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...
After his death, Steve McQueen reached rebel-cool icon status based on his off-screen machismo (racing cars and motorcycles, martial arts with Bruce Lee, stealing Robert Evans’ wife) and partly on his actual film resume, which in retrospect isn’t as great as you would expect. His peak years start in ’63 with his one masterpiece, The Great Escape (he did the overrated but still influential Western The Magnificent Seven a few years earlier), a couple of big hits that now feel more like remake-bait time capsules (The Thomas Crown Affair and The Cincinnati Kid), and of course there is also Bullitt, largely famous for its amazing high-speed San Francisco auto chases. But for the most part the late sixties were rounded out with forgotten melodramas (Love with the Proper Stranger, Baby the Rain Must Fall and The Sand Pebbles). The early seventies include a couple lesser collaborations with Sam Peckinpah (Junior Bonner and The Getaway) and the super cast/super dud The Towering Inferno. But besides appearing as himself in the Oscar-winning motorcycle documentary On Any Sunday, McQueen’s best film since The Great Escape is the epic Papillon, a film that has been written off by some as overly long and cold. But for my money it’s one of the best prison escape movies ever, as well as an eye-opening look at worlds I knew little about. (ALSO OF NOTE: I first saw it as a very young kid, in its second run at a drive-in, and there are some moments of violence that then confused me, but have stuck with me ever since.)
Based on the questionable autobiography of French petty criminal Henri “Papillon” Charrière, (played by the very American McQueen and shot in exotic locations all over the world) the script is credited to blacklisted legend Dalton Trumbo (Spartacus) and Lorenzo Semple Jr. (one of the creators of the '60s Batman TV series). The film begins in pre-WWII France with Papillon and other convicted criminals being marched through town and on to a boat to be shipped off to a French penal colony work camp. On the long and brutal ship ride, Papillon strikes a deal with a wealthy and rather famous forger, Louis Dega (Dustin Hoffman in full nebbish mode), for protection. With a promise to keep the meek embezzler alive, Dega will finance any escape attempts. Through the course of time, the two strike up an unlikely friendship (a prison adventure Midnight Cowboy). The film covers years in swampy, tough malaria-plagued conditions, finally ending on the infamous Devil’s Island. The film is loaded with wonderful set pieces, including long and short escape attempts, a leper colony, sadistic guards, creepy prisoners, solitary confinements and lots of double crosses (even a nun stabs Papillon in the back). It’s a survival saga and a friendship story, though the survival aspect is the highlight.Continue Reading
The Linguini Incident
Following the death of David Bowie last month, many people are no doubt still rewatching films that he starred or was featured in. I've always paid close attention to the similarities in Bowie's acting throughout his career and noticed an almost adorable sense of charm that I'd assume was fed by his neurotic and eclectic personality. These qualities shine and lend a certain edge to films like The Man Who Fell to Earth, Labyrinth and The Hunger. Somehow in the midst of all the obvious options of films I had almost forgotten that, for me, the same can be said the lesser-known flick The Linguini Incident.
The movie is a contemporary screwball comedy that fits the “formula” to a T. It's female-driven, features a zany romantic plot that emphasizes silliness more than sentiment and even has the typical love triangle. The dialog is choppy and awkward and the jokes are suggestive without being offensive or crude. Unlike romantic comedies—the predecessor of screwball you could say—films like this are refreshing as they bring on lots of laughs without manifesting cheap sentiment. In fact, there's virtually nothing to be gained in the movie except for laughs and it's completely merited.Continue Reading