Directed by:
John SchlesingerScreenplay:
Waldo SaltCinematography:
Adam HolenderComposer:
John BarryCast:
Dustin Hoffman, Jon Voight, Sylvia Miles, John McGiver, Brenda Vaccaro, Barnard Hughes, Ruth White, Jennifer Salt, Bob Balaban, Paul Morrissey, Taylor Mead (more)VOD (1)
Plots(1)
Joe Buck (Jon Voight), an aspiring male prostitute from Texas, heads to Manhattan where he hopes to find plenty of wealthy women willing to pay for the services of a handsome man. When he arrives, the naive country boy befriends Ratso Rizzo (Dustin Hoffman), a tubercular homeless con artist who dreams of moving to Florida. As they go about trying to get the money Ratso needs, the two men confront the seediness, corruption, and cruelty that flourish in the big city. (official distributor synopsis)
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Reviews (8)
I’m glad that Czech Television has recently enabled me to see some old American Oscar classics. This is how I stumbled upon this absolutely amazing drama, whose quality made it timeless. I don’t even know where to begin describing how great this film is. Maybe I could start with editing, which shows a great precision and it’s evident that a lot of work was put into it. Thanks to this geniusediting and the shots of New York of that era you will get an incredible feeling of emptiness, gloom and despair. Maybe it’s exactly this depressing New York that makes this part of American cinematography so appealing. Other films in a similar vein, like Taxi Driver or Nolan’s Batman trilogy (even though it takes place in pseudo-New York) make use of a similar atmosphere. Then I have to praise the premise. Jon Voight plays an incredibly naïve guy who thinks the world is lying at his feet, until New York shows him otherwise, and he moreover meets the notorious conman played by Dustin Hoffman. Then we witness a truly brilliant acting performance. And it’s not just “in his head”; Dustin Hoffman also had to go through immense physical pain to deliver it. Meanwhile, the film transforms into a powerful story about male friendship. So it definitely deserves the full rating. It is also a testimony of the Hippie era, especially thanks to that incredible scene at the apartment of some local Yoko Ono. I was completely shocked. This piece is full of surprises, mainly regarding its quality filmmaking.
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An increasingly interesting in today’s terms (and, from my point of view, far dreamier) look at the New York streets of the late 60s and early 70s as a melting pot of ethnicities, subcultures, and social classes. It's the realistically unembellished depiction of the lower castes of a vibrant big city that is the most interesting element of the film. Then Jon Voight himself had such a terrifying effect on me that I watched most of it with bulging eyes and my comforter pulled up under my nose. I’ve seen puppets that looked more human than he did.
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When I rewatch old movie hits, in many cases I note that either the film has aged or I have aged and now perceive it completely differently, so I inevitably have to lower my rating. Nostalgia can color an average film with the brightest colors. But with Midnight Cowboy, I can confidently say that it is a timeless film with extraordinary emotional impact. The story of two outsiders, dreamers, losers, and men living on the outskirts of the city and prosperity, is depicted without cheap sentimentality and yet with maximum effect. It is excellently cast, excellently acted, and as the cherry on top, adorned with an excellent musical motif. I always remember the song "Everybody's Talkin'" when I feel like tuning in to the right wave of romance and nostalgia. Midnight Cowboy is a film about an atypical and unlikely friendship between two men, brought together by necessity. The late 60s and 70s belonged to an era of American cinema that was characterized by a search for identity, rebellion against established practices and values, and a socially critical attitude toward the establishment. For most movie viewers, Dustin Hoffman is forever associated with the character of Rainman, but I primarily remember his unfortunate swindler from this film. Overall impression: 95%.
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The peak of depression, directorial creativity and acting mastery, while at the same tame, it irradiates something beautiful and hopeful in an almost poetical way (perhaps thanks to the nice music as an echo of the easygoing sixties). Probably, the most convincing breakdown of the American urban dream and very likely Dustin Hoffman’s best performance, even better than the more psychologically pigeon-holed Rain Main. 90%
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Once again, I formed an impression of a movie that turned out to be different from what the film actually is. It doesn't change the fact that it's an excellent film, primarily because of the outstanding performances. Both Jon Voight and Dustin Hoffman deliver great performances in a story that is at times unnecessarily psychedelic, but overall, easily understandable and impactful.
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