MIDNIGHT COWBOY

"Midnight Cowboy" moseys into UK cinemas again next month on the occasion of its 50th anniversary, and with it comes another opportunity to ask whether this is a film about homophobia or a homophobic film. In its portrayal of the friendship between two New York City street hustlers – the budding gigolo Joe Buck (Jon Voight), tall and sweet as an ice-cream sundae, and the stunted, snivelling chancer “Ratso” Rizzo (Dustin Hoffman) – the picture hints at the inexpressible desires in any bromance. Ratso bandies the word “faggot” around and mocks Joe for the campness of his cowboy duds. Evidently the homophobe doth protest too much, for we have been privy to Ratso’s fantasies in which Joe runs shirtless with him along the beach.

It is the penultimate scene, when Joe robs, beats and perhaps even kills a gay client, that throws the movie into disarray. The scene itself provides a snapshot of Joe’s own shame and self-doubt, and a film should be allowed to depict the consequences of homophobia without being accused of perpetuating it. But it’s the way the attack on that man is swept blithely aside in the next scene that casts doubts on the motives of the film, and on the integrity of its gay British director, John Schlesinger. So why is it that I struggle to take offence?

What we look for in our formative years can be very different from the demands we make later as analytical adults, and it was certainly more important to me that representations of gayness were complex or colourful than that they were positive, whatever that meant. As far as I was concerned, film-makers were welcome to be hostile or mocking toward homosexuality just so long as they didn’t ignore it. I would have taken animosity over anonymity any day.

(Ryan Gilbey, theguardian.com)