Taking Off (1971)
Average Rating: 7.6/10
Reviews Counted: 9
Fresh: 9 | Rotten: 0
No consensus yet.
Average Rating: 7.1/10
Critic Reviews: 5
Fresh: 5 | Rotten: 0
No consensus yet.
liked it
Average Rating: 4/5
User Ratings: 569
My Rating
Movie Info
Czech filmmaker Milos Forman's first American production stars Linnea Heacock as Jeannie Tyne, a runaway teenager. While she wanders aimlessly around New York, her suburban parents, Lynn (Lynn Carlin) and Larry (Buck Henry), desperately search for their "missing" daughter. Larry and his best friend, Tony (Tony Harvey), inaugurate a search, but their expedition is sidetracked by a drinking binge at a local bar. Meanwhile, Lynn and Tony's wife, Margot (Georgia Engel), begin discussing their sex
May 17, 1971 Wide
Universal Pictures
Cast
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Lynn Carlin
Lynn Tyne -
Buck Henry
Larry Tyne -
Linnea Heacock
Jeannie Tyne -
Georgia Engel
Margot -
Tony Harvey
Tony -
Audra Lindley
Ann Lockston -
Rae Allen
Mrs. Divito -
-
Paul Benedict
Ben Lockston -
Philip Bruns
Policeman -
Corinna Cristobal
Corinna Divito -
Barry del Rae
Schuyler -
Allen Garfield
Norman -
David Gittler
Jamie -
-
-
Tina Turner
Herself -
-
Vincent Schiavelli
Mr. Schiavelli -
Carly Simon
Audition Singer -
Ike Turner
Himself -
Jack Hausman
Dr. Besch -
Bobo Bates
Audition Singer
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All Critics (11) | Top Critics (7) | Fresh (9) | Rotten (0)
Mr. Forman's specialty is tender farce played out in what are, essentially, very bleak circumstances.
Top CriticAn engaging, episodic, wonderfully fair-minded satire about runaway children and anxious adults.
Forman's career pivot point between Prague's film-school halls and the Oscars podium is still a prime example of the way a foreign director can apply an outsider's perspective to something like Nixon's Amerikkka and draw blood.
It remains his [Milos Forman's] best film in and about America.
Czech director Milos Forman applies subtle European sensibility to his American directing debut, a bittersweet satire of family mores and manners in times of change.
Forman's first American film is an idiosyncratic and original take on the generation gap.
At the time of its release, critics welcomed the Czech-born Forman's skewed perspective on a transitional period of American culture, but today the film, like so much else from the late 60s and early 70s, can best be appreciated as a historical curio.
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