Midnight Cowboy (1969)

James Leo Herlihy's 1965 novel was made into a great motion picture by director John Schlesinger. It's a graphic character study of two very different men who become close friends in the decaying 42nd Street area of New York City in the late 1960's.

(first lines)
Joe Buck: "Whoopee-tee-yi-yo. Get along little dogies. It's your misfortune and none of my own."

Jon Voight, in his film debut, plays Joe Buck, a handsome but naive hick who moves to NYC to work as a freelance gigolo and hustler. He ends up being out-hustled by everyone else in the Big Apple. Wearing a cowboy costume, he says, "I ain't a for real cowboy, but I am a hell of a stud." He tries to hustle rich middle-aged Cass, who angrily tells him, "You were gonna ask me for money? Who the hell do you think you're dealing with, some old slut on 42nd Street? In case you didn't happen to notice it, ya big Texas longhorn bull, I'm one helluva gorgeous chick!" Cass cries and Joe Buck gives her most of his money.

Dustin Hoffman plays Enrico Salvatore "Ratso" Rizzo, a sleazy derelict of a con man who is tubercular and has a limp. Originally he was a shoe shiner, as was his father. Hoffman put pebbles in his shoe to make his limp consistent. Ratso cons Joe Buck out of $20, but later becomes his friend and inept "manager". He tells Joe Buck, "Frankly, you're beginning to smell, and for a stud in New York that's a handicap."

Joe Buck: "I like the way I look. Makes me feel good, it does. And women like me, goddammit. Hell, the only one thing I ever been good for is lovin'. Women go crazy for me, that's a really true fact. Ratso, hell! Crazy Annie they had to send her away."
Ratso Rizzo: "Then, how come you ain't scored once the whole time you been in New York?"

One of the many highlights of the film is a party scene that captures the groovy 1960's perfectly. Some of Andy Warhol's "superstars" make cameo appearances. Ratso says, "You want the word on that brother-and-sister act? Hansel's a fag and Gretel's got the hots for herself. So who cares, right? Load up on the salami." Joe Buck leaves the party with a woman customer, but suffers from temporary impotence. Ratso fills his pockets with food and is noticed by Gretel McAlbertson (Viva).

Gretel: "Are you stealing food?"
Ratso: "I was just noticing that you're out of salami."
Gretel: "Gee, well, you know, it's free. You don't have to steal it."
Ratso: "Well, if it's free, then I ain't stealin'."

Joe Buck and Ratso struggle for survival in the harsh and squalid nightmare of an urban jungle. They dream of making it big and retiring to Florida as Ratso's health continues to deteriorate. Ratso says, "Here I am goin' to Florida, my leg hurts, my butt hurts, my chest hurts, may face hurts, and like that ain't enough, I gotta pee all over myself." The film is clever, perceptive and captures two brilliant performances. Events are largely chronological, with flashbacks to Joe Buck's grandmother Sally (Ruth White) and his promiscuous girlfriend Crazy Annie (Jenifer Salt). The ending is tragic.

Also in the cast are: Sylvia Miles (Cass), John McGiver (Mr. O'Daniel), Brenda Vaccaro (Shirley), Gilman Rankin (Woodsy Niles), Gary Owens (Little Joe), George Eppersen (Ralph), Jonathan Kramer (Jackie), Waldo Salt (Joe Pyne), John McGiver ( Mr. O'Daniel), Bernard Huges (Towny), Gil Rankin (Woodsy Niles), T. Tom Marlow (Little Joe), George Eppersen (Ralph), Al Scott, Linda Davis, J. T. Masters, Arlene Reeder, Georgann Johnson, Johnathan Kramer, Anthony Holland, Bob Balaban, Jan Tice, Paul Benjamin, Peter Scalia, Vito Siracusa, Peter Zamiagias, Arthur Anderson, Tina Scal, Alma Felix, Richard Clarke, Ann Thomas, Gastone Rossilli, Ultra Violet, Paul Jabara, International Velvet, Cecelia Lipson, Taylor Mead, Paul Morrissey, Joan Murphy, and Al Stetson. Waldo Salt wrote the screenplay. Original music is by John Barry. John Schlesinger directed.

When the movie was released in 1969 it was X-rated. In 1971 the rating was changed to R, with no changes to the film. It is 113 minutes long, but the TV prints are drastically censored and somewhat incomprehensible. MIDNIGHT COWBOY is one of the best films of the 1960's, a landmark in cinema history with a simple, sentimental story. It's a true classic, very touching, poignant, realistic, compelling, but disturbing and ultimately depressing.

"Midnight Cowboy" won Oscars for Best Picture, Best Director and Best Screenplay. It is the only X-rated movie ever to win for Best Picture.

The Joe Buck role was first offered to other actors. Elvis Presley was considered, but Colonel Parker turned down the part without consulting Elvis. Originally Nilsson wrote "I Guess the Lord Must Be In New York City" for the film, but "Everybody's Talkin' At Me" was used instead, written by Fred Neil with Nilsson singing it.

Privates on Parate (1982)

In 1948 the British are fighting a Communist insurrection in the Malayan jungles. For the British Army in Malaya, WWII has hardly stopped. Acting Captain Terri Dennis (Denis Quilley) heads up a ragtag group of inept soldiers whose job it is to improve morale by staging song and dance shows for the troops. Since there are few women available, most of the troupe doubles in full drag, including--with great enthusiasm and queenly putdowns--Dennis. The troupe performs routines that parody Fred Astaire and Ginger Rogers, Marlene Dietrich, Carmen Miranda, marching production numbers, and Vera Lynn-type ballads. There is some obscenity, and the dialogue is full of sexual innuendo, bawdy one-liners, and gay stereotyping, especially in Denis Quilley's great performance. But in between the numbers are bitter messages targeting the British empire, the behavior of British officers, the repression of gay love, and the hypocrisy of some men toward women.

The troupe is under the command of rigid Major Giles Flack (John Cleese), a Bible quoting anti-communist Army man who is more inept than the soldiers under him. He likes to give impromptu seminars to his troops on the two principal causes of the decline of the West, ''luxury and blasphemy'', and to toast ''the victory of Christian enlightenment". In a serious subplot British arms are being stolen from a depot and being sold to the guerrillas. The ringleader is Sergeant Major Reg Drummond (Michael Elphick), a treacherous coward in the group who gets the only real woman in the troupe pregnant and then abuses her. He steals armaments and information to give to the enemy. In the end, a terrible battle ensues at his hands. One thing leads to another and soon the troupe is on a tour of remote outposts in the northern jungle. Unknown to them, they are transporting one last big haul of rifles and ammunition.

"Privates on Parade" at times is funny, witty, and very black, but can't seem to decide which sacred cows it wants to gore or which messages it wants to deliver. It's something of a curiosity piece, a melodramatic farce adaptated from Peter Nichols' stage play. The actors are good, including John Cleese who plays John Cleese to give this movie star power. Denis King composed the music, Peter Nichols wrote the screenplay from his own play, and Michael Blakemore directed.

Priest (1994)

Father Greg Pilkington (Linus Roache) is assigned to St. Mary's parish in Liverpool, and startled to discover Father Matthew Thomas (Tom Wilkinson) is engaged in a sexual relationship with rectory housekeeper Maria Kerrigan (Cathy Tyson). While his conservatism and religious beliefs are offended by the older priest's disregard for his vow of celibacy, he struggles with his own homosexual urges, especially after he meets Graham (Robert Carlyle) at a local gay hangout and the two begin a physical relationship. Meanwhile, student Lisa Unsworth (Christine Tremarco) confides she is the victim of incestuous sexual abuse by her father, who confirms her story. But both have revealed their secret in the confessional, and Father Greg is required to honor the sanctity of the Sacrament of Penance and not reveal what he has been told, despite the fact the girl is suffering emotionally and physically. He tries to warn her mother to keep a close watch on her, but the naive woman believes her daughter is safe with her husband.

When Mrs. Unsworth (Lesley Sharp) discovers her husband molesting Lisa and realizes the priest knew what was happening, she lashes out at him. Adding to his torment is his arrest for engaging in sexual activity with Graham in a parked car. When he pleads guilty to the charge, the story is front page news in the local newspaper. Unable to face his parishioners, Father Greg relocates to a remote rural parish headed by a disapproving and unforgiving priest. Father Matthew convinces him to return to St. Mary's, and the two preside over a Mass that is disrupted by the protests of those opposed to Father Greg's presence on the altar. Father Matthew demands the protesters leave the chapel. The two priests then begin to distribute the Eucharist, but the remaining parishioners ignore Father Greg and line up to receive communion from Father Matthew. Lisa finally approaches the younger priest, and the two fall into each other's arms sobbing.

Although at times serious and distressing, "Priest" also has some moments that are funny. When Pilkington asks a woman with a neck-brace if she has hurt her neck, she replies "No, I'm a dedicated follower of fashion." The scenes where Pilkington is with his partner Graham are sensual and do not flinch from portraying their homosexual relationship erotically and candidly. Film critic Roger Ebert rated the film one star out of a possible four, calling the screenplay "shallow and exploitative." He added, "The movie argues that the hidebound and outdated rules of the church are responsible for some people (priests) not having sex although they should, while others (incestuous parents) can keep on having it although they shouldn't. For this movie to be described as a moral statement about anything other than the filmmaker's prejudices is beyond belief." Peter Stack of the San Francisco Chronicle called it "an exceptional movie," "powerful drama," and "a curiously inspiring statement about faith and morality." Don't get me started. Andy Roberts composed the original music, Jimmy McGovern wrote the screenplay, and Antonia Bird directed.