Film Review: Midnight Cowboy (1969)

The recent buzz and controversies surrounding Emilia Perez over its numerous Oscar nominations serves as a timely reminder that many films strive to gain attention, critical acclaim, and cult status by being “edgy.” Yet, few manage to achieve the repeates the “edginess” of Midnight Cowboy, the 1969 drama directed by John Schlesinger. Best known as the only film to win an Academy Award for Best Picture after receiving an X-rating from the MPAA, Midnight Cowboy was a groundbreaking work that pushed the boundaries of what was acceptable in mainstream cinema. However, viewed outside the context of the late 1960s—a period of profound social and cultural upheaval—the film may leave modern audiences wondering what all the fuss was about.

Based on James Leo Herlihy’s 1965 novel, Midnight Cowboy tells the story of Joe Buck (played by Jon Voight), a naïve young man from a small Texas town who dreams of becoming a gigolo in New York City. Convinced that his good looks and sexual prowess will bring him fortune, Joe saves money from his job as a dishwasher, buys a cowboy outfit, and heads to the Big Apple. However, his dreams quickly unravel as he discovers that New York women either don’t need his services or that he lacks the charm and skill to attract clients. His fortunes take a turn for the worse when he meets Enrico Salvatore “Rico” Rizzo (played by Dustin Hoffman), a small-time con artist who swindles him out of his money. Despite their rocky start, the two form an unlikely friendship, squatting in a condemned apartment and scraping by through petty theft and cons. Joe’s attempts to earn money—whether by selling blood or turning tricks for both men and women—highlight his desperation. Meanwhile, Rizzo, who dreams of escaping to Florida, falls seriously ill, prompting Joe to take drastic measures to fund what he hopes will be a life-saving trip.

Midnight Cowboy’s X-rating was a result of its explicit depictions of homosexuality, sexual acts, and nudity—content that would have been unthinkable under the old Hollywood Production Code just a few years earlier. The fact that the film not only received critical acclaim but also won the Academy Award for Best Picture underscores the seismic shift in Hollywood’s mores and the broader cultural changes sweeping the United States. The X-rating, introduced as part of the MPAA’s new film rating system in 1968, had not yet become synonymous with pornography, allowing Midnight Cowboy to be seen as a serious artistic work. Over time, the film was re-rated as an “R,” and by modern standards, its content appears relatively tame.

Like many films of its era, Midnight Cowboy benefited from being made during a period of transition, when the old studio system had collapsed, and new regime haven’t been properly established, which led to more permissiveness. This cultural shift allowed the film to explore themes and depict scenes that would have been impossible just a few years earlier. However, its association with the New Hollywood movement is somewhat tenuous. Schlesinger, an English director already known for his work in the Swinging London scene, was not a native voice of the American counterculture. While some critics and scholars have described Midnight Cowboy as a time capsule of late 1960s New York City, this characterization doesn’t entirely hold up. Apart from radio and television commercials and other pop culture references, the film’s plot, written by Waldo Salt, is not deeply anchored to its specific historical moment. It could easily have been set decades earlier or later without losing its core narrative.

If the filmmakers intended to create a time capsule, they did so most explicitly in a somewhat distracting segment involving a group of middle-class bohemians who invite Joe and Rizzo to a decadent, quasi-psychedelic party reminiscent of Andy Warhol’s Factory. This sequence, which includes a semi-romantic and later sexual encounter between Joe and a wealthy socialite named Shirley (played by Brenda Vaccaro), feels like an attempt to inject a dose of “normalcy” into the film’s otherwise dark and tragic tone.

Schlesinger’s direction leans heavily into artistic experimentation, particularly through unconventional editing techniques borrowed from the French New Wave. Instant flashbacks to Joe’s past are used to provide context for his background and sexual confusion, a theme that likely resonated with Schlesinger, who, like Herlihy, was gay. However, these flashbacks, which include a nude scene featuring Jennifer Salt (the screenwriter’s daughter and a minor icon of New Hollywood), often feel disjointed and confusing, detracting from the narrative rather than enhancing it.

What ultimately elevates Midnight Cowboy and explains its critical acclaim is the exceptional performances by its lead actors. Jon Voight delivers a nuanced portrayal of Joe Buck, a not particularly bright but deeply sympathetic character whose questionable morals are tempered by his genuine friendship and concern for Rizzo. Dustin Hoffman, fresh off his triumph in The Graduate, shines as the pathetic yet endearing Rico Rizzo. His final scene in the film, despite its heavy pathos, is a masterclass in acting and a testament to Hoffman’s status as one of Hollywood’s greatest talents.

The supporting cast, including Sylvia Miles as a middle-aged woman who becomes Joe’s first client in a darkly comedic scene, is also strong, though they are inevitably overshadowed by Voight and Hoffman.

The film’s music further enhances its impact. The catchy pop tune “Everybody’s Talking,” performed by Harry Nilsson, provides a sharp contrast to the film’s dark tone, while John Barry’s haunting main theme adds emotional depth. Barry’s score, though atypical for the prolific composer, remains one of the film’s most memorable elements.

In conclusion, Midnight Cowboy is a film of its time, a product of the cultural and social upheaval of the late 1960s. While its edgy content and artistic ambitions may feel less revolutionary today, its powerful performances and emotional resonance ensure its place in cinema history. It may not be a flawless masterpiece, but it remains a compelling and important work that captures the complexities of human relationships and the struggles of those on society’s margins.

RATING: 6/10 (++)

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