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IMDbPro

Un uomo da marciapiede

Titolo originale: Midnight Cowboy
  • 1969
  • VM18
  • 1h 53min
VALUTAZIONE IMDb
7,8/10
127.892
LA TUA VALUTAZIONE
POPOLARITÀ
2201
285
Dustin Hoffman and Jon Voight in Un uomo da marciapiede (1969)
In celebration of the 50th anniversary of 'Midnight Cowboy,' we take a look back at John Schlesinger's three-time Oscar-winning film, starring Jon Voight and Dustin Hoffman.
Riproduci clip1: 16
Guarda 'Midnight Cowboy' | Anniversary Mashup
1 video
99+ foto
DrammaDramma psicologico

Un ingenuo truffatore viaggia dal Texas a New York City per cercare fortuna e troverà un nuovo amico.Un ingenuo truffatore viaggia dal Texas a New York City per cercare fortuna e troverà un nuovo amico.Un ingenuo truffatore viaggia dal Texas a New York City per cercare fortuna e troverà un nuovo amico.

  • Regia
    • John Schlesinger
  • Sceneggiatura
    • Waldo Salt
    • James Leo Herlihy
  • Star
    • Dustin Hoffman
    • Jon Voight
    • Sylvia Miles
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,8/10
    127.892
    LA TUA VALUTAZIONE
    POPOLARITÀ
    2201
    285
    • Regia
      • John Schlesinger
    • Sceneggiatura
      • Waldo Salt
      • James Leo Herlihy
    • Star
      • Dustin Hoffman
      • Jon Voight
      • Sylvia Miles
    • 482Recensioni degli utenti
    • 144Recensioni della critica
    • 79Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Vincitore di 3 Oscar
      • 28 vittorie e 16 candidature totali

    Video1

    'Midnight Cowboy' | Anniversary Mashup
    Clip 1:16
    'Midnight Cowboy' | Anniversary Mashup

    Foto195

    Visualizza poster
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    + 188
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    Interpreti principali60

    Modifica
    Dustin Hoffman
    Dustin Hoffman
    • Ratso
    Jon Voight
    Jon Voight
    • Joe Buck
    Sylvia Miles
    Sylvia Miles
    • Cass
    John McGiver
    John McGiver
    • Mr. O'Daniel
    Brenda Vaccaro
    Brenda Vaccaro
    • Shirley
    Barnard Hughes
    Barnard Hughes
    • Towny
    Ruth White
    Ruth White
    • Sally Buck
    Jennifer Salt
    Jennifer Salt
    • Annie
    Gilman Rankin
    Gilman Rankin
    • Woodsy Niles
    • (as Gil Rankin)
    Gary Owens
    • Little Joe
    T. Tom Marlow
    • Little Joe
    George Eppersen
    George Eppersen
    • Ralph
    Al Scott
    • Cafeteria Manager
    Linda Davis
    • Mother on the Bus
    J.T. Masters
    • Old Cow-Hand
    Arlene Reeder
    • The Old Lady
    Georgann Johnson
    Georgann Johnson
    • Rich Lady
    Jonathan Kramer
    • Jackie
    • Regia
      • John Schlesinger
    • Sceneggiatura
      • Waldo Salt
      • James Leo Herlihy
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti482

    7,8127.8K
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    Recensioni in evidenza

    9secondtake

    Moving, funny, sad, unaffected, astonishing...

    Midnight Cowboy (1969)

    This is such a gritty, touching story of two ordinary vulnerable young men, told with such honesty, it's impossible to criticize it taken whole. "Midnight Cowboy" is a terrific movie.

    It's terrific because of the two actors--an astonishing Dustin Hoffman, still a new name in Hollywood but already famous from "The Graduate" in 1967. And an equally astonishing Jon Voight, making his first large role in a movie. Each is a type of struggling man living on the fringe of New York (barely surviving in a boarded up building), extreme but never a caricature. They gel as a pair, helping each other but with a bit of reluctance because neither wants to quite admit they need help.

    It's terrific further because of the filming, with lots of available light magic in dingy places. The cinematographer, Adam Holender, is remarkably making his first film here, though that might explain the freshness to a lot of the filming. There is in particular a lot of long lens (telephoto) shooting between more intimate scenes, showing layers of people and isolating the star in a moving world (a difficult thing to do with good focus).

    It's also terrific for the writing, not just for the story but for the dialog. It strikes so subtly to some truth you don't quite expect, even though it's simple and almost obvious. The screenplay won an Oscar, as did the movie (Best Picture) and director John Schlessinger (Best Director). It's worth noting that Schlessinger is a British director with some very tightly conceived movies already under his belt (including the fabulous "Darling"), and here he seems to make New York as familiar as if he'd grown up here. Along those lines, Voight, playing the naive cowboy to a perfect pitch, is a native New Yorker. And Hoffman, though familiar with the city, is an L.A. kid.

    Where does the movie run into trouble? Why isn't it in the top ten of all time? I think it might boil down to three kinds of inserts into flawless the main narrative. The first is a series of flashbacks that in various ways try to "explain" or fill in the psychological background of Voight's character. As if it needs explaining. Or if it does benefit us all to know how he got to his beautiful troubled state, maybe there is something shocking and sensational about the inserts, as effective as they are on their own nightmarish terms.

    A second "insert" is a series of short sunny daydreams Hoffman's character has envisioning life in Florida in the sun. It's comic relief, and it mostly works, but there are cracks there. Finally there is a section of the actual narrative where the two men go to a party they've been invited to for spurious reasons (weird luck, mostly). It's too obviously an excuse to film a scene in a drug-addled Warhol-esque party. The hosts are effete artist types who want to film some strange New Yorkers out of context, and so we see the film film these filmmakers and so on. A great scene, but weirdly out of place.

    But all of his is to be taken in stride as the meat of the story kicks back in each time. And here, with a melancholy soundtrack, you will be moved and entranced. Amazing stuff. Brave and a lesson in how a film can be adventurous and heartfelt and not painfully slick, all at once. And succeed artistically and commercially.
    MubukuGrappa

    I hated Dustin Hoffman until I watched this movie

    I often disliked Dustin Hoffman's acting. I watched his "Graduate", "Marathon Man", "Kramer vs. Kramer" etc. and in none of these I liked his style, which to me appeared to be very static and his expressions often stone-like. I liked his acting in movies like "Rain Man" and "Outbreak", but I didn't consider them spectacular either. This movie, however, changed that for me.

    This movie is worthy of all the praise it gets. A reasonably simple story is turned into a beautiful movie by the strong performance of Hoffman and John Voight. How a small town stud goes to New York (where ladies are just waiting to get it from him and pay him for it) to find that the reality differs much from the picture he has had of the scenario.. is the story in a nutshell, which is interesting and, which could be true perhaps in any big city anywhere in the world.

    The movie, after 35 years, still looks contemporary except for a scene that depicts a 60s-style party of drugs, sex and rock-n-roll.

    Highly recommended.
    10Lechuguilla

    Big Joe Heads To The Big Apple

    Virile, but naive, big Joe Buck leaves his home in Big Spring, Texas, and hustles off to the Big Apple in search of women and big bucks. In NYC, JB meets up with frustration, and with "Ratso" Rizzo, a scruffy but cordial con artist. Somehow, this mismatched pair manage to survive each other which in turn helps both of them cope with a gritty, sometimes brutal, urban America, en route to a poignant ending.

    Both funny and depressing, our "Midnight Cowboy" rides head-on into the vortex of cyclonic cultural change, and thus confirms to 1969 viewers that they, themselves, have been swept away from the 1950's age of innocence, and dropped, Dorothy and Toto like, into the 1960's Age of Aquarius.

    The film's direction is masterful; the casting is perfect; the acting is top notch; the script is crisp and cogent; the cinematography is engaging; and the music enhances all of the above. Deservedly, it won the best picture Oscar of 1969, and I would vote it as one of the best films of that cyclonic decade.
    8ptb-8

    almost perfect time capsule of 1969

    I saw MIDNIGHT COWBOY in easter 1970 when i was 15. It was at a very quiet matinée in a very cold rural mountain holiday resort town in in Australia. I was alone as I had gone for a walk but discovered I was in time for the matinée. It was one of the great cinema experiences of my teenage life and left an impression on me that still resonates. After the screening, it was freezing and foggy outside and almost dark. I walked to a nearby park in the freezing fog, sat on a wet bench and cried and cried until the tears began to freeze too. I wiped them away and went home for dinner. Nobody the wiser except me. Recently I was the film again for the first time in 40 years. I am simply awestruck at the sense of NY 1969 that floods from the screen, the sense of the time anywhere in 1969 and the fact that the film is shattering in it's depiction of poverty and friendship in a bleak city. Recently I also went to NY and found that as fascinating for I felt NY was completely safe and totally unlike the squalor seen in their lives in the film. NY today is very pretty and epic and like a fun park. I have enduring respect and admiration for this extraordinary film. I hope you do too. The performances by Voight and Hoffman are award worthy, and Joe Buck, like Forrest Gump is the sexy flip side of the American Everyman. Directed by a Brit: John Schlesinger whose International eye for NY and the tawdry but fascinating life of USA 1969 has allowed this film to be as great as it is, only made one other great American films and that is the equally tangible and shocking Hollywood pit of 1937 called DAY OF THE LOCUST. Both films have trailers which every young film maker today should study for a perfect lesson in 'preview' creation.
    7drqshadow-reviews

    The Death of Innocence (and Expectation) in a Dirty Depiction of '60s NYC

    Dreaming of a more glamorous existence, an idealistic Texas greenhorn (Jon Voight) walks out on his mundane dishwasher's life and hops a bus bound for New York City, certain he'll find instant success as a high-priced gigolo. The city, as always, has different lessons in store. Soon, our cowboy's strapped for cash and out on the street, too soft for the harsh realities of his dream job but too proud to accept anything less. In desperation, he hooks up with a similarly out-of-luck grifter (Dustin Hoffman) and the two develop a chemical bond that sees them through some dangerously lean times, while the busiest metropolis on the planet buzzes and bustles, blissfully oblivious, on the other side of the wall.

    Notorious as the first X-rated film to see wide release, Midnight Cowboy earned its reputation with a risqué subject matter, explicit nudity, glamorized drug use and frank depictions of homosexuality (with a whole boatload of associated slurs). A lot of it still seems daring and edgy today, so I can only imagine how it looked to the viewers of 1969. Then again, there's a chance the setting itself adds a thing or two to the modern shock value. This is a real time capsule of a picture, a breathing document of a city that no longer exists, with an emphasis on subcultures and undercurrents that were pushed out of all the glossy framed photos. It's sixties New York, all right, but this particular close-up is more interested in the warts on its subject's nose and the dirt under its fingernails than the carefully-primped clothes and hairstyle it wears to mask the unsightly bits.

    The unflattering depiction is fascinating, particularly to someone like me, who didn't live through that era, but the story often plods and telegraphs its intentions, with an unconventional series of flashbacks only further complicating matters. Hoffman and Voight are dynamite together, an unlikely duo whose connection resonates through the smoggy haze, and serve as major boons to a film that could have floundered otherwise.

    Oscars Best Picture Winners, Ranked

    Oscars Best Picture Winners, Ranked

    See the complete list of Oscars Best Picture winners, ranked by IMDb ratings.
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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Before Dustin Hoffman auditioned for this film, he knew that the all-American image that he carried after The Graduate (1967) could easily cost him the job. To prove that he could play Rizzo, he asked the auditioning film executive to meet him on a street corner in Manhattan. He dressed in filthy rags. The executive arrived at the appointed corner and waited, barely noticing the "beggar" not 10 feet away who was accosting people for spare change. The beggar finally walked up to him and revealed his true identity.
    • Blooper
      Ceilingless set and lighting equipment can be briefly seen in several shots in Cass' bedroom.
    • Citazioni

      Ratso Rizzo: I'm walking here! I'm walking here!

    • Versioni alternative
      ABC edited 25 minutes from this film for its 1974 network television premiere.
    • Connessioni
      Featured in V.I.P.-Schaukel: Episodio #2.2 (1972)
    • Colonne sonore
      Everybody's Talkin'
      Written by Fred Neil

      Performed by Harry Nilsson

    I più visti

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    Domande frequenti

    • How long is Midnight Cowboy?Powered by Alexa
    • How did this film end up uncut with an R rating, unlike "A Clockwork Orange"?
    • Is Joe Buck intellectually disabled?
    • What is the back story that flashes up in sex and rape segments?

    Dettagli

    Modifica
    • Data di uscita
      • 21 ottobre 1969 (Italia)
    • Paese di origine
      • Stati Uniti
    • Sito ufficiale
      • MGM
    • Lingue
      • Inglese
      • Italiano
    • Celebre anche come
      • Cowboy de medianoche
    • Luoghi delle riprese
      • Calvary Cemetery - 4902 Laurel Hill Boulevard, Queens, New York, New York, Stati Uniti(Cemetery sequence)
    • Aziende produttrici
      • Jerome Hellman Productions
      • Florin Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 3.600.000 USD (previsto)
    • Lordo Stati Uniti e Canada
      • 44.785.053 USD
    • Lordo in tutto il mondo
      • 44.802.964 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 53 minuti
    • Colore
      • Color
      • Black and White
    • Mix di suoni
      • Mono

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