Desperate Souls, Dark City and the Legend of Midnight Cowboy
- 2022
- 1 h 41 min
AVALIAÇÃO DA IMDb
7,0/10
270
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaFollows the behind-the-scenes odyssey to get Perdidos na Noite (1969) produced, as well as the tumultuous era in which the movie was released and embraced.Follows the behind-the-scenes odyssey to get Perdidos na Noite (1969) produced, as well as the tumultuous era in which the movie was released and embraced.Follows the behind-the-scenes odyssey to get Perdidos na Noite (1969) produced, as well as the tumultuous era in which the movie was released and embraced.
- Prêmios
- 2 indicações
Fotos
Waldo Salt
- Self
- (cenas de arquivo)
- (narração)
John Schlesinger
- Self
- (cenas de arquivo)
Adam Holender
- Self - Cinematographer
- (cenas de arquivo)
- (narração)
Lucy Sante
- Self - Author, 'Low Life'
- (as Luc Sante)
Dustin Hoffman
- Self
- (cenas de arquivo)
- (narração)
Marsha P. Johnson
- Self - Activist, Murdered July 6, 1992
- (cenas de arquivo)
- (apenas creditado)
Joseph N. Welch
- Self - U.S. Army Chief Counsel
- (cenas de arquivo)
Joseph McCarthy
- Self
- (cenas de arquivo)
- (as Sen. Joseph McCarthy)
Roy M. Cohn
- Self
- (cenas de arquivo)
Charles Socarides
- Self
- (cenas de arquivo)
- (as Dr. Charles Socarides)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesEPILOGUE: "On a budget of $3.6 million, Perdidos na Noite (1969) grossed $44.8 million. John Schlesinger won the Academy Award® for Best Director over Costa-Gavras, George Roy Hill, Arthur Penn and Sydney Pollack. Waldo Salt won the Academy Award® for Best Adapted Screenplay. John Schlesinger went on to make films in America and abroad, working again with Dustin Hoffman on the highly successful Maratona da Morte (1976). Jon Voight won an Academy Award® for Best Actor in Amargo Regresso (1978), written by Waldo Salt. Jennifer Salt retired from acting and became a successful screenwriter like her father. She and Jon Voight bump into each other at the neighborhood Hollywood deli. James Leo Herlihy contracted AIDS in 1992. A year later, at the age of 66, he took his own life. Perdidos na Noite (1969)'s X rating was eventually changed to an R without altering any of the films content."
- ConexõesFeatures O Último Cartucho (1917)
Avaliação em destaque
It tells us how it fails
Right up top we are told "This is not a documentary about the making of Midnight Cowboy." OK, I'm down with that. But what it IS about is never totally clear. I think the filmmaker had some ideas, but never really figured it out. So it comes off as disorganized and uncertain, and therefore ultimately, fan service.
Particularly effective was a montage near the beginning intercutting shots from the movie with shots of New York streets in the same era. It is quite effective, as often the only way we can tell is the clarity of the footage itself. Really brings home that this movie was bringing to life a real time and place. And Jon Voight comes off really well in his interview snippets.
But the big problem here is a lack of organization and a clear point. The sprawling and ambiguous title itself should tell you something.
About half the movie is spent talking about homosexuality, ostensibly because there were a couple inferences to it in the movie. But it's WAY out of proportion, going into early portrayals of gay life in many other movies. Huh? Get back to the point, or rather, find one. My wife and I are big fans of Midnight Cowboy, seen it multiple times, and neither of us came away with anything overtly gay about it. Yet to watch this movie one would think they're talking about Brokeback Mountain. One interviewee who gets a lot of screen time (much more than Voight) is a transexual whose relation to Midnight Cowboy is never clear. While this person is a good interview and has a lot of interesting observations, his inclusion in the movie implies there is another motivation at play by the filmmaker. Who was that guy and why is he so central? Not clear.
Like so many low budget documentaries, this one suffers from their not having enough material and/or enough research to make a satisfying movie out of. So they took what they had, and what results is rather incoherent.
This is a nitpick, but the last few moments of the movie bring us to the most heart-wrenching scenes from the movie, interspersed with gruesome shots from the Vietnam War, and the music underscoring it is not Everybody's Talkin', not the soaring John Barry score (which we never hear except in a brief cover, they didn't get the rights to use it obviously) but "A Lover's Concerto" by the Toys, completely out of character, not to mention being from years before Midnight Cowboy or Vietnam and entirely out of character. It's really strange and totally undercuts the end of the documentary.
Particularly effective was a montage near the beginning intercutting shots from the movie with shots of New York streets in the same era. It is quite effective, as often the only way we can tell is the clarity of the footage itself. Really brings home that this movie was bringing to life a real time and place. And Jon Voight comes off really well in his interview snippets.
But the big problem here is a lack of organization and a clear point. The sprawling and ambiguous title itself should tell you something.
About half the movie is spent talking about homosexuality, ostensibly because there were a couple inferences to it in the movie. But it's WAY out of proportion, going into early portrayals of gay life in many other movies. Huh? Get back to the point, or rather, find one. My wife and I are big fans of Midnight Cowboy, seen it multiple times, and neither of us came away with anything overtly gay about it. Yet to watch this movie one would think they're talking about Brokeback Mountain. One interviewee who gets a lot of screen time (much more than Voight) is a transexual whose relation to Midnight Cowboy is never clear. While this person is a good interview and has a lot of interesting observations, his inclusion in the movie implies there is another motivation at play by the filmmaker. Who was that guy and why is he so central? Not clear.
Like so many low budget documentaries, this one suffers from their not having enough material and/or enough research to make a satisfying movie out of. So they took what they had, and what results is rather incoherent.
This is a nitpick, but the last few moments of the movie bring us to the most heart-wrenching scenes from the movie, interspersed with gruesome shots from the Vietnam War, and the music underscoring it is not Everybody's Talkin', not the soaring John Barry score (which we never hear except in a brief cover, they didn't get the rights to use it obviously) but "A Lover's Concerto" by the Toys, completely out of character, not to mention being from years before Midnight Cowboy or Vietnam and entirely out of character. It's really strange and totally undercuts the end of the documentary.
útil•00
- jkoseattle
- 27 de jan. de 2024
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- How long is Desperate Souls, Dark City and the Legend of Midnight Cowboy?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- La leyenda del cowboy de medianoche
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Faturamento bruto nos EUA e Canadá
- US$ 55.124
- Fim de semana de estreia nos EUA e Canadá
- US$ 8.734
- 25 de jun. de 2023
- Faturamento bruto mundial
- US$ 55.124
- Tempo de duração1 hora 41 minutos
- Cor
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By what name was Desperate Souls, Dark City and the Legend of Midnight Cowboy (2022) officially released in India in English?
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