The Graduate - Wikiquote The Graduate Jump to: navigation , search The Graduate is a 1967 film about Ben, a recent college graduate who is talented but aimless, who is seduced by Mrs. Robinson, the wife of his father's business partner. As he embarks on a tawdry affair with her, he becomes increasingly disillusioned with the the world his parents live in and their expectations for him, and he finds himself falling for Mrs. Robinson's daughter Elaine. This is Benjamin. He's a little worried about his future. Contents Benjamin Braddock[ edit ] I've had this feeling ever since I graduated. This kind of compulsion that I have to be rude all the time...It's like I was playing some kind of game, but the rules don't make any sense to me. They're being made up by all the wrong people. I mean no one makes them up. They seem to make themselves up. Mr. Robinson[ edit ] I wish I was that age again because Ben...you'll never be young again...Ben, can I say something to you?...uh, how long have we known each other now? How long have you and I known each other?

How long have your dad and I been partners?...I watched you grow up, Ben...In many ways, I feel as though you were my own son...So I hope you won't mind my giving you a friendly piece of advice...I think you ought to be taking it a little easier right now than you seem to be...Sow a few wild oats, take things as they come, have a good time with the girls and so forth...You have yourself a few flings this summer. I'll bet you're, you're quite a ladies man...You look to me like the kind of guy who has to fight 'em off. [To Mrs. Robinson, who enters] Now doesn't he look to you like the kind of guy who has to fight 'em off? Benjamin: I guess about my future. Mr. Braddock: What about it? Benjamin: I don't know. I want it to be... Mr. Braddock: ...to be what? Benjamin: ...Different. Mr. McGuire: I want to say one word to you. Just one word. Benjamin: Yes, sir. Mr. McGuire: Are you listening? Benjamin: Yes, I am. Mr.

McGuire: Plastics. Benjamin: Exactly how do you mean? Mr. McGuire: There's a great future in plastics. Think about it. Will you think about it? Note: the bolded line is ranked #42 in the American Film Institute's list of the top 100 movie quotations in American cinema. Benjamin: Mrs. Robinson, if you don't mind my saying so, this conversation is getting a little strange. Now, I'm sure that Mr. Robinson will be here any minute now and - Mrs. Robinson: No. Benjamin: What? Mrs. Robinson: My husband will be back quite late. He should be gone for several hours. Benjamin: Oh my God. Benjamin: For God's sake, Mrs. Robinson, here we are, you've got me into your house. You give me a drink. You put on music, now you start opening up your personal life to me and tell me your husband won't be home for hours. Mrs. Robinson: So? Benjamin: Mrs. Robinson - you are trying to seduce me .... Aren't you? Mrs. Robinson: Well, no. I hadn't thought of it.

I feel very flattered. Benjamin: Mrs. Robinson. Will you forgive me for what I just said? Note: the bolded line is ranked #63 in the American Film Institute's list of the top 100 movie quotations in American cinema. Mrs. Robinson: What are you so scared of? Benjamin: I'm not scared, Mrs. Robinson. Mrs. Robinson: Then why do you keep running away? Benjamin: Because you're going to bed. I don't think I should be up here. Mrs. Robinson: Haven't you ever seen anybody in a slip before? Benjamin: Yes, I have, but I just...Look, what if Mr. Robinson walked in right now? Mrs. Robinson: What if he did? Benjamin: Well, it would look pretty funny, wouldn't it? Mrs. Robinson: Don't you think he trusts us together? Benjamin: Of course he does, but he might get the wrong idea. Anyone might. Mrs. Robinson: I don't see why? I'm twice as old as you are. How could anyone think that... Benjamin: But they would! Don't you see? Mrs.

Robinson: Benjamin. I am not trying to seduce you! Benjamin: I know that, but please, Mrs. Robinson. This is difficult.. Mrs. Robinson: Would you like me to seduce you? Benjamin: What? Mrs. Robinson: Is that what you're trying to tell me? Benjamin: [A long pause] I'm going home now. I apologize for what I said. I hope you can forget it. But I'm going home right now. Mrs. Robinson: [now naked] Don't be nervous. Benjamin: Get away from that door. Mrs. Robinson: I want to say something first. Benjamin: Dear God. Mrs. Robinson: Benjamin. I want you to know that I'm available to you, and if you won't sleep with me this time... Benjamin: Oh, my God. Mrs. Robinson: ...if you won't sleep with me this time I want you to know that you can call me up anytime you want and we'll make some kind of an arrangement. Do you understand what I...? Benjamin: Let me out. Mrs. Robinson: Benjamin. Did you understand what I said?

[Screeching car tires are heard outside in the driveway] Benjamin: Yes, yes, let me out. Mrs. Robinson: Because I find you very attractive. Now, anytime you want, you just... Benjamin: Oh Jesus, that's him. Mrs. Robinson: Benjamin, would this be easier for you in the dark? Benjamin: Mrs. Robinson. I can't do this. Mrs. Robinson: You what? Benjamin: This is all terribly wrong. Mrs. Robinson: Do you find me undesirable? Benjamin: Oh, no, Mrs. Robinson. I think, I think you're the most attractive of all my parents' friends. I mean that. I find you desirable, but I, for God's sake, can you imagine my parents? Can you imagine what they would say if they just saw us in this room here right now? Mrs. Robinson: What would they say? Benjamin: I have no idea Mrs. Robinson, but for god's sake, they brought me up, they made a good life for me and I think they deserve better than this. I think they deserve a little better than jumping into bed with the partner's wife. Mrs.

Robinson: Are you afraid of me? Benjamin: Oh, no. You're missing the point. Look. Maybe we could do something else together. Mrs. Robinson, would you like to go to a movie? Mrs. Robinson: Can I ask you a personal question? Benjamin: Ask me anything you want. Mrs. Robinson: Is this your first time? Benjamin: Is this what? Mrs. Robinson: It is, isn't it? It is your first time. Benjamin: That's a laugh Mrs. Robinson. That's really a laugh. Ha, ha. Mrs. Robinson: Well, you can admit that, can't you? Benjamin: Are you kidding? Mrs. Robinson: It's nothing to be ashamed of. Benjamin: Wait a minute. Mrs. Robinson: On your first time if you're afraid of being inadequate. Benjamin: Who said it was my first time? Wait a minute. Mrs. Robinson: Just because you happen to be inadequate in one way. Benjamin: INADEQUATE?! [Mrs. Robinson starts to dress] Don't move! Mr. Braddock: Ben, what are you doing?

Benjamin: Well, I would say that I'm just drifting. Here in the pool. Mr. Braddock: Why? Benjamin: Well, it's very comfortable just to drift here. Mr. Braddock: Have you thought about graduate school? Benjamin: No. Mr. Braddock: Would you mind telling me then what those four years of college were for? What was the point of all that hard work? Benjamin: You got me. Benjamin: [about Elaine] Well, I guess I'll have to ask her out on a date and find out what the big deal is. Mrs. Robinson: Benjamin. [Pulling his hair] Don't you ever take that girl out. Do you understand that? Benjamin: Well, why shouldn't I? Mrs. Robinson: I have my reasons. Benjamin: Well let's hear 'em. Mrs. Robinson: No. Benjamin: Let's hear them Mrs. Robinson, because I think I know what they are. I'm not good enough for her to associate with, am I? I'm not good enough to even talk about her, am I? Mrs. Robinson: Let's drop it. Benjamin: We're not dropping it.

I'm good enough for you, but I'm not good enough to associate with your daughter. That's it, isn't it? Mrs. Robinson: Benjamin. Benjamin: [Ripping the sheet off her] Isn't it? Mrs. Robinson: [Covering up] Yes. Benjamin: You go to hell. You go straight to hell, Mrs. Robinson. Mr. Braddock: Wait a minute, you talked to Elaine this morning? Benjamin: No, she doesn't know about it. Mr. Braddock: Uh, you mean she doesn't know you are coming up to Berkeley? Benjamin: No, actually she doesn't know about us getting married yet. Mrs. Braddock: Well when did you two talk this over? Benjamin: We haven't. Mr. Braddock: Ben, this whole idea sounds pretty half baked. Benjamin: No, it's not. It's completely baked. Benjamin: Elaine, I like you. I like you so much. Do you believe that? [She nods silently] Do you? Elaine: Yes.

Benjamin: [He sighs deeply] You're the first thing for so long that I like, the first person I could stand to be with. My whole life is such a waste. There's just nothing. I'm sorry. I'll take you home now. Elaine: Benjamin...Will you kiss me? [He rises from bed] Benjamin: [After a sleepy kiss] Will you marry me? [She shakes her head no] You won't? Elaine: I don't know. TEEN MOVIE TAGLINES at HOLLYWOOD TEEN MOVIES Teen Movie Quotes, Taglines & Pictorial History: Presents A Teen Movie Tagline (T.M.T.) is a special phrase which appears on a movie poster. Its aim is to encourage audiences to go & see the film. Some are funny, original, inventive & even memorable, while others are just corny, crazy, stupid or dumb. The taglines on this page represent only a small sample of those featured on this website. For more taglines check out the individual movie pages, as taglines are included on each movie page.

I hope you find the following selection of catchphrases from some of Hollywood's famous Teen Movies, if not memorable at least interesting: 1. AMERICAN GRAFFITI (1973) "Where were you in '62?" 2. WAYNE'S WORLD (1992) "You'll laugh, You'll cry, You'll hurl 3. THE LOST BOYS (1987) "Sleep all day, party all night. It's fun to be a vampire" 4. 10 THINGS I HATE ABOUT YOU (1999) "How do I loathe thee? Let me count the ways" 5. FERRIS BUELLER'S DAY OFF (1986) "One man's struggle to take it easy" "Leisure Rules" "Those Lemon Popsicle boys are at it again" 7. PORKY'S (1981) "One fun place, One hip movie" "The raunchiest movie about growing up ever made" "Keep an eye open for it" 8. LOSIN' IT (1982) "The last word about the first time!" 9.

ZAPPED (1982) "They're getting a little behind in their classwork" 10. RISKY BUSINESS (1983) "There's a time for playing it safe & a time for..." 11. SIXTEEN CANDLES (1984) "It's the time of your life that may last a lifetime" "When You're just sixteen anything can happen!" 12. GIRLS JUST WANT TO HAVE FUN (1985) "That's all they really want" 13. WEIRD SCIENCE (1985) "It's all in the name of science. Weird Science. 14. CAN'T BUY ME LOVE (1987) "Money can buy popularity but it..." 15. LOVERBOY (1989) "Born to poverty, Destined for stardom, He lived the American dream" 23. THE BUDDY HOLLY STORY (1978) "Music never felt this good" 24. DIRTY DANCING (1987) "Have the time of your life" 25.

A SUMMER PLACE (1959) "The Inn...The Guests...The Sensations" 26. REBEL WITHOUT A CAUSE (1955) "The bad boy from a good family" 27. BEACH BLANKET BINGO (1965) "The Beach Party gang goes sky diving" 28. BIKINI BEACH (1964) "Where every torso is more-so!" "The Beach Party gang go-go-goes dragstrip" 29. BEACH PARTY (1963) "It's what happens when 10,000 kids meet on 5,000 beach blankets" 30. HOW TO STUFF A WILD BIKINI (1965) "A crash course in the birds, the bees & bikinis!" 31. PAJAMA PARTY (1964) "This time the Beach Party lasts all night long" 32. FIREBALL 500 (1966) "They'll take a curve, any curve!" 33.

GIDGET GOES HAWAIIAN (1961) "Hot surfing, Wild partying & Moonlit romancing when..." "Get happy! Get with it! Have yourself a Hawaiian holiday with Gidget!" 34. GIDGET (1959) "Watch out Brigitte, Here comes Gidget" 35. GIDGET GOES TO ROME (1964) "That new Gidget's having a ball & Rome's having a riot!" 36. MUSCLE BEACH PARTY (1964) "When 10,000 biceps go around 5,000 bikinis you know what's gonna happen!" 37. RIDE THE WILD SURF (1964) "The most exciting thrill in the world today, Surfing!" 38. SCREAM (1996) : "Make your last breath count" 39. ANIMAL HOUSE (1978) "Animal House is an educational film" "A riotous comedy in a class of its own" 40. MY TUTOR (1982) "School's out...

but Bobby's education has just begun" 41. REVENGE OF THE NERDS (1984) "They've been laughed at, picked on & put down. But now it's time for the odd to get even!" 42. SAY ANYTHING (1989) "To know Llyod Dobler is to love him. Dianne Court is about to know Llyod Dobler" 43. VALLEY GIRL (1983) "She's Cool, He's Hot, She's from the Valley, He's not" 44. TEEN WOLF (1985) "He always wanted to be special but he never expected this" 45. LICENSE TO DRIVE (1988) "Some guys get all the brakes!" 46. AMERICAN PIE (1999) "There's something about your first piece" 47. CLUELESS (1995) 48. IF LOOKS COULD KILL (1991) "He's having the adventure of someone else's life" 49.

THE LAST STARFIGHTER (1984) "He didn't find his dreams...His dreams found him" 50. YOUNG GUNS (1988) "Six reasons why the west was wild" 51. THE KARATE KID (1984) "Only the 'Old One' could teach him the secrets of the masters." "He taught him the secret to Karate lies in the mind and heart. Not in the hands." 52. THE GRADUATE (1967) "This is Benjamin. He's a little worried about his future." 53. CRY-BABY (1990) "He's a doll. He's a dreamboat. He's a delinquent". 54. DON'T TELL MOM THE BABYSITTER'S DEAD (1991) "No rules. No curfews. No nagging. No pulse." 55. DUDE, WHERE'S MY CAR? (2000) "After a night they can't remember, comes a day they'll never forget". 56. MAD ABOUT MAMBO (2000) "Fall in love...

With the beat". 57. SAVE THE LAST DANCE (2001) "The Only Person You Need To Be Is Yourself". 58. NOT ANOTHER TEEN MOVIE (2001) "The Teen Mother Of All Movies!" 59. A WALK TO REMEMBER (2002) "She didn't belong. She was misunderstood. And she would change him forever". 60. CROSSROADS (2002) "Dreams change. Friends are forever". 61. BLUE CRUSH (2002) "If you want to feel the rush you have to take the risk". 62. VAN WILDER (2002) 63. THE LAST AMERICAN VIRGIN (1982) "See It Or Be It!" 64. SUMMER LOVERS (1982) "It's one summer you'll never forget" 65. FAST TIMES AT RIDGEMONT HIGH (1982) "It's Awesome! Totally Awesome!" "Sometimes What You're Looking For... Is Right Beside You." 67.

JUST ONE OF THE GUYS (1985) "She is about to go where no woman has gone before." 68. BACK TO THE BEACH (1987) "Fasten your seatbelts and get ready for a totally NEW WAVE motion picture experience". 69. BAD BOYS (1983) "In their world, if you're 17 and still alive you're a survivor". 70. SOME KIND OF WONDERFUL (1987) "Before they could stand together, they had to stand alone". T The Graduate (1967) - Quotes - IMDb The Graduate (1967) Mrs. Robinson : Well, I don't know. Benjamin : For god's sake, Mrs. Robinson. Here we are. You got me into your house. You give me a drink. You... put on music. Now you start opening up your personal life to me and tell me your husband won't be home for hours. Mrs. Robinson : The room number, Benjamin. I think you ought to tell me that. Benjamin : Oh, you're absolutely right. It's 568. Mrs.

Robinson : Elaine, it's too late! Elaine : Not for me! Mr. Braddock : Ben, what are you doing? Benjamin : Well, I would say that I'm just drifting. Here in the pool. Benjamin : Well, it's very comfortable just to drift here. Mr. Braddock : Have you thought about graduate school? Benjamin : No. Mr. Braddock : Would you mind telling me then what those four years of college were for? What was the point of all that hard work? Benjamin : You got me. Mr. McGuire : Are you listening? Benjamin : Yes, I am. Room Clerk : The Singleman party, sir? Benjamin : Ah, yes, the Singleman party. Mr. Braddock : Well, well, well! [He almost giggles as he crosses to Ben and takes his hand to shake it. Mrs. Braddock appears in the doorway] Mrs. Braddock : I don't believe it. Mr. Braddock : That what he says. Right? Benjamin : I'm going up to Berkeley today. Mrs. Braddock : Oh, Ben. This is so exciting. Mr.

Braddock : Come on, let's call the Robinsons. We've got something to celebrate. Benjamin : No. I think you'll want to wait on that. Mr. Braddock : They don't know? Benjamin : No, they don't. Mr. Braddock : Well, when did you decide all this? Benjamin : About an hour ago. Mr. Braddock : Wait a minute. You talked to Elaine this morning? Benjamin : No. She doesn't know about it. Mr. Braddock : She doesn't know that you're coming up to Berkeley? Benjamin : No. Actually, she doesn't know about us getting married yet. Mr. Braddock : When did you two talk this over? Mr. Braddock : Ben, this whole idea sounds pretty half-baked. Benjamin : No, it's not, Dad. It's completely baked. It's a decision I've made. Mrs. Braddock : But what makes you think she wants to marry you? Benjamin : [Ben picks up his suitcase, walks to the door] She doesn't. To be perfectly honest, she doesn't like me.

Share this: Facebook | Twitter | Permalink Hide options Benjamin : It's like I was playing some kind of game, but the rules don't make any sense to me. They're being made up by all the wrong people. I mean no one makes them up. They seem to make themselves up. Benjamin : This is all terribly wrong. Mrs. Robinson : Do you find me undesirable? Benjamin : Oh no, Mrs. Robinson. I think, I think you're the most attractive of all my parents' friends. I mean that. [Mrs. Robinson comes into Elaine's room, naked, and locks the door with Benjamin inside with her] Benjamin : Oh God. Oh, let me out. Mrs. Robinson : Don't be nervous. Benjamin : Get away from that door. Mrs. Robinson : I want to say something first. Benjamin : Jesus Christ. Mrs. Robinson : Benjamin, I want you to know that I'm available to you, and if you won't sleep with me this time... Benjamin : Oh, my Christ. Mrs.

Robinson : If you won't sleep with me this time I want you to know that you can call me up anytime you want and we'll make some kind of arrangement. Mrs. Robinson : Do you understand what I... Benjamin : Let me out. Mrs. Robinson : Benjamin, do you understand what I just said? Benjamin : Yes! Yes. Let me out! Mrs. Robinson : I find you very attractive. Mrs. Robinson : Benjamin, I am not trying to seduce you. Benjamin : I know that, but please, Mrs. Robinson, this is difficult... Mrs. Robinson : Would you like me to seduce you? Benjamin : What? Mrs. Robinson : Is that what you're trying to tell me? Benjamin : I'm going home now. I apologize for what I said. I hope you can forget it, but I'm going home right now. Mrs. Robinson : In his car. Benjamin : What kind of car was it? Mrs. Robinson : Come on now. Benjamin : No, I really want to know. Mrs. Braddock : What makes you think she wants to marry you? Benjamin : Oh, she doesn't.

To be perfectly honest, she doesn't like me. Mr. Braddock : What's the matter? The guests are all downstairs, Ben, waiting to see you. Benjamin : Look, Dad, could you explain to them that I have to be alone for a while? Mr. Braddock : These are all our good friends, Ben. Most of them have known you since, well, practically since you were born. What is it, Ben? Mr. Braddock : What about it? Benjamin : I don't know... I want it to be... Mr. Braddock : To be what? Benjamin : [looks at his father] ... Different. Mr. McGuire : [behind Benjamin] Ben. Benjamin : [to Joanne] Excuse me. [turns] Elaine : Benjamin, I would like to know what you're doing here. Benjamin : Here? In Berkeley? Elaine : Yes. Benjamin : Well, I have this very pleasant room on Carter Street, and I've been getting to some classes. Elaine : But you're not enrolled. Benjamin : No, I just sit in. They don't seem to mind. They've been very congenial about it.

Elaine : [annoyed] Benjamin, you're... I don't know what to say. Benjamin : [nonchalantly] Maybe we can get together sometime and talk about it. Elaine : [exasperated] Really incredible. Benjamin : Listen to me. What happened between Mrs. Robinson and me was nothing. It didn't mean anything. We might just as well have been shaking hands. Mr. Robinson : Shaking hands? Well, that's not saying much for my wife, is it? Benjamin : What? Mr. Robinson : Uh, how long have we known each other now? How long have you and I known each other? How long have your dad and I been partners? Benjamin : Quite a while. Mr. Robinson : So I hope you won't mind my giving you a friendly piece of advice. Benjamin : I'd like to hear it. Mr. Robinson : Ben, I think... I think you ought to be taking it a little easier right now than you seem to be. Sow a few wild oats. Take things as they come. Have a good time with the girls and so forth. Mrs. Robinson : [Mrs.

Robinson joins them; Ben abruptly stands up] Don't get up. Mr. Robinson : I was just telling... Ben. Ben, here, that he ought to sow a few wild oats. Have a good time while he can. You think that's sound advice? Mrs. Robinson : Yes, I do. Benjamin : I've got to go. Mr. Robinson : You have yourself a few flings this summer. I bet you're quite a ladies' man, huh? Mr. Robinson : [taken aback] What? Mr. Robinson : You look to me like the kind of guy who has to fight 'em off. Mr. Robinson : [to his wife] Now, doesn't he look to you like the kind of guy who has to fight them off? The Graduate: 40th Anniversary Edition (1967) The Graduate: 40th Anniversary Edition (1967) Reviewed by Colin Jacobson (September 11, 2007) 1967 was an amazing year, mainly because that's when I was born.

However, I hear that a few other things happened as well, not the least of which seems to be that it was a fine year in movies. Many years the race for the Best Picture Academy Award is a fairly tepid affair because none of the nominees appear terribly compelling. For example, after a fantastic 1994 battle - during which the victorious Forrest Gump was arguably the worst of the nominees - we saw pretty lackluster picks the next couple of years. (Before you send me any hate mail, yes, I'm well aware of the followings that Braveheart and Fargo maintain, but I feel that neither year had even one killer film, much less a few.) 1967 seemed to be one of those years like 1994 or 1939 where a bunch of standouts made hit the screens. Of the five Oscar nominees, only one - Dr. Dolittle - looks like a mistake. The others were tremendously solid films. While I won't strongly argue against the selection of In the Heat of the Night as the winner, I do feel that it probably wasn't the best of the bunch.

The strongest and almost certainly most influential and enduring of 1967's picks was Mike Nichols' The Graduate. Its failure to win Best Picture seems like no surprise because it was such a small, personal film. It was one of those "coming of age" movies but without the beer and nudity that genre appears to require these days. Okay, there was alcohol and nudity in the film, but not in the Porky's sense. In the Heat of the Night gave the Academy one of their beloved "social cause" movies, so for it to win during those "progressive" times seemed virtually inevitable. But The Graduate remains the big hit from that year, both financially and historically. In regard to the former, it was the top box office draw for the year. As for the latter, it launched Dustin Hoffman's career. Would we ever have heard from that unusual little man had he not appeared here as Benjamin Braddock? Probably, but maybe not. It's a tribute to Hoffman's later success that we don't reflexively think of him as Ben. Actors often get stuck with that one persona, especially when they hit it big like this.

While he has demonstrated obvious staying power and talent, I don't think he's ever surpassed his work in The Graduate. Hoffman's portrayal of Ben reached a level of perfection I don't think he's been able to equal in the years since then. Oh, he's often been excellent. Although I think he's overrated and tends to rely too heavily on gimmicks, I can't deny his overall talent. But Ben was not just a well-executed performance, it was also a very natural one, which is an area that has often been weak for Hoffman. He tends to seem much more concerned with various mechanics than he is feeling; I think Hoffman over-intellectualizes his work. That isn�t the case with Ben. As played by Hoffman, he comes across exactly as he should at virtually all times. Hoffman never hits a wrong note or falters in the least. It's an absolutely stunning performance, so strong that it's a tribute to Hoffman's drive that he didn't just coast on its success for a number of years. To his credit, Hoffman has often shown a proclivity for roles in challenging films; he would develop a new "signature character" just two years later in Midnight Cowboy .

Of course, Hoffman didn't perform in a vacuum, and the supporting case also seemed excellent. The Graduate was a tremendously well-cast film, as not a single part appears to offer the wrong person. Anne Bancroft was only six years older than Hoffman when she played Mrs. Robinson, which is a stark contrast to the decades that are supposed to separate them. As such, while Hoffman had to play about a decade younger than his actual age, she had to go a decade older, and she did so wonderfully. For the most part, Mrs. Robinson is a limited role - Bancroft receives little opportunity to provide any kind of emotion other than anger or bitterness - but Bancroft nonetheless makes her seem real and full. As does Katharine Ross as Elaine Robinson. Again, this character receives only a limited emotional range from the script; Elaine gets a bit more leeway than does her mother, but still seems mainly required to look beautiful, virginal and pure. However, Ross is able to convey a wide variety of feelings and thoughts via her limited part. Elaine seems quite believable and realistic throughout the film. Director Mike Nichols paces the film wonderfully and maintains an exquisite balance between comedy and drama.

The Graduate offers quite a few terrific laughs and remains funny through repeated viewings, mainly because many of the amusing bits result from the nuanced performances. The jokes themselves don't seem that funny, but the way they're acted does. Also, the sense of realism that pervades the movie helps keep it fresh and compelling. If one closely examines the film, one could easily pick it apart for various overly stylized parts and other aspects that could detract from its truth, but the picture flows and holds together so well as a whole that such criticisms are largely rendered meaningless. I don't think The Graduate is the best and most enduring film of the Sixties, but it's pretty high on that list. The DVD Grades: Picture B+/ Audio B/ Bonus A- The Graduate appears in an aspect ratio of approximately 2.35:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. While not without concerns, this transfer offered a satisfying experience. My only complaints stemmed from some softness at times. A few shots displayed moderate edge haloes, and these resulted in less than stellar definition for some images. Nonetheless, the vast majority of the movie offered nice delineation and seemed well-defined.

I noticed no issues with jagged edges or shimmering, and source flaws were essentially absent. I detected a speck or two but otherwise this was a clean presentation. The film went with a subdued but natural palette that the DVD replicated well. The colors consistently seemed concise and smoothly developed, without any excessive muddiness or heaviness. Blacks were deep and dark, while shadows seemed clear and concise. Without the occasional example of softness, this would�ve developed into an �A�-level transfer. As it stood, it remained quite good. In a case of apparent overkill, this version of The Graduate came with not one but two separate multi-channel remixes. It presented Dolby Digital 5.1 and DTS 5.1 tracks. One of these would�ve been enough, especially since they sounded virtually identical. The soundfield opened up the image in a minor way. The forward spectrum dominated, as the sides broadened to give us occasional examples of effects and localized speech. I wasn�t wild about the latter, as the lines tended to bleed a bit, but the dialogue popped up from the sides infrequently enough that it wasn�t a big distraction. Music also spread to the sides, though not with great stereo imaging.

Surround usage was minimal, as the back speakers offered minor reinforcement of the front and that was about it. This wasn�t a particularly ambitious soundfield. Audio quality seemed good given the age of the material. Speech could be a little thin but the lines appeared natural most of the time. Music displayed nice delineation, with reasonably clear highs and some good range. Effects didn�t play a major role, but they appeared acceptably accurate and well-defined. I�m not sure The Graduate needed one 5.1 remix much less two, as the original mono material should suit it just fine. In any case, the remixes were subdued enough to complement the material in a satisfying manner. How did the picture and audio of this 40th Anniversary Edition compare to those of the old release from 1999 ? Both demonstrated improvements. The picture seemed cleaner, clearer and better defined, while similar thoughts came for the audio. Neither disc presented a great soundfield, but this one appeared more dynamic and less shrill and strident. The new DVD provided a good upgrade. In terms of extras, the 40th Anniversary set includes the materials from the old release along with some new elements.

For 40th Anniversary exclusives, we start with two audio commentaries. The first comes from director Mike Nichols and filmmaker Steven Soderbergh, both of whom sit together for this running, screen-specific piece. They discuss how Nichols came onto the project and script development, casting, rehearsals and performances, themes and symbolism, influences and cinematography, production and costume design, the use of music, editing, characters and subtext, locations, reactions to the film, and various scene specifics. Soderbergh and Nichols have done commentaries before, so they�re clearly comfortable with each other. Soderbergh acts more as a facilitator than as an interviewer. He helps prompt various concepts from Nichols and also digs into the film from a deeper point of view than usually found from this kind of piece. This works exceedingly well. Occasional dead spots materialize, but those are minor and non-intrusive. Instead, Nichols proves very chatty and engaging as he delves into his movie. We learn a ton about the creation of the flick as well as introspective thoughts. This is an excellent commentary that may be the best I�ve heard so far this year.

For the second commentary, we hear from actors Dustin Hoffman and Katharine Ross. Both sit together for their own running, screen-specific chat. They touch on a few technical issues, but mostly they cover performances, rehearsals, working with Nichols and shot details. Hoffman dominates but that makes sense since his character appears onscreen much more often than does Ross�s role. At the start, I feared this track would be a dud. For the first few minutes, Hoffman tells us more about what he doesn�t remember than what he does. However, the fog lifts before long and we get a lot of fun notes about the flick. The pair interact well to make this a warm, enjoyable chat, even if Hoffman declares his apparently-continuing crush on Ross too many times. It�s not nearly as dynamic and informative as the Nichols/Soderbergh commentary, but it contains more than enough good material to keep up interested. Next we find two new featurettes. Students of The Graduate runs 25 minutes, 56 seconds as it presents notes from producer Lawrence Turman, screenwriter Buck Henry, editor�s wife Bobbie O�Steen, filmmakers Harold Ramis , Marc Forster, Valerie Faris, Jonathan Dayton, and David O.

Russell, USC film professor Bruce Block, critics David Ansen and Owen Gleiberman, UCLA film professor Vivian Sobchack, film music historian Jon Burlingame, LA Times chief pop critic Ann Powers, and IFC�s Henry Rollins. �Students� gives us a few basics about the production but mostly acts as an appreciation of the film. The participants provide interpretation of various movie elements and breakdown those components. This varies between general praise and good insight. At its best, �Students� digs into the filmmaking processes, but it also can just blather about wonderful the flick is. Nonetheless, it�s reasonably interesting and informative. The Seduction goes for eight minutes, 49 seconds and includes comments from Ansen, Ramis, Russell, Sobchack, Block, Faris, Dayton, Forster, Rollins, and relationship therapist Dr. Deborah Cooper. �Seduction� follows the same lines as �Students� except it focuses on the character relationships. Expect the same plusses and minuses as its predecessor. Repeats from the old disc come next. The Graduate At 25 runs 22 minutes, 38 seconds.

1992 interviews with Hoffman, Ross, Henry and Turman appear and are intercut with production stills and scenes from the film. Nichols and Bancroft are notable in their absence. �25� is too short and actually feels like an edited version of a longer program, but it nonetheless covers a lot of significant and interesting facts. The show gives us rudimentary details about the production and grants us some useful insight. However, �25� does become somewhat redundant when viewed along with the other extras. It still maintains some pleasures and unique information, but it�s not a fresh program. Another section of the DVD expands on this project by providing additional interview clips from Hoffman. These are from the same 1992 sessions that gave the documentary its snippets, and we actually hear some of Hoffman's comments from �25� repeat here. However, this 22-minute and 40-second piece features a lot of additional details from Hoffman and is quite entertaining. He's quite blunt and candid and it's good to hear the minutia that didn't make the cut for the more general documentary. Again, more than a few redundant elements occur, but it's still a very interesting and compelling piece.

Finally, the DVD includes two theatrical trailers. We find the film�s original ad along with one that came for a re-release of the flick. We also get a fine booklet that offers some fun and revealing facts and production notes about The Graduate. A second disc offers a CD Soundtrack Sampler. This includes four songs: �The Sound of Silence�, �Mrs. Robinson�, �Scarborough Fair/Canticle�, and �April Come She Will�. It seems like a shame that this doesn�t provide a complete soundtrack album, but as a sampler, it�s a decent addition. Lastly, we get an six-page booklet. It presents some trivia about the flick and a few production notes. It adds a little meat to the package. The Graduate is an absolutely terrific film that definitely merits its status as a classic. Despite the many years since its release, the movie holds up well - I wish I could say the same for myself. Both picture and sound quality seem quite good, and the set includes a very nice mix of extras highlighted by a truly stellar audio commentary. I definitely recommend this 40th Anniversary DVD of The Graduate, and that goes for folks who already own the original disc.

This one improves upon it in every way and is a very worthy �double dip�. Viewer Film Ratings: 4.4468 Stars Number of Votes: 47 ‘The Graduate’ on stage is not ‘The Graduate’ we know | Inquirer lifestyle ‘The Graduate’ on stage is not ‘The Graduate’ we know Philippine Daily Inquirer / 02:26 AM April 20, 2013 REB ATADERO as Benjamin Braddock in Repertory Philippines’ “The Graduate,” running until April 28 at Onstage, Greenbelt 1 The red flags come up early in Repertory Philippines’ production of “The Graduate,” the screen-to-stage adaptation (running until April 28 at Onstage, Greenbelt 1) otherwise directed with customary gloss and professionalism by Jaime del Mundo.

Playwright Terry Johnson ostensibly sourced the text from both the original 1963 novel (more like a novella, actually—it was that slim and spare) by Charles Webb, and the screenplay by Calder Willingham and Buck Henry that became the basis for the classic 1967 film by Mike Nichols which turned Anne Bancroft into an improbable object of adolescent wet dreams for a generation or two of moviegoers, and launched Dustin Hoffman into stardom. We say “ostensibly,” because while this adaptation incorporated a chapter from the book not included in the movie (that one about Benjamin’s solo jaunt among firemen and hookers), Johnson in fact altered the DNA of the material by hacking off or rewriting whole passages and adding four brand-new scenes, the unfortunate result of which turns the savage, razor-sharp human comedy we fondly remember in “The Graduate” into a limp, frazzled facsimile of itself. ADVERTISEMENT Overdramatic The first inkling of this comes minutes into the play: As Mr.

Braddock (Del Mundo) coaxes Benjamin (Reb Atadero) out of his room to greet the posse of tanned, vacuous California well-offs partying in the Braddocks’ living room to toast his return from college, Benjamin refuses to meet them, finally blurting out: “They’re grotesque, Dad! I’m grotesque! We’re all grotesque!” Huh? Benjamin, the disaffected 20-year-old rendered painfully awkward and near-inarticulate by his sense of ennui—“We see and hear the incomprehension in his very language, which is dull and inexpressive,” said the writer Hanif Kureishi—sounding this overdramatic? The book and movie sketched no such thing, but a more nuanced moment with Benjamin asking for some time alone by telling his father: “I’m grotesque. This house is grotesque. It’s just this feeling I have all of a sudden. And I don’t know why.” Cutting corners Next comes the pivotal seduction scene. Mrs. Robinson (Pinky Marquez) barges into Benjamin’s room, lights a cigarette and tries to engage the boy in intimate talk by revealing she’s an alcoholic.

When Benjamin asks her to leave, she asks him, instead, to drive her home. At which point Benjamin sputters in embarrassed protest, ticks off Mrs. Robinson’s suspect actions so far—“You start opening up your personal life to me, you ask me to drive you home”—and then that famous question: “Mrs. Robinson, you’re trying to seduce me. Aren’t you?” The movie dialogue, culled from the book, is this: “For God’s sake, Mrs. Robinson. Here we are, you got me into your house, you give me a drink, you put on music. Now you start opening up your personal life to me and tell me your husband won’t be home for hours.” Mrs. Robinson: “So?” (Sitting on a bar stool, she lifts one knee—cut to that iconic image of Hoffman framed by the crook of her leg.) “Mrs. Robinson, you’re trying to seduce me. Aren’t you?” SCENE from Rep’s “The Graduate,” with Atadero as Benjamin, Cara Barredo as Elaine, Pinky Marquez as Mrs.

Robinson For the play to transpose the seduction scene from the Robinsons’ empty house to Benjamin’s room while his parents, as well as Mrs. Robinson’s husband and a whole menagerie of their nosy friends, are downstairs—and for Benjamin to arrive at his moment of realization merely after Mrs. Robinson’s request for a drive home—comes off as disingenuous, a cynical way to cut corners. Webb’s original sardonic voice, hilarious in the book and movie for its precision and irony, is clearly being forced into the guise of farce, and the slip shows. Fatal tone The clearest confirmation of that fatal shift in tone comes minutes later, when, with Mrs. Robinson safe in the bathroom after having appeared in the altogether before a shocked Benjamin, the woman’s husband (Jeremy Domingo) comes in, barely missing the scene. Noticing the sweaty, distraught boy, he asks what the matter is. “I’m just worried about my future,” says Benjamin. The audience laughs at this, of course. How could they not, when the play sets it up as a punchline? But worrying about the future is exactly Benjamin’s honest dilemma.

It’s a sentiment he has expressed at least twice before, to his dad and Mrs. Robinson, in scenes the play had apparently cut out. It’s also the heart, not incidentally, of why “The Graduate” became such a touchstone piece of pop culture in its time (an early poster of the film carried the tagline: “This is Benjamin. He’s a little worried about his future.”). That sense of uncertainty was what fired up the generational rebellion brewing up in Benjamin and his real-life peers—their rejection of the deadening materialism (“Plastics!”—enthused Mr. McGuire, a businessman-associate of his dad; in the play, it becomes Mr. Robinson’s line) and sclerotic worldview of their parents and the larger establishment. To treat this line now as a fib, a throwaway riposte in a bedroom gag, renders nonsensical much of Benjamin’s angst and virtually robs the “The Graduate” of its satirical snap. The play must now strain at desperate comedy, at one point even involving Mr. Robinson, in a (badly-written) new scene near the end, wielding an ax at Benjamin.

Soggy lines The sentimentalism kept at bay by Webb’s lean dialogue, adopted wholesale by the film, also manages to run riot here, as Johnson burdens the protagonists, notably Mrs. Robinson’s daughter Elaine, with soggy lines and characterization. Cara Barredo plays the girl with a high-pitched, saccharine edge—an Elaine contemporized into a well-traveled woman passionate about art and civil-rights issues but who, in Benjamin’s presence, wilts and frets that she’s an intellectual inferior. And in a wholly gratuitous drunken scene between mother and daughter after Mrs. Robinson’s secret is revealed, she is given lines such as: “Love is littler and littler until it’s gone… I’m gonna have a forever love.” Jaime del Mundo as Benjamin’s father. Del Mundo also directs. Johnson must have confused “The Graduate” with that benchmark movie of a different decade, “Love Story.” Imperious relish So how does Marquez’s Mrs. Robinson fare in this overripe environment? She works hard for the allure, certainly.

Marquez’s early scenes gleam with imperious relish, her arch line readings sometimes approaching high camp (“Dahling,” she calls Benjamin; asked about her college course, she replies, “Aht”). But Marquez’s naturally warm, maternal exterior proves hard to subvert, especially with embellished scenes meant to show her character in a more sympathetic light that, in the end, only saddles Mrs. Robinson (Kureishi again: “One of the great monstrous creations of our time”) with verbose explanation and backstory. Ultimately, it’s a performance that recalls what The Daily Mirror’s Tony Purnell said of Kathleen Turner’s much-ballyhooed debut of the part in the West End: “It will not win her a Bafta but she deserves a medal for bravery.” (Don’t ask us why he cited the British Academy of Film and Television Arts instead of the Olivier Awards—which snubbed Turner’s Mrs. Robinson, by the way.) Winning Benjamin The medal for accomplishment should go, instead, to Atadero, who creates a winning Benjamin of nervy intelligence and fine tragicomic flair.

Even at its most off-putting (Johnson’s tacked-on scene at the church, for instance, has Benjamin badgering Elaine to marry him ad nauseam), Atadero’s profile of youthful dysfunction is never less than sympathetic. Because of the parade of skin-baring middle-aged vixens who have become associated with the stage Mrs. Robinson, from Turner (who also brought it to Broadway) to Anne Archer and Jerry Hall in London, the part has all but overshadowed the emblematic role of the restless young man whose grand act of giving the old taboos and proprieties the finger—having an affair with a married older woman, then running off with her daughter—in fact constitutes the vital central drama of “The Graduate.” How many do remember that it was Jason Biggs—of “American Pie”—who squared off against Turner in New York? Here, Atadero’s smartly measured turn has the effect of righting the balance for his hapless alter-ego. Fair comparison Is it fair to judge the stage adaptation against the book and movie?

Well, other than the fact that the play itself claims to be more faithful to the original text, the theatrical version has no qualms borrowing from and regurgitating tropes made familiar by the film. It opens, for instance, with the heavy, anxious breathing Benjamin makes inside the scuba diver’s mask given to him by his dad—a device that Nichols used to brilliant effect in the film to underline the young man’s sense of alienation and disorientation. Mio Infante’s perspective set of louvered walls and panels not only reinforces that sense of isolation with its often dead-center framing of the action; when lighted (by John Batalla), it also relives the shaded, broken lighting of Benjamin and Mrs. Robinson’s hotel trysts in the film, a visual cue to the illicit nature of their relationship. There, too, is the essential music of Simon and Garfunkel accompanying crucial moments in the play, or their words sometimes employed as inner monologues (sung as a cappella voice-overs by Atadero) to punctuate or frame scenes.

And a couple of visual jokes—Benjamin and the hotel bellboy (Joel Trinidad, also the hippie psychologist and a couple of other characters) inadvertently fighting over the bell, and Mrs. Robinson blowing smoke after Benjamin’s first gawky attempt at kissing her—come straight from the movie. All these are efficiently and quite seamlessly directed by Del Mundo. But because he has hewed to the adaptation’s newfound spirit of inflated, knowing flippancy, the material, for all its giddy energy, seems a diminished version of its antecedents, far flatter and flimsier than it ever was. In academic terms, this “Graduate” would be a squeaker. Dustin Hoffman’s greatest role: Or please don’t ask what I’m doing next year » Buckeyes Blog Dustin Hoffman’s greatest role: Or please don’t ask what I’m doing next year Written by Karen September 30, 2014 Recently, for one of my History courses, I was required to watch the film The Graduate as it offers some interesting insight into the 1960s. However I found that it may be offering a little bit too much insight into my own life as a graduating senior.

The tagline for the film was “This is Benjamin. He’s a little worried about his future.” Replace Benjamin with Karen and you’ve pretty much summed up what senior year is starting to feel like. Basically, this film stars Dustin Hoffman (Ben) – a recent college grad who has no idea what to do with his life. He definitely gets pressure from his elders to get his life together. In one of my favorite scenes, Ben lays floating in his backyard pool as adult chaos ensues around him. Much like Ben, I feel as if I may drown while the real world swirls around my mind. One of the questions this film sparked in class was: what’s the point of college? Are we here to solve the worlds’ problems and pursue learning out of genuine intellectual curiosity? Or are we here to be prepared for the perpetual machine of monotonous alienating suburban life that will come when we get a job? I don’t want to be part of anyone’s machine. But it sure does seem like the choice to come to college was made for me long before I got here. I’ve had my life planned out basically since I was 15: get good grades, go to college, study history, get a job in a museum.

All that’s really left now is to get that job. That’s a lot of pressure considering if I fail, a good six years or more of hard work will have been wasted. Sophomore year as I was considering possible research topics for a thesis project I sat down with a professor to discuss my ideas. I knew I was interested in the history of popular culture but kept steering the conversation to match other more “scholarly” topics. He stopped me and just said, “You’ve got to follow your passion. Don’t forget the passion.” I was reminded of this recently when I read an article for class suggesting that the best leaders in museums are always those who have the deepest passion for the work they do and the history they study. The Graduate (DVD) - Review - This is Benjamin. He's a little worried about his future. This is Benjamin. He's a little worried about his future. 17.10.2009 A classic that has to be watched Disadvantages: For me none - for younger people could be dated Recommendable Yes: How does it compare to similar films?

SoundtrackOutstanding How does it compare to others by the same director?Outstanding Value for MoneyExcellent What format are you reviewing?Film only 23 Ciao members have rated this review on average: very helpful See ratings exceptional by (18%): The overall rating of a review is different from a simple average of all individual ratings. Share this review on FILM ONLY REVIEW INTRODUCTION "Mrs. Robinson do you think we could say a few words to each other first this time." I am showing my age now when I say that one of my favourite films I watched in the cinema in my teens was 'The Graduate ' in 1967. For people of my generation (old!), this film is seen as a classic, and as far as I am concerned it has maintained its legendary status after 40 years. For a film though, that is so commonly labelled a classic, (at the moment The Graduate is number 17 in the 100 greatest Film list) it is an often ridiculed and maligned film. 'The Graduate' became the top-grossing film of 1968 and won the Oscar for Best Director (Mike Nichols).

The film was nominated for many other Academy Awards, including Best Picture, Best Actor (Hoffman), Best Actress (Bancroft), Best Adapted Screenplay, Best Cinematography (Robert Surtees), and Best Supporting Actress (Ross). Watching it again recently I have to agree that it is looking a little dated and showing its age; but a lot of the issues put forward in the film are relevant even to society today, and it was one of the main ground-breaking films of the late 1960's. I think that this film is still a great watch, if only for the Simon and Garfunklel soundtrack! In fact, the Simon and Garfunkel soundtrack, written especially for the film, is a character in itself. From the opening of the film to "Sounds of Silence" to the closing with the same song, the soundtrack sets the perfect tone and mood for Benjamin's utter sadness and confusion with his life. . WHEN IT WAS SET There are certain movies made in the 1960's that seem to stay forever in the 1960's and don't lend themselves to watching again.

Then there are the movies made in the 1960's that helped to redefine films, and appealed to a younger generation. 'Butch Cassidy and the Sundance Kid', 'Bonnie and Clyde', and Mike Nichols' 'The Graduate' all fall under this category. The story of the film still easily appeals to today's audience because surely everyone at some point have questioned the route that their lives are leading, and because (let's face it) romance, love, affairs with older women, and Anne Bancroft sexily peeling off her silk stockings will always be in style. When the Graduate was made, America was in the middle of the political and social change that came with the Vietnam War. Yet this film was so different from most that were being made, unlike most of the young male protagonists in films made or set in the 1960s, Ben is neither a soldier in the war, nor is he outspokenly against the war, and he certainly doesn't fit the peace-loving hippie type. In fact, the war isn't directly mentioned in the film at all. The film has nothing at all to do with an era, apart from the music; it could be set at any time.

THE FILM The film is fundamentally about Benjamin Braddock (Dustin Hoffman), and the plot is very simple - even mundane. It is a about a young man's seduction by an older woman, and the measure of maturity which he reaches from the experience Ben is the pride of his wealthy, upper middle class parents who have prepared a welcome, home-coming cocktail party for their son on his graduation, they have invited all of their friends, rather than his, to the party. Ben refuses to go out of his bedroom to see his parents' friends. With pressure from his parents, Ben eventually goes downstairs and is immediately surrounded by his parents' friends, who warmly welcome him back. However, they soon torment him by telling him what he should do with his life. (One of the suggestions has now become one of the most famous lines from cinema - "I just want to say one word to you - just one word......Plastics") However, the pressure soon gets to him and he retreats to his bedroom, in an attempt to hide away from all his parents' friends. However Mrs. Robinson (Anne Bancroft), suddenly comes to the bedroom asking for the bathroom, and it is from here that we see the much older Mrs.

Robinson attempting to seduce Ben by asking him to drive her home. Although the next few scenes with Mrs. Robinson clearly show Ben's inexperience towards relationships with other women, Ben begins a promiscuous relationship with her Things get complicated when Mrs Robinson's daughter, Elaine (Katharine Ross), Mrs. Robinson's daughter comes home from Berkley. Ben has been more than happy to spend his time with the affair and lounging in his parent's pool, then he is pushed to go out with Elaine and he falls in love with her. However, Mrs. Robinson is devastated and tries to get Ben to like her again, otherwise she'll "make his life a living hell". Ben has strong feelings for Elaine and although he clearly shows it, Elaine soon finds out that him and her mum were in a relationship and she refuses to talk to him. From this point, Ben tries to win her love by following her to Berkley. Will Ben win her love? Or will Elaine dump him for good? And what about Mrs Robinson? WHAT MAKES THIS FILM SO SPECIAL? THE SCRIPT This is still a very amusing film forty years on; it comes up with some of the most classic lines in the history of cinema.

These range from Ben asking, "Mrs. Robinson, are you trying to seduce me?" to a hotel desk clerk (Buck Henry) asking Ben "are you here for an affair, sir?" I think that this is one of the wittiest and perfectly timed scripts ever written. Every line is delivered with precision and momentum. There isn't a single word wasted and every line has impact. CINEMATOGRAPHY Another great thing about this film is the cinematography. This is demonstrated well when, Benjamin , celebrating his 21st birthday, is introduced as "featured attraction." He reluctantly has to model his major birthday present the guests - a new scuba diving outfit. Uncertain of where he wants to go, totally alienated, and trapped in an unknown world, Ben appears wearing scuba gear (viewed subjectively from his own point-of-view through the glass of the mask). His perspective reveals his parents' distorted faces and words that he cannot comprehend ('sounds of silence'). He moves thoughtfully and slowly, with his flippers on, through the crowd, and submerges himself at the bottom of his parents' pool for peace and silence (except for the sound of his own rhythmic, heavy breathing).

He appears to remain there covered by the water indefinitely - never surfacing from underwater. While he is still in the pool, Benjamin's voice-over is heard in the next scene. Only one scene after fighting Mrs. Robinson off, he is phoning her from a glassed-in phone booth at the Taft Hotel. Benjamin suggests eagerly but apologetically that they rendezvous there for a date. The cinematographer, Robert Surtees, made some great shots by always placing Ben to the left or right. Not too mention, the always memorable "leg" shot. ACTING The acting in the film was generally very good also. Hoffman's and Bancroft's characters were wonderful - considering that Hoffman was playing a character twenty years younger than himself, his portrayal of the nerdy Ben superb, as was Anne Bancroft's portrayal of the seductive and promiscuous Pictures of The Graduate (DVD) The Graduate (DVD) Mrs. Robinson. The actual age difference between the two actors was in fact only six years and yet the couple managed to create a sexual relationship between a college student and a middle-aged woman very well. The cast of this film is small, but well cast.

Anne Bancroft is excellent; she is feline and slinky, sultry and desperately sad, lonely and complex, scheming and mean, but it's her sad face that stuck in my mind after watching The Graduate. Dustin Hoffman portrays the shy, insecure graduate and we watch him mature throughout the film. He played the confused, fumbling young man trapped between youth and adulthood and entirely unsure of what to do next wonderfully. He delivers one of the most memorable characters in film history Katherine Ross does not really have a lot to do, apart from looking lovely and crying a lot- at the time she was an exciting, fresh actress - it turned out that she had a long career ahead of her. William Daniels and Elizabeth Wilson play Benjamin's parents well, Murray Hamilton is great as Mr. Robinson, even if he is underused, and there is a good supporting contingent includes co-script writer Henry, as the room clerk. ("Are you here for an affair"). SOUNDTRACK Perhaps one of the things that made the film so special was the music, but it is probably the music now that dates it. The songs do though work perfectly with editing of the film, and lend themselves well to some of the long drawn out shots in the film.

The soundtrack is available on DVD 'The Graduate' Dustin Hoffman as Benjamin Braddock Anne Bancroft as Mrs. Robinson Katharine Ross as Elaine Robinson William Daniels as Mr. Braddock Murray Hamilton as Mr. Robinson Elizabeth Wilson as Mrs. Braddock Buck Henry as Room Clerk Brian Avery as Carl Smith Norman Fell as Mr. McCleery IN CONCLUSION I don't think that you will be able to find a film with sharper, more biting, socially conscious humour than The Graduate. It's funny - extremely funny - in a low-key and sarcastic way. This is one of the prototypical pieces of cinema that came out of the 1960's, and personally I think that it's one of the best films I've ever seen. The film is a classic, and millions of people have watched it and loved it. You may or may not, but give it a try - you won't be wasting your time if you give it a go. "Shaking hands? Well, that's not saying much for my wife, is it?"

Question: What 1967 film had the tagline "This is Benjamin. He's a little worried about his future."?
Answer: The Graduate