Reżyseria:
John SchlesingerScenariusz:
Waldo SaltZdjęcia:
Adam HolenderMuzyka:
John BarryObsada:
Dustin Hoffman, Jon Voight, Sylvia Miles, John McGiver, Brenda Vaccaro, Barnard Hughes, Ruth White, Jennifer Salt, Bob Balaban, Paul Morrissey, Taylor Mead (więcej)VOD (3)
Opisy(1)
Joe Buck (Jon Voight), an aspiring male prostitute from Texas, heads to Manhattan where he hopes to find plenty of wealthy women willing to pay for the services of a handsome man. When he arrives, the naive country boy befriends Ratso Rizzo (Dustin Hoffman), a tubercular homeless con artist who dreams of moving to Florida. As they go about trying to get the money Ratso needs, the two men confront the seediness, corruption, and cruelty that flourish in the big city. (oficjalny tekst dystrybutora)
(więcej)Materiały wideo (2)
Recenzje (8)
Naivety and honesty hurt – not just Joe, but the viewer as well. And sometimes it hurts to leave a familiar place and go somewhere where everything is supposed to be better, and in the end, nothing is better. In the wrong places, honesty and trust will simply destroy you. But this entire interpretation of mine would only be a simplified message of the story if Dustin Hoffman's Rico did not appear in the film. He brings a biting, evoking, absolute melancholy to the cowboy campaign. The awakening of the former generation, and a warning for the present.
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I’m glad that Czech Television has recently enabled me to see some old American Oscar classics. This is how I stumbled upon this absolutely amazing drama, whose quality made it timeless. I don’t even know where to begin describing how great this film is. Maybe I could start with editing, which shows a great precision and it’s evident that a lot of work was put into it. Thanks to this geniusediting and the shots of New York of that era you will get an incredible feeling of emptiness, gloom and despair. Maybe it’s exactly this depressing New York that makes this part of American cinematography so appealing. Other films in a similar vein, like Taxi Driver or Nolan’s Batman trilogy (even though it takes place in pseudo-New York) make use of a similar atmosphere. Then I have to praise the premise. Jon Voight plays an incredibly naïve guy who thinks the world is lying at his feet, until New York shows him otherwise, and he moreover meets the notorious conman played by Dustin Hoffman. Then we witness a truly brilliant acting performance. And it’s not just “in his head”; Dustin Hoffman also had to go through immense physical pain to deliver it. Meanwhile, the film transforms into a powerful story about male friendship. So it definitely deserves the full rating. It is also a testimony of the Hippie era, especially thanks to that incredible scene at the apartment of some local Yoko Ono. I was completely shocked. This piece is full of surprises, mainly regarding its quality filmmaking.
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When I rewatch old movie hits, in many cases I note that either the film has aged or I have aged and now perceive it completely differently, so I inevitably have to lower my rating. Nostalgia can color an average film with the brightest colors. But with Midnight Cowboy, I can confidently say that it is a timeless film with extraordinary emotional impact. The story of two outsiders, dreamers, losers, and men living on the outskirts of the city and prosperity, is depicted without cheap sentimentality and yet with maximum effect. It is excellently cast, excellently acted, and as the cherry on top, adorned with an excellent musical motif. I always remember the song "Everybody's Talkin'" when I feel like tuning in to the right wave of romance and nostalgia. Midnight Cowboy is a film about an atypical and unlikely friendship between two men, brought together by necessity. The late 60s and 70s belonged to an era of American cinema that was characterized by a search for identity, rebellion against established practices and values, and a socially critical attitude toward the establishment. For most movie viewers, Dustin Hoffman is forever associated with the character of Rainman, but I primarily remember his unfortunate swindler from this film. Overall impression: 95%.
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The peak of depression, directorial creativity and acting mastery, while at the same tame, it irradiates something beautiful and hopeful in an almost poetical way (perhaps thanks to the nice music as an echo of the easygoing sixties). Probably, the most convincing breakdown of the American urban dream and very likely Dustin Hoffman’s best performance, even better than the more psychologically pigeon-holed Rain Main. 90%
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The acclaimed Oscar-winning masterpiece about the power of friendship and the unfulfilled dream of a better life. If I had to pick a single film that best depicts the atmosphere of American society in the late 1960s, its depression, the subconscious trauma of the Vietnam War, religious frenzy, social divisions, the rise of the hippies and the psychedelic music era, I'd pick this one. In no other film has New York been such a filthy sewer, where social outcasts dream of a sunny Florida. And Dustin Hoffman should have won an Oscar for his brilliantly acted (and written) role.
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