Review of Midnight Cowboy (1969) by Brandon W — 20 Dec 2012

How this sordid movie ever got made by a major studio is beyond my realm of comprehension but thank god it did. What's even more perplexing is it wasn't even promoted to cash in on the success of Easy Rider because the film actually came out a few months before it. Still it was not without its controversies, only being hailed as a classic recently and being given an X rating initially for homosexual themes. But the movie impressed people with its ballsy and gritty adherence to the New York Street style most if not all of its scenes shot on location, and indeed a lot of elements of the film being improvised and left to chance. It stands today as English Director John Schlesinger is biggest achievement in both commercial and critical viability, and even though the shines off the apple its impossible not too if nothing else admire its balls and flair given the time. It wasn't the first but this is definitely the definitive coming to the Big Apple movie, and made both a star of Jon Voight and established Dustin Hoffman as a character actor. But how should we view it by today's standards? Despite its influence and precedence how does it really hold up as its own film? Let's take a walking here look.

Midnight Cowboy is really the story of Joe Buck (Jon Voight) a simple minded, Texas dishwasher who plans to woo women in New York with his John Wayne aping Cowboy earthiness. No sooner does he arrive on New York's mean streets than he starts to be taken for a ride however and is hustled and extorted into homelessness becoming a cheap gigolo to barely get by. That is until he teams up with one of the people who conned him the cripple Enrico "Ratso" Rizzo (Dustin Hoffman)living with him in a condemned apartment and taking his advice and leadership to become a successful high class escort. Even as the two become more accustomed to one another things don't always work out but both now disillusioned with the Big City have plans to get themselves a bus ticket to Miami where things will be better. The film also becomes a tale of two lost souls clinging together in the vacuum of New York as much as it is about the hardships of street life especially as Joe Buck's real reasons for leaving Texas unravel.

What surprised me most about the movie was how much I liked the directing as this was the first Schlesinger movie I'd ever seen. The movie has crisp and bright cinematography that gives New York and the film in general a colorful feel that feels fairly unique. It also features cutting edge direction in its extensive use of dream sequences, nightmarish flashbacks and even a drugged out party scene all of which make for a surreal experience. Aside from the breathtaking visuals the film also features as is clear from the description a dark and balls out story. Joe Buck's reason for leaving Texas is a scene not lightly forgotten for its horrifying reality, and the rest of the story if a little staged still smacks of realism from start to finish. Though not as progressively as some might like by today's standards the film does openly deal with homosexuality, Joe Buck encountering three horny males who employ him in varying capacities and a sexual desire for him by Ratso is hinted at as well. If a complaint can be made it's that at times particularly when Joe and Ratso live in the ratty apartment it can feel jarringly fake with the rest of the movie both the story and the set like feeling and also at times like these the city doesn't feel as large as it kid. But the latter could also be a commentary on the phenom of being lonely amongst millions. However you choose to view it the story is impeccably crafted and shot, and Voight and Hoffman more than do the central characters justice. Voight gives his finest performance playing a charmingly dumb country boy but also hinting at an inner cunning and manipulative nature at times not easy to pull off. But Hoffman is indeed the breakaway of the film his repulsive yet heart wrenching portrayal of Ratso particularly in the Graveyard and final scene tough to watch. And seriously who can't watch him scream "I'M WALKING HERE!" at a car for hours.

Midnight Cowboy was a deserved success, the New York Street version of Easy Rider that is honestly a little better. If there are problems with it I'll be damned if I know what they are it's got a great if repetitive soundtrack, compelling characters and narrative, and is one of the best looking movies of its time what's not to like? Sadly I'd say its popularity has dwindled a little, being only discussed for a few scenes and not its tough to handle ones but ones dealing with walking around in New York which frankly makes for less interesting discussion. But to those with a more avid interest in films as social commentary they will find much more in this gem of 60s cinema for years to come. Every scene is a delight, and it's incredibly consistent from start to finish which is rare for the time. If you can't tell I highly recommend it, this movie is one of my favorites.