Popularity: 3 (history)
Director: | Miloš Forman |
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Writer: | James Rado, Gerome Ragni |
Staring: |
Upon receiving his draft notice and leaving his family ranch in Oklahoma, Claude heads to New York and befriends a tribe of long-haired hippies on his way to boot camp. | |
Release Date: | Mar 15, 1979 |
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Director: | Miloš Forman |
Writer: | James Rado, Gerome Ragni |
Genres: | Comedy, Drama, Music |
Keywords | new york city, hippie, free love, commune, vietnam war, musical, army, skinny dipping, lgbt, 1960s, gay theme |
Production Companies | United Artists, CIP Filmproduktion GmbH |
Box Office |
Revenue: $15,313,606
Budget: $11,000,000 |
Updates |
Updated: Feb 01, 2025 Entered: Apr 13, 2024 |
Name | Character |
---|---|
John Savage | Claude Hooper Bukowski |
Treat Williams | George Berger |
Beverly D'Angelo | Sheila Franklin |
Annie Golden | Jeannie Ryan |
Dorsey Wright | Lafayette aka Hud |
Don Dacus | Woof |
Cheryl Barnes | Hud’s Fiancée |
Richard Bright | Fenton |
Nicholas Ray | The General |
Charlotte Rae | Lady in Pink |
Miles Chapin | Steve |
Fern Tailer | Sheila's Mother |
Charles Denny | Sheila's Father |
Herman Meckler | Sheila's Uncle |
Agnes Breen | Sheila's Aunt |
Antonia Rey | Mrs. Berger |
George J. Manos | Mr. Berger |
Linda Surh | Vietnamese Girl |
Jane Booke | Debutante #1 |
Suzanna Love | Debutante #2 |
Joe Acord | Claude's Father |
Michael Jeter | Sheldon |
Janet York | Prison Psychiatrist |
Rahsaan Curry | Lafayette Jr. |
Harry Gittelson | The Judge |
Donald Alsdurf | MP |
Steve Massicotte | Barracks Officer |
Mario Nelson | Barracks Officer |
Ren Woods | 'Aquarius' Soloist |
Toney Watkins | Colored Spade' / 'Ain't Got No |
Carl Hall | Colored Spade |
Howard Potter | Colored Spade |
Nell Carter | Ain't Got No' / 'White Boys |
Kurt Yaghjian | Ain't Got No |
Laurie Beechman | Black Boys |
Debi Dye | Black Boys |
Ellen Foley | Black Boys |
Johnny Maestro | Black Boys |
Fred Ferrara | Black Boys |
Jim Rosica | Black Boys |
Vincent Carella | Black Boys |
Charlayne Woodard | White Boys |
Trudy Perkins | White Boys |
Chuck Patterson | White Boys |
H. Douglas Berring | White Boys |
Russell Costen | White Boys |
Kenny Brawner | White Boys |
Lee Wells | White Boys |
Leata Galloway | Electric Blues |
Cyrena Lomba | Electric Blues |
Ron Young | Old Fashioned Melody |
John DeRobertas | Flesh Failures |
Grand L. Bush | Flesh Failures |
Melba Moore | '3-5-0-0' Soloist |
Ronnie Dyson | '3-5-0-0' Soloist |
Rose Marie Wright | Dancer |
Tom Rawe | Dancer |
Jennifer Way | Dancer |
Shelley Washington | Dancer |
Christine Uchida | Dancer |
Raymond Kurshals | Dancer |
Richard Colton | Dancer |
Anthony Ferro | Dancer |
Sara Rudner | Dancer |
Twyla Tharp | The Priestess (uncredited) |
Peter Maloney | Court Clerk (uncredited) |
Name | Job |
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James Rado | Screenplay, Lyricist |
Miloš Forman | Director |
Gerome Ragni | Screenplay, Lyricist |
Lynzee Klingman | Editor |
Robert Greenhut | Production Manager |
Howard Feuer | Casting |
Galt MacDermot | Music, Songs |
Stanley Warnow | Editor |
Stuart Wurtzel | Production Design |
Richard C. Kratina | Director of Photography |
Jeremy Ritzer | Casting |
Miroslav Ondříček | Director of Photography |
Alan Heim | Editor |
Ann Roth | Costume Design |
Twyla Tharp | Choreographer |
Name | Title |
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Robert Greenhut | Associate Producer |
Michael Butler | Producer |
Lester Persky | Producer |
Organization | Category | Person |
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Popularity History
Year | Month | Avg | Max | Min |
---|---|---|---|---|
2024 | 4 | 24 | 37 | 14 |
2024 | 5 | 26 | 35 | 17 |
2024 | 6 | 24 | 40 | 14 |
2024 | 7 | 23 | 36 | 14 |
2024 | 8 | 25 | 58 | 15 |
2024 | 9 | 18 | 25 | 13 |
2024 | 10 | 19 | 34 | 10 |
2024 | 11 | 20 | 43 | 10 |
2024 | 12 | 18 | 31 | 12 |
2025 | 1 | 20 | 35 | 13 |
2025 | 2 | 13 | 25 | 3 |
2025 | 3 | 6 | 18 | 1 |
2025 | 4 | 2 | 3 | 1 |
2025 | 5 | 2 | 3 | 1 |
2025 | 6 | 2 | 3 | 1 |
2025 | 7 | 2 | 4 | 1 |
2025 | 8 | 2 | 2 | 1 |
2025 | 9 | 2 | 3 | 1 |
2025 | 10 | 3 | 3 | 2 |
Trending Position
Year | Month | High | Avg |
---|---|---|---|
2025 | 4 | 994 | 994 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 3 | 978 | 978 |
I watched much of this convinced that Treat Williams was a very young Tommy Lee Jones, and despite the look of the film dating, it's still quite a potent and entertaining look at life amidst the draft. The rather naive "Claude" (John Savage) arrives from his home in rural Oklahoma into a New York br ... imming with vibrancy and eccentricity. He's on his way to join up to fight in Vietnam when he encounters "Berger" (Williams) and starts to fall into a life of gentle hedonism leading to his love of "Shiela" (Beverly D'Angelo). She and "Berger are from different sides of the tracks, but despite her silver spoon she has quite a rebellious nature and very much embraces her hippie existence protesting the war whilst stoked up on weed, emotion and idealism. They only have a few days, but in those days their relationships develop, thrive, vacillate and ultimately Milos Forman presents us with a quite subtly scathing commentary on a mid-1960s USA. I still think this works better on the stage - the confined space there forces the characters and scenarios together better, but this is still a strong big-screen adaptation that allows the music and dance numbers to retain much of their punch. The characterisations run deep too with plenty of their gang having slightly more than bit parts to complement the thrust of the burgeoning romance. It's perhaps that that lets this down a little. The pair are rarely seen together and the portrayal of their "love" is a wee bit on the shallow side. Musically, there are more than a few familiar numbers to keep the pace rollicking along, and perhaps the fairly explicit nature of some of the lyrics explains why this did rather better on the European Awards circuit than it did in the USA (or the UK). "Aquarius", "Good Morning Starshine" and the title song are maybe the most memorable but there are plenty more to get our teeth into as the rawness of the original Gerome Ragni book is framed within a cityscape dealing with racism, homophobia and just about everything to preclude the concept of "free love" (or even creatively inexpensive love). It's holding it's relevance quite well and is well worth two hours.