User Reviews

"Midnight Cowboy" conveys the grittiness and weirdness of New York better than any movie before 1969. Dustin Hoffman and Jon Voight are Oscar-worthy in their roles. But the Academy was hell-bent on handing the award to an undeserving John Wayne for "True Grit. Midnight Cowboy isn't necessarily a great movie, but it's one every film-lover should see. It is still the only X-rated movie to be awarded the Oscar for Best Picture.

Dreaming of a more glamorous existence, an idealistic Texas greenhorn (Jon Voight) walks out on his mundane dishwasher's life and hops a bus bound for New York City, certain he'll find instant success as a high-priced gigolo. The city, as always, has different lessons in store. Soon, our cowboy's strapped for cash and out on the street, too soft for the harsh realities of his dream job but too proud to accept anything less. In desperation, he hooks up with a similarly out-of-luck grifter (Dustin Hoffman) and the two develop a chemical bond that sees them through some dangerously lean times, while the busiest metropolis on the planet buzzes and bustles, blissfully oblivious, on the other side of the wall. Notorious as the first X-rated film to see wide release, Midnight Cowboy earned its reputation with a risqué subject matter, explicit nudity, glamorized drug use and frank depictions of homosexuality (with a whole boatload of associated slurs). A lot of it still seems daring and edgy today, so I can only imagine how it looked to the viewers of 1969. Then again, there's a chance the setting itself adds a thing or two to the modern shock value. This is a real time capsule of a picture, a breathing document of a city that no longer exists, with an emphasis on subcultures and undercurrents that were pushed out of all the glossy framed photos. It's sixties New York, all right, but this particular close-up is more interested in the warts on its subject's nose and the dirt under its fingernails than the carefully-primped clothes and hairstyle it wears to mask the unsightly bits. The unflattering depiction is fascinating, particularly to someone like me, who didn't live through that era, but the story often plods and telegraphs its intentions, with an unconventional series of flashbacks only further complicating matters. Hoffman and Voight are dynamite together, an unlikely duo whose connection resonates through the smoggy haze, and serve as major boons to a film that could have floundered otherwise.

This film from the late 60's came to trace a before and after in the way of film-making and, in the process, demolished the myth of the American dream and the stereotype of the cowboy as we know it. The highlight: a budding Dustin Hoffman and Jon Voight.

Incredible movie that showcases urban life back in the day. Great performances from Hoffman and Voight and stellar directing from Schlesinger

Seems impossible that this was made in 1969, besides some poorly aged dialogue the filmmaking and editing are so fresh and innovative. As far as the story goes its whatever. The main song was dope.

This movie is a very fine film with a lot of merits. The film does look great, with beautiful scenery and crisp cinematography and the lighting is very atmospheric and always fits perfectly with every scene. The music is wonderful, with the highlight being the excellent Everybody's Talking', the story is very strong focusing on the friendship of the two main characters and well-paced and the dialogue is thought-provoking and poignant. The direction is top notch using every trick in the book and wonderfully and the characters constantly captivate. And this is helped by the magnificent playing of Jon Voight and Dustin Hoffmann, especially Hoffmann who I personally think should have got the Best Actor Oscar that year. Overall, a truly fine film. 10/10 Bethany Cox

A grim and at times a disturbing look into the life of two complete opposites who become friends on the streets on New York. This movie is about loneliness as much as it's about friendship. Hoffman delivers in spades in what is arguably his greatest performance.

This a feel-bad movie. Don't watch it if you're looking for any kind of positive emotions, because there are none in this movie. It's constant sadness, suffering and hopelessness, and it's only made bearable by Joe Buck's naive optimism, which also kinda makes it hurt even more. It's also a must-watch. Jon Voight and Dustin Hoffman give truly magnificent performances and the film goes into unexpect psychedelic places. Hoffman's peformance in particular as a sick man who's condition slowly deteriorates over the course of the movie is so believable that I felt like I got a fever just from watching him.

Midnight Cowboy is both an interesting and excellent piece of film history. As the first X Rated (at the time) award winning film, this movie provides both great insight into the past, and a timeless story of outcasts trying to find their way in the world. Jon Voight and Dustin Hoffman give performances that are beyond belief. The script and world of the movie are brutal, raw, unforgiving, and surprisingly hopeful. The direction is peerless. This is a movie any movie buff would be proud to watch. Midnight Cowboy will stick with you long after the credits roll.

and none of my own.. Midnight Cowboy It is not your usual character driven feature; its bold and brutal decisions that it makes on script cringes you on your seat and still feels utterly palpable to its tone and the pragmatic characters that it is based upon. John Shlesinger; the director could have done a lot better than he did on execution for the adapted screenplay is written explicitly by Waldo Salt. Jon Voight is going "all in" in his portrayal but the real game changer is Dustin Hoffman that shines all over the screen because of the depth of his character too prior to his performance. Midnight Cowboy had an interesting concept with a smart approach that captures audience's attention from the first frame and if it was supervised a bit more strictly and better, it would have easily entered the major league.

Dark, grimy, and disturbing, Midnight Cowboy is not exactly the film I thought it was going to be. I knew it was about a male prostitute, but I thought both Jon Voight and Dustin Hoffman were going to be prostitutes, not just Voight. It was also my assumption that he was not some wannabe prostitute who does not really work, but rather an established one in New York City. Naturally, in line with this, my expectation was to see a lot more sex than I actually got. Now, none of these are bad things, in fact rather good. By not meeting these expectations, Midnight Cowboy manages to actually tell a far more interesting story of a young, hurt Texan boy coming to New York City to try to become a prostitute and meeting an ill loser with a limp who becomes his best friend. As a startling counter-point to the American dream at the height of the Vietnam War, Midnight Cowboy is a very good character study and a pure technical showcase for director John Schlesinger. With this young Texan cowboy Joe Buck (Jon Voight), Midnight Cowboy creates the quintessential American male. Name dropping Gary Cooper or John Wayne as similar ideals of what a man is supposed to be, it is only natural that in the counter-culture 1960s, Schlesinger would take this example of masculinity and throw him into situations unfit for men. Sleeping with women as a prostitute or even partaking with some men when times are hard, as well as going to seedy underground parties with drugs, Joe Buck seems to be a man who could not be further from the old school definition of masculinity even if his look and style of dress say otherwise. Compounding this, he steals readily. Inspired by friend Enrico "Ratso" Rizzo (Dustin Hoffman), Buck begins to rob people or steal small items to attempt to get any small number of funds for the two of them, Buck flies in the face of classic cowboy western stars Cooper and Wayne. Known for playing Sheriffs or simply passer-bys who fight against men who steal land/cattle from others, Cooper and Wayne are strictly on the "right" side of morality. Buck, however, by trading in sex and stealing stands as the complete foil to those classic men, to the degree that he would be an appropriate antagonist in one of their films. Schlesinger certainly hints at this dark villainy by the film's title of Midnight Cowboy. Dark and ominous, the addition of "Midnight" makes it read as being the darker version of a cowboy and, as it plays out, it is very appropriate. In the process, Midnight Cowboy stands as a critique of the American dream. With a small town boy coming to the big city on a bus ride that takes him through quintessential American items - commercial billboards, oil, diners, etc. - the film presents Americana and then shows the polar opposite: the dark underbelly. Showing how this unassuming and innocent boy is quickly corrupted and spit out by the big city, the film shows Joe's journey from renting a small hotel room to being kicked out and having to stay in a condemned building with Ratso. Going from the penthouse in which he spends an afternoon with a rich cougar to the literal sewer with a man nicknamed rat, Joe goes from king of the hill to bottom of the heap in no time whatsoever. As easily as he walked in, New York City and its high barriers to entry spit him out into the gutter with drug-infested parties, dirty homes, and grime around every corner. On the surface, for men such as Joe or others who journey to the big city to achieve their dreams, it all seems so easy. Once they arrive, however, the city and its machinations put up barriers all around that make "making it" a challenge few can accomplish. Unfortunately for Joe, he is not one of those and, as a result, he must live in what can only be defined as "squalor" on a good day. To capture the horrors seen by Joe - even if he does not believe them to be horrors - Schlesinger uses hectic and pretty nifty camera work throughout. Constantly cutting with jarring flashbacks revealing Joe's horrifying past in Texas with his unstable girlfriend, Midnight Cowboy can really only be described as a kaleidoscopic descent into the madness of this grimy and dark world of sin that he has found himself trapped within. Yet, perhaps most interesting is the party sequence. Using what is best described as a picture-in-picture approach at times, Schlesinger shows a shrunken version of the shot in the middle of the screen with the blown up, out-of-focus version of that shot playing in the background. It is deeply unsettling, off-putting, and greatly unique to watch. It really captures the mind-altering and vision-altering impact of drugs and makes what is already a deeply unsettling sequence to watch feel even grimier and more distorted.