Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
Texas greenhorn Joe Buck arrives in New York for the first time. Preening himself as a real 'hustler', he finds that he is the one getting 'hustled' until he teams up with a down-and-out but resilient outcast named Ratso Rizzo. The initial 'country cousin meets city cousin' relationship deepens. In their efforts to bilk a hostile world rebuffing them at every turn, this unlikely pair progress from partners in shady business to comrades. Each has found his first real friend. Written by
According to John Schlesinger, "Jon Voight took a tape recorder with him when we first went down to Big Spring, Texas, for some preproduction planning; and he recorded the voices of Texans whom he interviewed for bit parts in the picture. Then he drove us all mad by playing back the tapes incessantly on the way back to New York. But he did get his Texas drawl down perfectly in the bargain." See more »
Ceilingless set and lighting equipment can be briefly seen in several shots in Cass' bedroom. See more »
Whoopee-tee-yi-yo. Get along little dogies. It's your misfortune and none of my own.
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Watching Midnight Cowboy is like taking a masterclass in acting/ directing/ cinematography/ editing/ writing. I was too young to watch it when it was originally released, and only saw it for the first time a couple of years ago, but it has absolutely stood the test of time, and I have watched it several times since.
Everything about this film is brilliant, from the poignant performances from Voight and Hoffman (even though I know this movie well, I still find myself welling up every time Voight flashes one of his innocently pained looks, or Hoffman coughs in his sickly and ominous way) to the stunning cinematography and superbly edited dream sequences.
It's a shame that more of our contemporary filmmakers aren't prepared to take a risk on making movies that are as visually and aurally interesting as this one. Midnight cowboy should be required viewing at all film schools.
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