Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
Ben has recently graduated from college, with his parents now expecting great things from him. At his "Homecoming" party, Mrs. Robinson, the wife of his father's business partner, has Ben drive her home, which leads to an affair between the two. The affair eventually ends, but comes back to haunt him when he finds himself falling for Elaine, Mrs. Robinson's daughter. Written by
Mike Nichols wanted to change the notion of a musical score by using popular songs that didn't necessarily correlate to the scene but set a certain mood. He secured the rights to several previously released Simon & Garfunkel recordings. Paul Simon also wrote one song specifically for the film, "Mrs. Robinson" (although some sources say it was a song he was already working on with the tentative title "Mrs. Roosevelt"). Dave Grusin, who had written music mostly for television shows prior to this, was hired to compose the incidental score for scenes not using Simon and Garfunkel songs. See more »
In the "What are you so scared of" scene towards the beginning, Mrs. Robinson has her shoulders slouching to the left. In the next shot, from the reverse, they are slouching to the right. See more »
Ladies and gentlemen, we are about to begin our descent into Los Angeles. The sound you just heard is the landing gear locking into place. Los Angeles weather is clear; temperature is 72. We expect to make our 4 hour and 18 minute flight on schedule. We have enjoyed having you on board, and look forward to seeing you again in the near future.
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I'm not sure why evil, decadent Mrs. Robinson sets her sights on dazed and shy college grad Benjamin Braddock, son of the middle-aged couple she and her husband socialize with; it's never really explained, and neither is Benjamin's sexual past (it's hinted that he's a virgin when they end up in a hotel room together). It's also not explained why Mrs. Robinson definitely does not want Benjamin to get to know her daughter (she's angrily adamant about it, even willing to expose her own affair to prevent the two kids from going out for a drive!). Despite the gaps in the narrative and the lapses in logic (and taste, some might say), "The Graduate" is still a landmark film, crystallizing the helplessness of the '60s. Surprisingly, the ultimate theme of the movie is love--an impulsive, rebellious kind of love, but still the rather old-fashioned notion of love conquering all. And yet this brings up another question: is Benjamin really in love with sweet college girl Elaine or is she just a conquest? Or maybe the best thorn he can stick in Mrs. Robinson's side? Benjmain is told he cannot see her, he cannot have her, and that surely fuels his desire to marry her. The film presents love as the answer, but then (with an amusing, sobering final shot) second-guesses itself. "The Graduate" doesn't dig too deeply, it's lightweight (even with Dustin Hoffman's outburst in the church--the only time the movie gets some fury going), but it does take chances; it wasn't ahead of its time, it just came along at the right time and is still a relevant, glossy modern comedy. ***1/2 from ****
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