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Hair

Hair

Music · Drama · Comedy · 1979

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.

Movie details

Hair

“Let the sunshine in!”

1979 Music · Drama · Comedy 2h 1m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

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.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Hair?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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A Chorus Line

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A group of dancers congregate on the stage of a Broadway theatre to audition for a new musical production directed by Zach. After the initial eliminations, seventeen hopefuls remain, among them Cassie, who once had a tempestuous romantic relationship with Zach. She is desperate enough for work to humble herself and audition for him; whether he's willing to let professionalism overcome his personal feelings about their past remains to be seen.

Where it lives

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Names above the title

The people responsible.

Directed by

Miloš Forman

Written by

Gerome Ragni · James Rado

John Savage

John Savage

Claude Hooper Bukowski

Treat Williams

Treat Williams

George Berger

Beverly D'Angelo

Beverly D'Angelo

Sheila Franklin

Annie Golden

Annie Golden

Jeannie Ryan

Dorsey Wright

Dorsey Wright

Lafayette aka Hud

Don Dacus

Don Dacus

Woof

Cheryl Barnes

Cheryl Barnes

Hud’s Fiancée

Court is in session

Put Hair on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.