Note: Today is a house hunting day, which means I am out at the crack of dawn to head off to the hills in search of a new lair. Instead of rushing something in the few minutes I have before leaving for the day, I am re-posting a green door item. This is a film review I recently did that feels like a nice break from the usual routine.

The concept of the antiwhite is new to most people, but it has been bubbling under the surface of American culture for a long time. In movies, it often turns up in the “moral complexity” of quintessentially American characters. The prototypical American cowboy, for example, is also a villain. Alternatively, the American dream is turned into a nightmare for the protagonist of the film.

It is not a direct racial assault on white people, like we now see on movies and television, but more of a bank shot. Some aspects of society are criticized, often by inverted reality, as in the case of Easy Rider. Normal people are turned into violent monsters, while two bums are the heroes. The Searchers introduces the concept of racism as a defining feature of American society.

By the late 1960’s, there was no need to obscure the intent. American life was portrayed as seedy and degenerate, the result of the original sin of some “ism” or maybe the falsity of the founding myth. There is the sense that the general terribleness of the period was deserved. Cities were festering sewers riddled with crime and degeneracy because that was the real America.

Probably the peak of this seedy realism was Midnight Cowboy. It is the story of a young guy from Texas named Joe Buck, played by Jon Voight. He quits his menial job and takes a bus to New York City for reasons that are never explained. He immediately decides to make a living as a male prostitute, targeting middle-aged women. His first efforts fail, but he gets the hang of it and finally gets lucky.

This totally naive guy from Texas is shrewd enough to become a hustler but not smart enough to make money at it. He also gets suckered by a crippled conman named Rico, played by Dustin Hoffman. Rico introduces Joe to a pimp, for a finder’s fee, but the pimp turns out to be a religious fanatic. Joe flees this situation and goes looking for Rico but is unable to locate him.

Joe runs out of money, so he gets tossed from his apartment and decides to let a gay guy give him oral sex in a movie theater, thinking that the gay guy is going to pay him for the privilege, but that is now how things work. Joe eventually finds Rico, who lets him stay in his condemned apartment. They become partners with Joe slowly taking care of Rico, who has some sort of respiratory disease.

Eventually the two of them decide to leave New York City for Florida, so Joe picks up a gay guy and murders him for his cash. They use the cash for a bus ticket to Florida, but Rico is now extremely sick. At some point Rico soils himself, so Joe buys them new clothes at a rest stop, but Rico has died. The close of the movie is Joe hugging his dead friend as the bus trundles along toward Florida.

The message of the film is clear. White America is a myth, just as Joe Buck’s cowboy act is a myth that he created for himself. In realty, America is a faker, a fraud, a hustler that can only be redeemed by dropping the act and turning gay. This is a movie made by and for people who hate themselves, their country and would have been better off killing themselves and their intended audience.

That is the main reason the film is on the top-100 list. Another reason is it started the process of normalizing sodomy. It is not just an antiwhite, anti-American film, but it is a homosexual film that seeks to normalize homosexuality, by making Joe Buck a victim of a system that is intolerant of homosexuals. If midcentury bourgeoise decadence could have come to life and made a film, this would be it.

It is impossible to express how much I detest this film, but it is not the worst film on the top-100 list and it probably does belong here for artistic reasons. The message is vulgar and degenerate, but the production and acting are extremely good. Despite the obvious plot holes, Jon Voight makes Joe Buck believable. Dustin Hoffman plays himself, so he is quite credible as a skeevy hustler.

Like Taxi Driver, which I also hated, Midnight Cowboy is important because of what it represents on the historical timeline. When the robot historians attempt to retrace the steps that led to the collapse of the American experiment, they will no doubt look at the popular entertainment of this period for clues. Within a single generation, America went from the pinnacle of cultural achievement to the world of Midnight Cowboy.

That said, if you can avert your gaze from the political messaging and step outside of our current political context, it is a good film. Joe Buck has a story to tell, and we get enough of it to fill in the rest. He is a tragic figure, but he is not without redeeming qualities and we get the sense that redemption is possible for him. That is a lot to do in a film and that speaks to the skill of the people behind it.

In the end, it is all about the main question. If you have not seen this film, should you take the time to watch it? Even though I hate this film, I do not regret having watched it twice now. There will be no third viewing, but if you can stomach the politics and the ugliness of it, it is worth watching for historical reasons. At the minimum, you come away with a sense of the time and place in which it was made.

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