This film is interesting only as a reflection of the degradation

and evil of the hollywood liberals at the peak of their powers.

This cesspool was given an academy award in 1969 and its a

distillation of all the ideas in the liberal’s campaign to

destroy America.

The message of this film to those who saw it was: be a bum,

take drugs, engage in anonmyous unsafe sex and

above all don’t work. And that its the obligation of the

rest of society to assist you in pursuit of your lifestyle with

cash payments, free housing and free medical care.

The heros of the film are two deadbeats who parasite off the

rest of society. The first one starts out as an ordinary

American from the heartland who inexplicably quits his job

and decides to become a prostitute in New York. The other

one is a human rat whose moral decay has become physical, lives

off garbage and lives in the spaces where normal people will

not go.

In his assault on American values, the director takes the

familiar image of the cowboy in american life and pushes

the transformational propoganda idea in the film that rather

than being a strong male image, its a fetish image for lowlifes.

The cowboy in the film hangs out like a bum, runs out of money

and then moves in with the kindly human rat. The idea of going

back to work never enters his mind as his money is running out

nor does leaving the city. The film also does an excellent

job in creating a propoganda world-view that the “bad people”

are the new yorkers working and doing things rather than these

bums.

They set up housekeeping together in abandoned building and

drift into a life of petty crime together. The human rat

encourages the other guy to believe his delusions about being

a male prostitute. The human rat dreams that the solution to

all his problems will be in Florida.

The centerpiece of the film is a 1960′s style drug party where

inexpicably these two bums are invited. As would be expected,

the drugged out liberal hippies end up being the path to success

for the bums. The hippie women are apparently more than willing

to pay for sex with street bums. That makes more sense than

it might seem because their hippie men are probably so messed

up from their drugs as not to be an option.

But then it all goes wrong. The human rat reaches the end of

the line. Its as if the very possiblity of success triggers

off a new round of moral and physical decay. To save him,

we get more petty crime which leads to a bus trip to florida.

They get him to Florida, but its too late.

This is an all-out message film and the message is that work

is wrong, being a bum is noble, your problems are not your

own fault ever, drugs are the solution to everything,

that the life of a street prostitute is an exciting adventure

full of colorful characters and that its all those ordinary

working people in the city that look you funny who are hateful

and messed up. And that (finally) being a bum isn’t a problem,

its living in New York thats the problem. Florida sunshine

will make everything better.

This film inaguarated the golden age of street trash, porn,

hookers and drugs in American Culture which lasted almost

ten years. Ten years of heroic pimps, hip druggies and

glamorizing the lives of streetwalkers while the downtowns

of american cities took the New York of this film as their

model for urban development (porn districts and open-air drug

markets).

Nobody will ever know how many lives this idiotic glamorization

of the gutter cost. But in the end, the intent of these people

was so evil that the world they were trying to create destroyed

itself before it could destroy all america.

The happy street-people of the 1970′s leading their happy street

life got older and less appealing. And when Ronald Reagan was

elected, they were transformed from happy street people into

the suffering homeless. The liberals took the human wreckage

that their ideology of street life and drugs had created and

then demanded that the government solve the problem by giving

out money. But by that time, drugs and disease had already

claimed most of the liberals who bought into this film’s vision.

And those that remained were too few and too discredited to

convince anyone of anything.

Its interesting only as an example of the depths of liberal

propoganda and what the message of the liberals to the country

was. They started in the 1950s with anti-america films, then

moved on to anti-god and anti-marriage films, then drug films

and then reached the end of the line with Midnight Cowboy

where the very notion of working itself is dismissed as

irrelivant. It was a careful plan designed to lead americans

down a road of degenerative thought. It was successful for

a while, but in the end it was defeated.

This contrived piece of sentimental quasi-gay Hollywood indulgence must really have titillated them back 35 or so years ago, same people who thought Hair was a racy musical. Jon Voight does a fine Elvis impression but Dustin sounds like he’s doing a puppet act from an old radio show. I lived in NYC on & off for years going to school on the UPWS in the 50s & never ever saw anyone who talked or walked like Hoffman does in this, except maybe outside Actors Studio on 45th street.

Great if too quick shots of Hubert’s Museum & Flea Circus & other 42nd street nostalgia, though, makes it worth a couple stars anyway.

what can i say… “midnight cowboy” is just very, very overrated. jon voight plays an interesting, though completely unbelievable cowboy gigolo. the absurdity of this character might be okay, if the movie did not try to convince you at every moment of his traumatic past and try to make you feel sorry for him. nonetheless, voight does a good acting job at least. dustin hoffman plays a new york pimp, another unbelievable character. sure, you move to new york and try to make instant friends with someone and have them live rent-free in their apartment. good luck with that. though they have nothing in common, the two characters become fast best friends for no reason (and you’ll surely wonder whether there is any gay attraction going on). while the movie does feature some interesting “innovative” cut-scenes, with such a weak story, it’s no good. as dustin hoffman hobbles around his apartment coughing and the cowboy takes care of him, i was supposed to feel sorry for him, but it was all kind of funny because it was so fake. i made it pretty close to the end but returned it. what happened at the end? i don’t care. it’s an unrealistic silly story. voight and hoffman try to make it good with their acting talent, but there’s only so far they can go with this script. like so many things, it’s overrated by the vast majority of people and critics.