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Taking Off

Taking Off

Music · Comedy · Drama · 1971

Unable to deal with her parents, Jeannie Tyne runs away from home. Larry and Lynn Tyne search for her, and in the process meet other people whose children ran away. With their children gone, the parents are now free to rediscover/enjoy life.

Movie details

Taking Off

“"Taking Off" is about people. People like your neighbor. People like the family down the street. People like yourself.”

1971 Music · Comedy · Drama 1h 33m

Critical arithmetic

The consensus, allegedly.

IMDb

7.4 / 10

4.9K votes

Rotten Tomatoes

100 %

Tomatometer

TMDB

6.9 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Unable to deal with her parents, Jeannie Tyne runs away from home. Larry and Lynn Tyne search for her, and in the process meet other people whose children ran away. With their children gone, the parents are now free to rediscover/enjoy life.

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 Taking Off?

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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Where it lives

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Names above the title

The people responsible.

Directed by

Miloš Forman

Written by

John Guare · Jean-Claude Carrière · Jon Klein · Miloš Forman

Lynn Carlin

Lynn Carlin

Lynn Tyne

Buck Henry

Buck Henry

Larry Tyne

Georgia Engel

Georgia Engel

Margot

Tony Harvey

Tony Harvey

Tony

Audra Lindley

Audra Lindley

Ann Lockston

Paul Benedict

Paul Benedict

Ben Lockston

Vincent Schiavelli

Vincent Schiavelli

Schiavelli

Court is in session

Put Taking Off on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

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

The prosecution The Cool Ironist

“The strings are showing.”

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