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"Good"

Written By: Cosmoetica

Midnight Cowboy (the name was then contemporaneous slang for a male prostitute) is one of those solid, well-made films, from the 1960s that's best recalled than watched. This is not to say it's a bad film. It's not. It's a good, occasionally very good film- especially in terms of editing, cutting, and realism, but in many ways it's an interesting short subject film of 25-30 minutes' length, blown up to four or five times its optimum running time. The film was adapted by Waldo Salt, from a 1965 novel of the same name, by James Leo Herlihy, and directed by veteran journeyman filmmaker John Schlesinger. I use that term to describe the director because much of the film is pedestrian, in what occurs, how it is interpreted by the actors, and in its routine banality. However, this acts as a good setup for the flights of fancy and supposed recollection that litter the film, even if the pedestrian-ness of the bulk of the film is rather banal. Of course, most critics praise the banality as realism, again showing what the carrying of even a pocket dictionary could do to ameliorate film criticism.

That stated, let it not sound like I'm knocking the film. It is a good, solid film, and an emotionally enjoyable one, even if what it says about humanity is rather plain. In this way, it resembles films of that era, from Easy Rider to Alice Doesn't Live Here Anymore. Its initial X rating is an absurdity, for the nudity is brief, and the violence even briefer. The acting is standout. While Dustin Hoffman usually gets the raves for his portrayal of sickly and crippled loser, Enrico `Ratso' Rizzo, the better performance is turned in by Jon Voight, as Joe Buck, because he has to show emotion in a character whose whole life is acting the part of the dumb yokel cowboy to try and `sucker' city slicker women with his lovemaking abilities. Even better than the lead duo is the supporting cast of Sylvia Miles- as a Manhattanite bitch who cheats Voight out of cash; John McGiver as a psychotic pimp turned evangelist; Brenda Vaccaro as another horny Manhattanite diva; and Barnard Hughes and Bob Balaban as homosexuals who use Voight for sex and end up getting manhandled by him- the former with violent results the viewer never learns the full scope of. The film won three Oscars- for Best Screenplay, Best Picture, and Best Director, but only the last is really justifiable. The screenplay has merits, but too many flaws to name, and there certainly were better films that year. However, the solidity of the screenplay is heightened by Schlesinger's direction, editing, and the cinematography of Adam Holender. The use of black and white dream sequences for Joe, the uber-color of Ratso's fantasies, the psychedelic sequences at an Andy Warhol Factory Party; all make the film stylistically interesting and innovative, far above its rather pedestrian theme of the decency of the common man.

"Face down in the dirt..."

Written By: Andrew Ellington

To say that I have never seen `Midnight Cowboy' until this past weekend is rather embarrassing since, well, it is highly considered to be one of the greatest films of all time. Alas, it has taken me some time to track it down and delegate time to soak it in, and now that I have done that I have to say that I am simply awe-struck.

This film is marvelous.

First of all, I want to make a quick note to the fool who lambasted this for having a `sad ending'. I understand that people like to watch films for entertainment value, but to downgrade this film's overall impact because you don't like the downer ending is rather ignorant. Yes, the `gay for pay' scene (as you put it) was groundbreaking and even watching it all these years later it holds a very distinct impact. And, so you are `corrected', even Joe makes it clear that he is "not a real cowboy". He went to New York for the strict reason to capitalize on his good looks and get `paid for a lay', and his confused sexual past would make it rather understandable that he was `looser' with his `tricks'.

Anyways.

The film centers around two `losers', Joe and Rizzo who bond over their shared loneliness. Joe moves from Texas to New York, planning on becoming a hustler to make a living. Upon a chance meeting with Rizzo (that doesn't go so well), the two wind up wallowing in their solitude together, working hard to exploit each other to make a living. While the majority of the films center seems to go no where (climactically), it serves to build a tragic portrait of two wasted lives. In many ways, the film reminds me of John Huston's tragically underrated `Fat City'. In fact, the endings are similarly tragic, especially when you consider the emotional weight it carries for the characters. Throughout the film Rizzo is dying to reach Florida, a place he considers a safe-haven. It is only appropriate that Florida bring with it insurmountable pain (or would that be a welcomed release?).

The performances by the two stars is nearly otherworldly, especially Dustin Hoffman, who chews up every scene. Many may label his performance `gimmick', but there is so much earnest heart and drive in his every tick that he bleeds forth a reality that surpassing mere clich. Voight is a perfect compliment here, serving up a more subdued and `observational' character.

I do want to note that Sylvia Miles cameo performance as Cass shockingly received an Oscar nomination. If ANYONE from this film deserved a nomination for illuminated her few scenes, it would have been Brenda Vaccaro!

Many have noted the homosexual connotations and insinuations surrounding this film and its treatment of the two main characters. While this is surely no `Brokeback Mountain' in that area (nor is it as `good' a film, if we're being honest) it definitely earns the speculation on the subject, especially when you consider how wildly defensive both characters are about their sexuality. While I would never jump the gun and label either of them `gay', I must say that the film likes to tote the line so-to-speak with its own understanding of the characters `preferences'. In the end, there is a love between these two men that transcends the boundaries of sexuality, and for that I am truly grateful.

Few films can capture the desperation that simmers under the skin of the lonesome, and `Midnight Cowboy' (while subjectively dated) refuses to date itself. This is one for the ages.

"I'd rather die on a bus ride to Florida than watch this again."

Written By: J. Johnson

Who likes movies with sad endings? Not me. Who likes a movie that has a native New Yorker doing what he thinks is a country/redneck accent? Not me. No one has ever said "Sheee-it". Never. That's only in the movies. No one says that word, that way. Jon Voight was forcing a redneck accent and he didn't do that redneck accent well. It could only sound country or redneck to someone from New York.

Was the "gay for pay" scene, although the character Joe Buck ended up not getting paid, in the movie theater supposed to be groundbreaking or something? Is the viewer supposed to believe that a real cowboy from Texas would do that for money before he would take money for shoot fighting, working as a bouncer or just plain stealing money? Was the Midnight Cowboy adopted on Brokeback Mountain?

The party scene is something only the pot smoking flower children of the 60s could understand. I guess if you are high this is a great movie. I guess?

1969 called and it wants its Best Picture award back.

"Midnight Cowboy Collectors' Edition"

Written By: Mark Cunningham

I saw Midnight Cowboy when it was first released back in the sixties. Sometimes time and distance allow our memories to embellish but in this case, not. After 40 years the movie could still be a hit if released today. Hoffman and Voight have really aged... hehe

"excellent movie."

Written By: elizabeth maxwell

would give it 5 stars if possible. what a friendship. true-gritty. really an oscar winner