Antihero. The character you are suppose to be rooting for but find his actions unheroic. Today it’s commonplace in films and fiction. In 1963, the only antiheroes were usual gritty private eyes in dime store novels or gangsters. Then came Paul Newman as Hud. He represents the end of the old cattle ranchers era. It’s a battle of wills with his aging proud father for the soul of his innocent nephew and for the ethics that the family will use in its business dealings. You want to root for Hud. He’s so cool, its megastar, Paul Newman. He has moments of vulnerability when you can see why his heart is so hard. But by the end his selfishness and amoral nature make him so unlikeable. It also makes for an amazing story.
In Paul Newman’s monster-sized career, perhaps only Bogart, Nicholson and maybe James Stewart have ended up with so many iconic roles. As far as performances go, Newman was always good; the consensus would say that his performance as the broken down, drunken lawyer in The Verdict is his masterpiece. I would nominate Hud for second place on his Hall Of Fame chart. And that is saying a lot, with so many other important roles to chose from: The Hustler, Cool Hand Luke, The Color Of Money, Nobody’s Fool and the underrated Hombre to name a few, were all fantastic. Not to mention the crowd pleasers like The Sting and Butch Cassidy and The Sundance Kid which are beloved by many.Continue Reading
Though “X-rated” means something different than it did in 1969, it’s still a badge of honor that Midnight Cowboy is the only film with that “for adults only” label to have won the Best Picture Oscar (Last Tango in Paris being the other great “X-rated” flick of the era). Midnight Cowboy is less shocking today; sexually, it’s not the graphic images that provide the punch it’s the intellectually complicated nature of the characters’ sexuality that still can move an audience. As a follow up to The Graduate, Dustin Hoffman proved he was more than a one-hit wonder and instead that he had a long and vital career ahead of him. It also deservedly made a star out of a little known pretty-boy actor named Jon Voight. And it also put British director John Schlesinger on the American A-list, a guy whose deep sensitivity and open homosexuality put him ahead of his time. The film’s theme song, “Everybody’s Talkin’” performed by Harry Nilsson, has become the iconic standard bearer for images of a lonely guy walking the streets of New York. Midnight Cowboy also is a fascinating peek at an era both for representation for how an artist works at a time when the movie studios were willing to take a chance on a grubby flick about a would-be male prostitute and his new BFF while also revealing a dark side to the Big Apple during what has sometimes been considered a golden age of self-expression.
Apparently screenwriter Waldo Salt (who was just emerging from two decades of being blacklisted) took a lot of liberties with James Leo Herlihy’s undergrou...