Ted Kramer's wife leaves him, 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
The red Italian sports car, which Benjamin drives throughout the movie, is a 1966 Alfa Romeo Spider 1600, also known as the Duetto. See more »
When Mrs. Robinson gets Benjamin to come inside her home, she turns on the stereo after making a drink for Benjamin. They go upstairs then, and when Benjamin hears Mr. Robinson pulling up to the house and rushes downstairs, the music is no longer playing. 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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A change from the theatrical re-release for the 25th anniversary and the video release. In the first Taft Hotel bedroom scene, a nervous Ben asks Mrs. Robinson if she would like "Wood or wire [hanger]?" In the theater, her response was, "wood." Which led to the wonderful pratfall of Ben trying to take the wood one, which wouldn't come off. But it was changed in the 25th anniversary video release and her response was, "Either one would be fine." 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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