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...
Philosophy, justice, and Catholic theology are blended to a pulp in this breathtaking example of 1970s horror. By the time the '80s rolled around, cinematic exploration with special effects was at its peak in terms of prosthetics and make-up. Several masters - mainly in Italy, America, and Japan - had reached new heights and dug up several techniques from the past that were introduced as early as the silent era. The Sentinel impressed me with both its story and its remarkable efforts to pull off a complicated film. It is an adaptation of Jeffrey Konvitz's novel, and during a Q&A he expressed some issues with it, as I'm sure is natural for a writer in his position. He did have a lot to do with the production and even co-wrote the script. Aside from certain things being changed for the film, it's safe to say that the other large issue he had was with the film's production, claiming that he would have wanted a different director and a slightly different cast. I'll get to why I disagree shortly.
I'm going to attempt to play down all the action in the plot because there is so much of it and to explain it all would be to give away the best parts. In the film we find Alison (Cristina Raines), a model who wants some space from her boyfriend Michael (Chris Sarandon) and seeks an apartment of her own. She finds a number of places and eventually settles on a well-furnished and roomy place in an old building. The landlady (Ava Gardner) seems more than eager to get her to move in, dropping the price from $600 to $400 in order to seal the deal. On top of the fact that she is not willing to settle, she has other troubles on her mind when she hears the news of her father's death. Her feelings for him are cold due to a shocking revelation about his character that caused her to practically denounce her Catholic faith as a teenager and led to her first attempt to commit suicide. In her building she finds two people who sort of symbolize other father figures. Seen facing from the highest window of the complex is Father Halliran (John Carradine), a blind, reclusive priest. The other is Charles Chazen (Burgess Meredith), an overbearing old man who invites himself in on occasion and talks to his animals as if they were people.Continue Reading