It is tough and good in important ways, although its style is oddly romantic and at variance with the laconic material. Had it come out in 69 it would have made an amazing backtrack to a scene of Joe wandering through the early morning streets of NY after the party seeking the salvation of Sunday: https://www.

In 1998 Barry released The Beyondness of Things, a 'tone poem' unconnected to any film and which he presented as a concert piece. Young Texan Joe Buck quits his dishwashing job and heads by bus to New York City in cowboy attire to become a male prostitute. with its dreams of sunny warm Florida as the two danced around to keep warm in the filthy and squalid kitchen on a cold New York winter. As well as the main John Dunbar Theme, the Love Theme is eloquent and ever so slightly haunting; while the music used to accompany Two Socks - the wolf - is both shifting and beautiful.There he meets a low-life named Ratso Rizzo, played by Dustin Hoffman, and a friendship of necessity is ultimately reached between them. At the end of the film there is redemption of sorts for Buck, even though he beats a man to death, but not for the seriously ill Ratso, who dies on the bus journey to Florida where the two had planned to make a new life for themselves. During their odyssey they encounter a variety of people, from down-and-outers like themselves to upscale New York socialites. It is the perfect example of a composer managing to capture pictures in sound; it’s music in the key of savannah.

Nilsson's cover of Fred Neil's "Everybody's Talkin'" is the main thing this soundtrack is known for and rightly so- it's a classic and one of many examples of Nilsson being pretty much untouchable in the covers department ("Without You" being the other obvious example). Overall, dry spells retard momentum almost as much as disjointed moments in storytelling and overstylization, while ambition stresses natural shortcomings enough to threaten the reward value of the film, but on the backs of a few solid soundtrack bits, snappy stylistic highlights, audaciously intriguing subject matter, fine writing, inspired direction, and strong performances by and chemistry between Jon Voight and Dustin Hoffman, "Midnight Cowboy" stands a consistently compelling, if not rather powerful portrait on how a big city and grimy lifestyle can corrupt and enlighten a simple and good man.Its view of an unforgivable New York city street life combined well with a soundtrack of music that on the face of it could have been worlds apart, but the quirkiness and uneven quality of the music seamed well with the adventures Ratzo and Big Joe got themselves into. The song has a slow, relaxed feel about it but buried underneath lies a restlessness that can only be soothed by a change of scenery. The character of Shirley, the bohemian socialite Joe hooks up with, was allegedly based on socialite and Warhol superstar Edie Sedgwick. What remains, what sticks, is the acting of the two leads who fully invest in the characters frailties whose weaknesses amazingly leads to empathy rather than disgust.

His career spanned some 50 years - from Midnight Cowboy and Born Free to Dances with Wolves and Out of Africa - taking in 11 James Bond films along the way. They play Scribbage and the resulting word play leads Shirley to suggest that Joe might be gay; suddenly he is able to perform.

Quartet Records, in collaboration with Metro-Goldwyn-Mayer, Capitol Records, Universal Music Enterprises and the Phil Ramone estate, present an expanded 2-CD edition of the iconic score for the landmark film MIDNIGHT COWBOY, directed by John Schlesinger in 1969, starring Dustin Hoffman and Jon Voight, and winner of three Academy Awards, including Best Picture. Much darker than I would have anticipated, showing the underbelly of the city, between drugs, sickness, and sex, the film earns its rating (at least for the era) and encapsulates a generation all while entertaining. Two losers at the very bottom rung of the American Dream have only their tenuous friendship to sustain them. A motif featured three times throughout the New York scenes was the sign at the top of the facade of the Mutual of New York (MONY) Building at 1740 Broadway. Twenty five minutes were edited out of the film due to censorship regulations and a natural desire for broader appeal.