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Acidic, unremitting, and beautiful, John Schlesinger's masterpiece is no less effective today than 35 years ago, when American life was even more disorienting. The film probably could not have been made at any other time in history, because so many upheavals were taking place in the late 1960s: final dissolution of the Great American West, the intensification of war in Vietnam, and the clash of social ideals that were bewildering in variety.
'Midnight Cowboy' is widely known as the only Academy Award-winning film to garner an 'X' rating, but there is much more behind its fame; it also exceeds the norm as a work of art. While this film (from the novel by James Leo Herlihy) has much to say about the erosion of American life, it transcends '60s politics by looking into the hidden bonds of friendship and dealing with themes familiar to man in all eras. The two main characters, in fact, are standard antiheroes - men who have nothing grand to offer but plenty to vent about our world.
The initial focus of 'Midnight Cowboy' is on 28-year-old Joe Buck, a physically imposing Texas native played by Jon Voight. In the opening scenes, we follow Joe's bus trip to New York City, where he plans on using one of his few genuine talents - the ability to pleasure women - and earn his fortune as a hustler. We learn upon his arrival that Joe is laughably naïve in the sex trade. Garbed in cowboy duds and proclaiming himself as 'one hell of a stud,' the young Texan flounders through his early tricks before partnering with Enrico 'Ratso' Rizzo (Dustin Hoffman), a sickly con man and petty thief from the Bronx. Ratso, who is short, thin, and with a limp, proves of little monetary help to Joe. They quickly run out of cash and as life grows severe in the winter months, Joe and Ratso shiver in a condemned Manhattan apartment building with hardly a dollar or square meal to their names. It is over this period that a strong friendship develops between them, the two men relying on each other to battle tremendous odds.
Throughout the film, Joe hearkens back to earlier years in Texas, including life with his grandmother Sally (Ruth White), who served as guardian; his harried relationship with 'Crazy' Annie (Jennifer Salt), a notorious local girl; and a traumatic event in which Joe and Annie were assaulted by town folk who wanted to break up the love affair. Very much of its time, 'Midnight Cowboy' strings together a wild array of flashbacks, dream sequences, and psychedelic imagery that shed light on the main characters while also distorting their backgrounds. For every moment of understanding we gain from Joe and Ratso, more questions about their lives are generated. Both men are no doubt in tatters; they have no clear sense of direction until Ratso falls into the throes of illness and Joe finally senses a purpose for being alive. This revelation pushes 'Midnight Cowboy' to its conclusion, a rather hopeful one in a very grim story.
While Joe and Ratso badly need some luck, the direction of John Schlesinger is clearly outlined and uses the gritty atmosphere of Waldo Salt's screenplay in allowing Voight and Hoffman to thrive. Their interactions look extremely natural and the supporting cast, which features Sylvia Miles, Brenda Vaccaro, and members of the Andy Warhol clique, offers itself as an essential part of the storyline. The flashback sequences involving Voight, Ruth White, and Jennifer Salt are particularly impressive in dealing with the heartbreak of time lost.
Any young person wondering about the psychedelic era is advised to watch this film, thanks to the excellent cinematography of Adam Holender ('The Boy Who Could Fly,' 'Smoke') and editing by Hugh Robertson ('Shaft'). The visuals of 'Midnight Cowboy' work with its soundtrack (assembled by John Barry) as a cohesive unit, sometimes foreseeing music videos of the past two decades. The lead song Everybody's Talking is sung by Nilsson, which was actually used as a temporary track during the editing phase. The memorable harmonica theme is played by Jean 'Toots' Thielemans.
'Midnight Cowboy' has been released in a two-disc collector's edition by MGM/UA, which contains expanded features and commentary. Also available is a 1998 DVD release (used for this review), which offers dual widescreen and standard format with 5.1 Dolby Digital sound enhancement; three-language subtitles and closed captioning; French 'dubbing'; a theatrical re-release trailer (not the 'original' as advertised); and an eight-page production booklet. Both DVD editions contain a 25th anniversary restored version of the film, showing its original brilliance. Well-deserving of its three Oscars (best picture, Schlesinger, Waldo Salt) and additional nominations (Voight, Hoffman, Sylvia Miles, Hugh Robertson), 'Midnight Cowboy' will be sure to hold its place on the list of immortal classics.
*** ½ out of 4


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