Benjamin Braddock returns home to California after successfully completing college. He gets a hero's welcome from his parents but Ben isn't quite sure what to do with the rest of his life. He is soon seduced by Mrs. Robinson, the wife of his father's partner, who methodically pursues the inexperienced young man. Soon, they are meeting regularly in hotel rooms. Warned by her to stay away from her daughter Elaine, his father goads him into taking her out on a date. He finds he quite likes Elaine but when she learns he's been having an affair with her own mother, she'll have nothing to do with him. He's smitten however and pursues her.Written by
The red Italian sports car Benjamin drives throughout the movie is a 1966 Alfa Romeo Spider 1600, also known as the Duetto. See more »
As Benjamin and Mrs. Robinson drive and run through the "rain" near the Robinson house, the lawns and shrubbery in the background are lit by bright sunshine. 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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SPOILER: When 'The Graduate' was first released in Portugal, the ending was cut; the movie ended with a helpless Ben behind the glass of the church watching Elaine getting married. The reason why the film suffered such a major cut was that the erstwhile military regime had a solid basis in Catholic doctrine and family values, and the censorship was given orders not to let any bad example pass to the youth. So it was decided that the movie should end with the lesson that nothing ever should oppose the church, the state and the parents. See more »
What a wonderful time capsule. Not being old enough to grasp the entire "Swinging 60's" movement, I can't help but think this was pretty true to form to what was going on back then. Dustin Hoffman is of course great, but Ann Bancroft steals the movie, dominating every scene even when she's not in it. It must have been quite a risk for her to not only play an "older woman," especially in age conscious Hollywood, but also to play so much against "type." The music, the clothes, the houses all harken back to when America was discovering not every one lived like Ozzie and Harriet, and that a stiff martini could certainly loosen ones morals. The sexual energy this movie projects oozes across the screen and makes one feel like a voyeur.
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