First time watch for me.

This is a landmark for the American New Wave. The story, the themes, the characters are so original.

I especially love the idea of loneliness and despair, and how you see this through a couple of guys that you probably don't know. It takes you to a different place, you see different people, and you contemplate all the adult things in life. Isn't that what a movie should do? I think so and I think this film does it perfectly. Can't wait to rewatch it.

Couldn't help myself, had to watch it again. Second watch was even better than the first.

I love absolutely everything about Midnight Cowboy. The performances of Jon Voight in particular and Dustin Hoffman. Waldo Salt's wonderful screenplay, John Schlesinger's direction, the amazing soundtrack and equally as important the brilliant use of New York as a setting.

Whoopatee-Ay-Yo git along little doggies, its your misfortune and non of my own.

Whoopatee-Ay-Yo, git along little doggies, for you know New York will be your new home.

'Where's that Joe Buck?'........ Cue Harry Nilsson and let the magic begin, 'Everybodys talkin at me......'

This film has aged gracefully. It encapsulates the clashing of societal norms and the radical changes America was experiencing through the eyes of its naive protagonist, hopelessly holding onto a distant past while steamrolling through an ever-changing, cruel and uncertain future where drug culture and scummy living will have permanently shaped the 70s to it's detriment. Joe Buck is irrevocably out of his element in NYC, and the wake-up call to reality his excursions with Ratso leave him with in the end speak volumes of truth for me. This is probably the best Hoffman and Voight have ever been. The experimental editing still remains fresh and unnerving to this day.

'I'm walkin' here. I'm walkin' here.'

It's hard to believe this movie is now over forty years old. Still packing a punch today, this is one of the rare times the Academy actually got it right. Hoffman and Voight deliver a masterclass of acting. They just don't make them like this anymore.

A joy to watch, an absolute pleasure. And that soundtrack....

First time watch for me.

This is a landmark for the American New Wave. The story, the themes, the characters are so original.

I especially love the idea of loneliness and despair, and how you see this through a couple of guys that you probably don't know. It takes you to a different place, you see different people, and you contemplate all the adult things in life. Isn't that what a movie should do? I think so and I think this film does it perfectly. Can't wait to rewatch it.

Couldn't help myself, had to watch it again. Second watch was even better than the first.

I love absolutely everything about Midnight Cowboy. The performances of Jon Voight in particular and Dustin Hoffman. Waldo Salt's wonderful screenplay, John Schlesinger's direction, the amazing soundtrack and equally as important the brilliant use of New York as a setting.

Whoopatee-Ay-Yo git along little doggies, its your misfortune and non of my own.

Whoopatee-Ay-Yo, git along little doggies, for you know New York will be your new home.

'Where's that Joe Buck?'........ Cue Harry Nilsson and let the magic begin, 'Everybodys talkin at me......'

A joy to watch, an absolute pleasure. And that soundtrack....

Some of the scenes--especially the flashbacks and fantasy sequences--are laughably ostentatious by today's standards, but the rest of the film holds up very well as one of the most unusual film buddy pictures. 7 B+

This film is as gritty and unpleasant as they come in its portrayal of the sleazy underbelly of New York City, and American society in general, at the conclusion of the 60s and the peak of the Sexual Revolution. Dustin Hoffman and Jon Voight both deliver solid performances as unlikely companions whose dashed dreams and hopes provide an incredibly strong bond, a bond that is depended on for survival. "Midnight Cowboy" is uncomfortable, it is painful and it evokes emotion in ways never before seen on film. This experience deserves at least one viewing, as one may be all that can be handled.

Only briefly, in a scene after Jon Voight’s Joe Buck fails to perform, does the rife undercurrent of homosexuality bob to the surface — “gay ends in y,” suggests a dissatisfied trick as Joe struggles to make a word in Scribbage.

I’m surprised the film won Best Picture, especially in 1969. Voight certainly deserved his nomination, however; he is fantastic throughout. It’s a difficult role and he disappears in it. In his early scenes, on a bus to New York, his eyes suggest a complex and troubled past that is later exposed with expressive editing and suggestive flashback. A number of dreamy flashforwards—also pulled off with audacious cutting, sound design, and photography—further reveal Joe’s character.

After an initial viewing, the film remains strangely enigmatic. Perhaps it is explained by the context of its place in history. Maybe Academy voters deserve more recognition.

stunning

While there's some creative editing and surreal images this movie ultimately is not compelling.

MIDNIGHT COWBOY and 2012's THE MASTER share strange similarities. Both films have two amazing leads (Hoffman/Phoenix and Hoffman/Voight), lack structured plots, and have homoerotic themes alongside social fascinations via the directors Paul Thomas Anderson & John Schlesinger.

These two films would make one awesome double feature.