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Midnight Cowboy (1969)
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Director:
John
Schlesinger |
COUNTRY
USA |
Genre
Drama |
NORWEGIAN TITLE
Asfalt-cowboy |
RUNNING
TIME
113 minutes |
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Producer:
Jerome
Hellman |
Screenwriter
(based on the novel
by James Leo
Herlihy):
Waldo Salt |
Review
The story of Texan would-be gigolo Joe Buck and
his encounter with New York cynicism is a rich and gloomy piece about the stern
and disillusioned reality of modern urban life, which gradually eats away our
protagonist's accommodating southern attitude. John Schlesinger's direction is
borderline groundbreaking as he follows Jon Voight around New York, depicting
his struggles and encounters often through wordless and largely plotless
segments filled with razor-sharp cuts and psychedelic colours and music. His
distinctive style tells as much about the cultural times in which the film was
created as the story does, and although the film is utterly pessimistic on
behalf of urbanization and people's ability to handle their own sexuality,
there's a certain kick to this pessimism; a certain kinky vibe to the downfall.
It's as if novelist James Leo Herlihy wanted Joe Buck and his crippled
pal Ratso to go down and out, even implying that they wanted it themselves.
Their alternating narcissism and self-abasement is not something inherent,
claims Herlihy, it's something they've caught on or been infected by, and it
won't go away until they cleanse themselves. Or perhaps until they acknowledge
their attraction towards each other, although Schlesinger doesn't quite want to
go there. With all the possible readings it invites, Midnight Cowboy has
stood the test of time remarkably well. And Voight and Hoffman both revel in
career-defining roles.
Re-reviewed:
Copyright © 21.10.2014 Fredrik Gunerius Fevang
Original review: Copyright © 13.12.1999 Fredrik Gunerius Fevang
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