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.

Not sure why this was best picture in 1969. The other choices must have been terrible.

Midnight Cowboy is a character story anchored by two great performances. Where the film slips is in its progression. It drifts instead of building around its central idea. The emotional core is real, and the ending lands because of it, but it lands as a moment rather than the payoff of a tightly constructed story. For a film that does so much right in tone and performance, the lack of forward momentum holds it back.

'Midnight Cowboy' is a beauty. It's one I've seen mentioned positively online many times down the years, especially on those four favourites videos that Letterboxd do with well known folk. Despite that I knew nothing coming in, which - as always - is the best way to view a flick. Dustin Hoffman's involvement was all that I did know heading into it, I wasn't even sure it was Jon Voight as the main guy until he started scowling his face - a distinctive look! I actually only know of him in film terms from 2003's 'Holes', he is memorable in that classic. In this, Voight is just as excelllent as Hoffman. They make for a fantastic pairing, I did thoroughly enjoy seeing their friendship build and build; even if it made the obvious, overhanging conclusion more and more saddening. Credit is due for the bit part actors in this, as well. Music-wise this is top notch too, even if that recognisable Harry Nilsson track is a touch overused. Away from that, I didn't actually know the "I'm walkin' here" quote came from this movie (I'm terrible with film quotes, clearly), though of course pretty cool to see it pop up unexpectedly.

Excelentes atuações. Dustin e John nos fazem acreditar na veracidade da estória. Dustin interpreta um manco com enfisema, enquanto John um texano que não é cowboy, mas se veste igual, agindo e querendo ganhar a vida sendo gigolo.