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Midnight Cowboy
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Directed by John Schlesinger
Based on a James Leo Herlihy novel, British director John Schlesinger's first American film dramatized the small hopes, dashed dreams, and unlikely friendship of two late '60s lost souls. Dreaming of an easy life as a fantasy cowboy stud, cheerful Texas rube Joe Buck (Jon Voight) heads to New York City to be a gigolo, but he quickly discovers that hustling isn't what he thought it would be after he winds up paying his first trick (Sylvia Miles). He gets swindled by gimpy tubercular grifter Rico "Ratso" Rizzo (Dustin Hoffman) but, when Joe falls in the direst of straits, Ratso takes Joe into his condemned apartment so that they can help each other survive. Things start to look up when Joe finally lands his first legit female customer (Brenda Vaccaro) at a Warhol-esque party; Ratso's health, however, fails. Joe turns to a final homosexual trick to get the money for one selfless goal: taking Ratso out of New York to his dream life in Miami. One of the first major studio films given the newly minted X rating for its then-frank portrayal of New York decadence, Midnight Cowboy was critically praised for Schlesinger's insight into American lives, with the intercut mosaic of Joe's memories and Ratso's dreams lending their characters and actions greater psychological complexity. While they may have been drawn by the seamy content (tame by current standards), the young late '60s audience responded to Joe's and Ratso's confusion amidst turbulent times and to the connection they make with each other despite their alienation from the surrounding culture. Midnight Cowboy became one of the major financial and artistic hits of 1969, winning Oscars for Best Picture (the first for an X-rated film), Best Director, and former blacklistee Waldo Salt's screenplay. Though the one-two punch of Midnight Cowboy and The Graduate (1967) proved Hoffman's range and Voight's Joe Buck made him a star, both lost Best Actor to classical cowboy John Wayne for True Grit. Even though it was a hit, the Academy ignored the theme song "Everybody's Talking," sung by Harry Nilsson. ~ Lucia Bozzola, All Movie Guide

Discussion with Ron Henderson, co-founder and artistic director of the Starz Denver Film Festival
Opening night at the Starz Denver Film Festival is a huge success, in large part thanks to this man.
(11/10/2006 Starz Denver Film Festival)



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"What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pip pin06/archive/2008/3/1/25756.a spx Midnight Cowboy is on the following AFI lists: The Original Top 100 (#36)100 Greatest Film Songs (#22 - "Everybody's Talkin'")100 Movie Quotes (#27 - Enrico 'Ratso' Rizzo: "I' " [More]
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"One of Jon Voight's first films, this was the one that kicked off his film career. This would be the film that also exploited Dustin Hoffman's true acting talent. This would also be the first X-rated film ever to win an Oscar for Best Picture (although by today's standards, it would barely even be rated-R). This would also be one of the first great films that kicked off one of the best decades of American film, the 1970s. I'd been dying to see this film for some time " [More]
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"This is the film that opened the gate for films like "The Panic In Needle Park", "Drugstore Cowboy" and even "Requiem For A Dream". Dustin Hoffman and Jon Voight shine in their respective roles, and while the film feels a little dated (thanks to some not-so-subtle direction by John Schlesinger) it's still an interesting time capsule to the mind set of the era. As Roger Ebert says, this is a good movie with a masterpiece trapped inside. I think that sums up my fe " [More]
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Review by All Movie Guide
All Movie Guide
loved it.
After earning notoriety as one of the first major studio films to be given an X rating, Midnight Cowboy made history as the first X-rated film to win an Oscar for Best Picture. A brutal depiction of broken dreams and lives asunder in the fetid backwash of the swinging Sixties, Cowboy shocked audiences with its squalid subject matter and signaled a trend towards films that explored lurid and personal material. Whereas the mere suggestion of a blow job in Cowboy was scandalous in 1969, the film helped pave the way for later mainstream films in which a blow job might have as much shock value as the weather forecast. For that reason, Cowboy loses a substantial part of its impact when viewed all these years after its original release. That said, as a buddy film and as an ode to the impossibility of liberation from reality, the film retains a certain timelessness. Jon Voight's handsome but stupid Joe Buck and Dustin Hoffman's desperate, verminous Ratso Rizzo remain iconic figures, symbolic of the resigned, bitter ending of a decade built on the tenets of liberation, progressive change, and the promise of collective struggle. The fate of Buck and Rizzo suggests that such liberation is illusory, and that human relations, no matter how tender they ultimately may be, are part of a quiet, desperate bid for acceptance and belonging. ~ Rebecca Flint Marx, All Movie Guide
 

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