solid as Fisher's protective father, unable to endorse his daughter's newfound love, whilst country singer/actor Axton has a comparably much smaller role playing Dillon's hard-working, more understanding dad. I also really enjoyed the antics of Dillon's roustabout friends Greenleaf and Atkins, and then Tyrrell later in the film as the 'entertainer' who befriends Fisher. The film's big stars have small but sympathetic roles, Crawford playing a compassionate family patriarch, whilst DeCarlo has a strangely superficial role (looks like it may have been edited down) as a kindly landlady.

Attractive sets and a likeable cast make it a little easier to consume what is otherwise a rather disturbing drama which doesn't always handle its subject matter as effectively as the plot demands - the cliffhanger unfolds too quickly, despite there being sufficient time for greater suspense, especially given how unsettling the consequences were to contemplate. Instead, the plot threads connect too conveniently in the film's rushed climax, which doesn't do the rest of the otherwise carefully curated film justice.

Nevertheless despite some mishandling of the more sensitive moments, the overall film is still compelling viewing and worth a watch, although having only seen what's referred to as the 'happy' version, the alternative ending could be too much to endure, all things considered.

As the apprentice editor. My boss, Steve Rosenbloom, went on to edit most of Ed Zwick's films and supervise the editing of Bedford Falls shows (thirtysomething). The editor, Chris Greenbury, was English and was known for the occasional temper tantrum. I didn't know it at the time, but he was one of the fastest cutters in the business.

I was seventeen and studying film at HSPVA, Houston's High School for Performing and Visual Arts. There was an actors' strike going on in Los Angeles, so the cast and crew were really top rate for a low-budget local film.

I ran the edge coding machine. We worked on Moviolas in two rooms of a large hotel near Sharpstown. Cindy Fischer smiled at me once, and I saved enough money to make a 16mm film the next semester, before coming out to LA and going to film school at USC.

I gradually fell into the world of software development, which I love, and recently ended up at DreamWorks. So, if you watch the title crawl at the end of Shark Tale, way below the HP logo, you'll see my second feature film credit -- nearly 25 years after my first.

Gavin Doughtie

The real downfall to this movie is Mike, played by Jim Greenleaf. Unfortunately his over the top goofy portrayal of a doofus hillbilly is nowhere near genuine, and only detracts from the momentum of the film. The other friend is likewise forgettable, and the idiotic slapstick scenes they're in add nothing to the film's drama. Joe Don Baker is the same typical non-presence he always is. Thankfully he doesn't get much screen time. The rest of the cast is quite effective, albeit it not exactly very likeable. Ginny's father was way too overbearing for credibility. Not much subtlety in any of the performances. I liked the story, and Cindy Fisher and Matt Dillon were pretty good together. Despite some hokey scenes and awful music, it was still rather cute. Cindy was truly stunning in this movie. Matt Dillon is always a force in any role he tackles, and this is no exception. I'd say he's rather on the bland side in this one. It's not a classic movie or even an excellent one, but it's strong enough to keep the viewer watching and interested. 5.5 rounded up to 6. There's really not much here that the viewer will remember after the credits roll, but it's still all right. Light hearted fare.

Liar's Moon is a coming of age film set in the early Fifties of the Truman administration in rural East Texas. In a role that bares a small resemblance to Cybill Shepherd's in The Last Picture Show, Cindy Fisher is the daughter of the wealthiest man in town, Christopher Connelly and Molly McCarthy.

For reasons he won't articulate Connelly takes an unreasoning dislike to dirt poor farm boy Matt Dillon whose parents, Hoyt Axton and Margaret Blye are so far the opposite side of the tracks they're in another zip-code. Still the two young people feel a strong attraction for each other and run off to elope in Louisiana. That drives Connelly into a rage. But it turns out a lie about a past indiscretion told Connelly by McCarthy sets in motion a horrific tragedy.

The young leads Dillon and Fisher are perfectly cast in this film about more innocent times. Oddly enough the innocence of those times also contributes to the tragic climax of Liar's Moon.

Also in the cast are two Hollywood veterans in small roles, Broderick Crawford as Fisher's grandfather and Yvonne DeCarlo as the proprietress of a motel the two young people elope to.

But it's the playing of Fisher and Dillon as a Texas version of Romeo and Juliet that really drives this very neglected and underrated film.