A milestone in film-making.

Rating: Null/10 (9 February 2002)

Contains spoilers
The year 1967 delivered to the movie-going audience a masterpiece of modern cinema with The Graduate. Benjamin Braddock (Dustin Hoffman) has returned home after graduating from college. Isolated amongst his family, worried about his future, and plagued by confusion, Ben is seduced by the neighbor's wife, Mrs. Robinson (Anne Bancroft), and engages in a three-month long affair. Soon Ben finds his life lacking meaning and purpose. It is the daughter of Mrs. Robinson, Elaine (Katharine Ross), who gives Ben something to live for. Ben shifts from being a passive character to a man taking charge and relentlessly pursues his goal. This film is often considered a classic and ranks seventh on the American Film Institute's list of the top 100 American movies. The film, however, lacks substance in the plot, but overwhelming makes up for its weakness with wonderful cinematography, direction, symbolism, acting, and an unforgettable soundtrack.

Director Mike Nichols followed up his successful debut, Who's Afraid of Virginia Woolf?, with an encore of innovative shots and sequences - earning himself an Academy Award. Two particular segments come to mind. One is a montage, presenting to the viewer the way Ben spends his summer. The sequence shows Ben at home with his oppressive parents and at a motel with the sensuous Mrs. Robinson. Clever cuts follow Ben as he leaps onto a raft in his pool at home - only to end up on top of Mrs. Robinson in the motel bed. Furthermore, walking through one door takes him away from his isolation at home to his alienation in the motel. Another, and perhaps one of the most memorable scenes in the film, also takes place poolside. Ben's parents are throwing him a birthday party as he celebrates manhood and turns 21 years old. Ben is dramatically revealed to the guests, as he appears wearing scuba gear. Creative photography lets the viewer look through Ben's eyes - and his diving mask. The scene's only sound is the irregular breathing, highlighting the fact Ben feels out of place. The point of view shots perfectly capture the claustrophobia Ben feels as he is burdened by his parents' pressures. The editing and directing were superb throughout the entire film.
It was not only what was shot, but the way it was shot that makes this film so successful. The use of light and darkness is masterful. In the beginning of the movie, Ben is often seen sulking in the shadows. Clearly he is depicted as the isolated and alienated youth many teenagers and young adults can relate to. The lighting in the first hour of the film is often a glaring light, representing a harsh reality. Ben can be seen trying to shut out this light, thus denying reality. Opposite Ben is Mrs. Robinson, throwing on the lights, revealing a cold, unforgiving world. Another scene further illustrates the callous adult-world. Ben's father towers over a relaxing Ben, blocking the sunlight - and blocking the warmth. It is not until Ben finds love and meaning that the lighting changes. The light around Elaine glows with a soft amber hue - implying warmth and kindness. The play with light and darkness can also be seen in the main characters' clothing. Ben and Elaine dress in whites, representing innocence and naivetÃ©. Mrs. Robinson dresses in black which is often associated with evil.

All the actors turn in outstanding performances as Dustin Hoffman, Anne Bancroft, and Katharine Ross received Academy Award nominations in the acting fields. Hoffman's the ideal actor to play a bumbling, unsure-of-himself, college graduate. He makes an at times awkward script comedic genius with his delivery and timing. Bancroft is stunning as the cold-hearted seductress. Her character is brought to life with the actress' stern glances and no-nonsense delivery. Her character walks a fine line of believability. If either underplayed or overplayed the satire would become a farce; but Bancroft hits the mark. Ross is charming as the sensitive, caring, and forgiving Elaine. Perhaps her character is too forgiving, making Ben's love interest the weakest character of the three. It is Ross's portrayal of the young woman, however, that makes the film work.

The music of Simon and Garfunkel bring another element to this comedy-drama. Along with the unforgettable tune of `Mrs. Robinson,' `The Sounds of Silence' bring a depth and new dimension to the loneliness and alienation felt by the protagonist Ben. The song plays through the credits as we are introduced to Ben and immediately the audience gets a feel for the character. The song plays again at the end, suggesting that perhaps Ben didn't find true happiness as he runs off with Elaine. Young adults embracing the film for its rebellious attitude perhaps misinterpreted this last scene. While the movie does seem to take a stand against the ruthless adult world, it also comments that it must be joined. Ben is making his passage from child to adult and while the transition can be delayed, it cannot be ignored.
The Graduate can be seen as a story with a thin plot and unclear message, but unquestionably it is a milestone in film-making. Mike Nichols put together a solid cast and crew to forge a classic. For those wishing to view a tour de force of direction, cinematography, and acting (or for those wishing to enjoy a good movie), The Graduate cannot be missed.