Taking Off

This is one of the most curiously delightful films I have ever seen. From the first few minutes until it's very end, 'Taking Off' offers an uniquely gentle vision of the confused 70s generation, it's hopes and wishes, and their problematic relationships with their respective, old-fashioned, hypocritical parents. Larry and Lynn Tyne are the heads of a typical american family, with their respective neurosis and worries targeted to their daughter Jeannie, lovely Linnea Hancock, and her taking drugs and the company that surrounds her. As she 'takes off' from home, their parents begin to seek for her, and as the seek continues, their degree of closeness is increased, while them both become absolutely degenerate and carefree - as they judge the new generation to be.

Forman presents a simple story that smoothly develops itself into a thoughtful character study about the gap of generations, presented in a fashion never seen before, and most enjoyable, scoring once again by bringing his innovative directing style from Europe to America for the first time, and with a modest budget and unknown stars, with the honorable exception of Buck Henry, Ike and Tina Turner and a very, very young Carly Simon( Singing A Remarkable Ballad, That Goes Like This - Long Term Physical Effects Are Not Yet Known... So, I'll Just Take Another Drag, And Just Get Stoned!(...) Short Term Physical Effects Are So Groovey!)

You may glimpse a young Jessica Harper during my favorite sequence, the audition one. The characters you'll find during this are simply... unforgettable. :)

So, just enjoy this underrated gem, 'with a smile on your face and a heart to embrace', a faithful portrait of youth, hypocrisy, and seemingly contained parents.

I saw this movie on it's original release and was mightily impressed. I'd previously seen Forman's "The Fireman's Ball" and liked the quirky style that he repeats so well with this one. The tale of the confused parents trying desperately to understand their "wayward" daughter is gently told but is bitingly satirical. I will never forget scenes of the parents attending the seminar on how to smoke a joint and the convention for the parents of fugitive children. So where has this movie gone? I checked out the on line video store here in the UK to find that it was deleted in 92. Great shame, it's a classic.

This is the first Milos Forman's movie in America. It's still got the European style, a very special way to describe the story. Bourgeois parents tries to find why their quiet teenage girl ran away from home. It's a story about the gap of generation, between the straight parents and the hippies children. Forman present a funny and tender look at the youth of America of the early seventies. While the teenage girl is very gentle and quiet, the parents, who are afraid she will take drugs, get drunk and plays strip poker. The movie is now a little bit of a kind of oldie film! Just a take a look at all those typical seventies long hairs boys and girls, the way they dressed. Kinda funny, like seeing teenagers in a Doris Day movie of the fifties. There are lot of very funny sequences of the young girls singing at an audition for a show. We can see young Carly Simon in it. There is also a sequence with the Ike & Tina Turner Revue. I like it, even if it's a little bit old today. It's strange to say that, because I was a teenager myself when this film was shot by Forman.

I first saw this in 1989. It was old then, but nearly 20 years later its just as fresh and witty. Superb sound editing, great comic set pieces (the how to smoke a joint scene or the black salute), poignant (finding the smokes in the Jeannie's room with "Even the white horses" playing), the music performances (Ode to a Screw) and such acute observation of American Society. Nothing is missed: the comic potential of the fact that there is a "Society for the Parents of Lost Children(SPLC)", the realization that it is the parents who are lost; the lucrative potential of the counter culture and the "establishment's" realization of this (best seen in the hilarious speech by Jeanies boyfriend toward the end). Much of the comedy is drawn from the characters' little crises in their lives and their attempts to solve them, but it is always a warm and affectionate comedy. Forman likes these people, he likes America, he's willing them on, every slightly misguided step of the way.

Milos Forman's first American release is part social satire, part farcical look at two morose, middle-class parents (Buck Henry, Lynn Carlin, both outstanding)

who begin to enjoy life only after their teenage daughter (sad-eyed Linnea

Heacock) runs away. At once funny and touching, Forman and veteran Bunuel

collaborator Jean-Claude Carriere ("Belle du Jour," "Diary of a Chambermaid") concoct a simple story of unexpected depth, a wry comedy that unfolds

gradually, gently lampooning marriage and family life while painting a sensitive portrait of the confused, disenfranchised youth scene of the 1960s. Forman

regular Vincent Schiavelli makes his debut here as a bell-bottomed marijuana

"expert," who carefully instructs a banquet hall full of clueless parents in the fine art of getting high. A young Kathy Bates and a spirited Carly Simon appear

briefly singing at a theatrical audition, while Georgia Engel and Audra Lindley turn in subtle, nuanced performances several years before their television

debuts on "The Mary Tyler Moore Show" and "Three's Company," respectively.

A beautifully observed, underrated gem.