Ted Kramer's wife leaves him, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
Texas greenhorn Joe Buck arrives in New York City for the first time. Preening himself as a real "hustler", he finds that he is the one getting "hustled" until he teams up with down-and-out but resilient outcast Ratso Rizzo. The initial "country cousin meets city cousin" relationship deepens. In their efforts to bilk a hostile world rebuffing them at every turn, this unlikely pair progress from partners in shady business to comrades. Each has found his first real friend.Written by
There's a speakeasy bar in Austin, Texas named after the film. Midnight Cowboy the bar is located inside a former oriental massage parlor that was busted by the F.B.I., hence the seedy name. It has a red light, not a sign, outside to mark the place. In order to drink there, you need to make a reservation online, and when you get there, you buzz the box and give the password "Harry Craddock". They have rules, though: no talking on your cell phone inside the bar, and no "excessive displays of public affection". See more »
Ceilingless set and lighting equipment can be briefly seen in several shots in Cass' bedroom. See more »
Whoopee-tee-yi-yo. Get along little dogies. It's your misfortune and none of my own.
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ABC edited 25 minutes from this film for its 1974 network television premiere. See more »
Virile, but naive, big Joe Buck leaves his home in Big Spring, Texas, and hustles off to the Big Apple in search of women and big bucks. In NYC, JB meets up with frustration, and with "Ratso" Rizzo, a scruffy but cordial con artist. Somehow, this mismatched pair manage to survive each other which in turn helps both of them cope with a gritty, sometimes brutal, urban America, en route to a poignant ending.
Both funny and depressing, our "Midnight Cowboy" rides head-on into the vortex of cyclonic cultural change, and thus confirms to 1969 viewers that they, themselves, have been swept away from the 1950's age of innocence, and dropped, Dorothy and Toto like, into the 1960's Age of Aquarius.
The film's direction is masterful; the casting is perfect; the acting is top notch; the script is crisp and cogent; the cinematography is engaging; and the music enhances all of the above. Deservedly, it won the best picture Oscar of 1969, and I would vote it as one of the best films of that cyclonic decade.
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