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|Index||312 reviews in total|
In a time when a lot of superb movies about New York were made (Taxi
Driver(10/10),French Connection(10/10),Death Wish(9/10),Shaft(8/10),Marathon
Man(9/10),Mean Streets(7/10)) Midnight Cowboy is one of the best.There are a
lot of similarities in these movies:All play in New York,all have great
acting and rely on these performances,all of them show the dark side of the
city with lonesomeness and crime as main stories and all have great music
scores,except French Connection which doesn't seem to have
The story of Midnight Cowboy is pretty good,but what makes it a really good movie is the score,the pictures of New York in a time when it was a dump and especially the acting by Dustin Hoffman and Jon Voight. Voight is a naive cowboy from Texas who wants to become a gigolo in the biggest and loneliest city in the world and Hoffman plays a poor invalid kid from the Bronx,always scamming and stealing. The way that the two are stuck together is beautifully filmed.New York is shot in the most dark way,mostly at night (just like the other movies written above).This makes for an even sadder picture which is topped by a sincere but also sad score with a beautiful harmonica through it.
Each scene has something nice to offer and they are all very different and complete the story line,there are no loose scenes. Of course,since it is 1969,there is also a pretty psychedelic sequence in the latter stages of the movie.
Although the end is not very satisfying (like most other movies written above),it still makes for one of the best movies ever. 9/10
Midnight Cowboy was a very well made movie, however I couldn't help but to
feel at the end a little let down. The ending had little impact, and this is
a bad thing because it was supose to be one of the most dramatic endings a
movie can get.
Some people can easily relate to Ratso Rizzo or Joe Buck. Take the worst sickness you've ever caught, multiply it by five, and make it a chronic disorder with a crippled muscle or broken bone, and you've got Rizzo. Most people have slept in the freezing cold and been sick at least once, that's what he felt everyday. Joe Buck is the ambitious guy who shows up at a party, but doesn't know anybody, and has a hard time striking up something.
This movie was a good film about friendship at the lowest level of society, you can learn a great deal from this movie. It also reminds us of how hopeless life can get, and just when you think you're back on track, you get U-Turned right back where you don't want to be. 9/10
Every now and then, a haunting little harmonica solo creeps back into my
mind. It starts out as a simple sequence of double notes, then changes gear
and turns into a beautiful melody. That haunting solo is the theme song from
Midnight Cowboy. It's arrangement - and indeed the melody itself - are
reminiscent of early Bond movies. Which makes sense, as it was composed by
John Barry. But what makes it into such a heartbreakingly beautiful song is
the inimitable style of harmonica virtuoso Toots Thielemans.
There have been greater movie scores, but never a theme song which captured a movie's atmosphere better than this one. Midnight Cowboy tells the story of a country boy who sets out to conquer the big city, only to discover he is no match for his opponent. A theme that has been told before and since, but never as well as in this movie. Sad and funny moments are mixed with just the right amount of irony and realism. Outstanding performances by Hoffman and Voight and great direction by Schlesinger make this movie a true classic. And Toots will never let me forget it.
MIDNIGHT COWBOY is the most depressing movie I've ever seen, but it's also one of the best. Jon Voight and Dustin Hoffman are dynamite in their classic roles as a hustler hick from Texas who moves to NYC because he knows the women up there got money. He soon realizes that the world is a lonely place as his dreams of riches are never achieved. He then meets Ratso Rizzo (Hoffman) and the two find that they are remarkable alike: two human beings struggling to find existence and happiness in this world. Filmmaking at its best. 10/10
Welcome to the gutter. It's messy, dirty, depressing. And yet, it's pure
genius, solid, captivating, memorable, compelling.
Using words like "gritty" to describe a movie became trite only AFTER they were used properly. This movie is gritty.
This movie deserved everything it won, and is still worth a serious look today. No no, not a cynical look, because you can find fault with anything. Let yourself get immersed, and you will be changed.
It gets harder and harder to find a film that you really can connect with.
And it is even harder to find a film that can come close to the classic Taxi
Driver. But Midnight Cowboy, dare I say, comes very close to the standards
of Taxi Driver. And considering that this movie was done 9 years earlier
than TD, I must say that it is pretty impressive. Jon is pretty good in this
movie but I must say that Dustin is on a league on his own with Bobby D.
Sometimes, the cliches apply, and this is one of those times. They simply
make movies like this anymore. It lacks the type of action and explicit
sex scenes that would be demanded of the story were it made today, and that
has allowed it to be a better movie. The theme song, "Everybody Talking" is
used throughout the film in little snippets. The pacing of the scenes all are carefully managed. I don't see how any viewer can't be drawn into the mood of the film.
But it is really about the acting. Voight's Joe Buck seems rather simply drawn, but by the end of the film, one can't help but appreciate what a fine job the actor did. He really created something lasting. And Dustin Hoffman is, to use a trite phrase, at the heights of his powers. Keeping in mind that Midnight Cowboy was created a mere two years after The Graduate, it is impossible not to be amazed at his work in this movie. Rizzo is an entirely different character than Ben, one that draws the viewer in on a far more intimate level.
There is no question that this is one of the all time great films.
Two of the best performances ever. The film scores because of Voight/Hoffman and the path to the actuality of what happens when the "American Dream" goes wrong. This film seared a place on my mind, the gritty, amazing camera work and direction as well as my genuine affinity for the main characters broke my heart. While this film gave "Hollywood" a reason/excuse to make good movies, it is even more important for its depiction of how easy it was/is to be ignored and left behind by the greatest society in the world. In this case, the post-war middle to upper-middle class life is shown as less than perfect for many Americans. A treat for the mind, the eye and the heart...
Most movies that show periodic dress and hair styles tend to make us cringe
as we see ourselves way back when. Midnight Cowboy is so provocative and
compelling it takes us beyond that point.
A terrifically acted, directed, and written movie it is the story of a naive young man from the southwest who meets up with the cold hard truth of New York City street life. Joe Buck (brilliantly played by Jon Voight) comes to NY seeking his fortune. The product of a broken home, brought up by his grandmother, he has no real marketable work skills other than a penchant for pleasing women in bed.
He meets up with Ratzo Rizzo (played to perfection by Dustin Hoffman) a homeless street hustler who has been knocked down repeatedly by the harsh elements of the street and the NY winters. But he still is looking to hustle and hustle he does. He cons young Joe, after they meet initially, and when Joe realizes he's been had he seeks revenge.
Through it all a sense of compassion and even friendship grows out of this unlikely pairing as they embark on NY's seedier side of life eventually hoping to get out of NY to Florida and warmer climes.
Through it all the film holds the viewers attention and strikes at our compassionate side. One of the true skills of a great writer is to have the viewer identify with a character(s) whose makeup is entirely different than that of the viewer. In this Midnight Cowboy does it very well.
Supporting acting by John McGiver, Brenda Vacarro, and the rest of the cast is superb. This film would be on my "must see" list for anyone looking to see timeless classic movies.
I always refer to the late 60s/early 70s as the best era in American
filmaking. My opinion probably has a lot to do with the fact that I was an
adolesent during that time and the movies seemed to reflect my emerging
value system. I didn't see "Midnight Cowboy" back then, but if I did it
would undoubtably have impressed me more than it did when I saw it recently.
Not that it wasn't good, it just seemed dated.
Anyway it's still a superior work, and a good character study. New York City has always been a meeting place for divergent personalities, and the results are often cold. The fact that Joe Buck makes a friend of Ratzso thaws the chill of the uncaring city, and reminds us that this is a story about humans and not about a place.
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