The problem with this image is that under the surface, tensions resulting from issues of class and gender are always present. Marshall McLuhan might dismiss all this as clinging to linear-text methodologies, but I think most people go over movies this way. After producer Lawrence Turman had secured Mike Nichols to direct the film, he sent the novel to a screenwriter named William Hanley to take a crack at adapting it. While these elements can be challenging, I assure you they are not random. The landlord, who took Benjamin for an agitator from the start, orders him out.
After trying to be pleasant for both of them, Elaine rushes out in tears. But what are they telling us? People writing songs that voices never shared, no one dared disturb the sound of silence. To some people, this statement will sound absurdly hyperbolic after all, why set out to go on so about a film comedy? Robinson, alone with her vodka, would twist the radio dial looking for the Beatles or Chuck Berry. In addition, this is all set against the backdrop of suburban America and thus integrates issues of class along with those of gender as well. Chasing after his love with a clear mission, we get a dead-on shot looking forward, seeing only the bridge and no more troubled water. Ben: I was going to go upstairs for a minute. He is fearful to come upstairs again but scurries to her commands when she orders him: For God's sake, Benjamin, will you stop acting this way and bring me the purse! Appearing slightly shy and unprepossessing, his face has a blank, expressionless, enervated, zombie-like look.
Eisenhower youths tried to reëducate their families, sometimes at a traumatic cost—to get them to understand. Instead of the old heated philosophical debates, almost grown children now simply attempt to humor or manipulate their parents—ideally, creating the impression that they are allowing themselves to be manipulated. They doubted if it was ever more than a dream. We have not yet made our move. Now its lens is foreshortening, now it is wide-angle, now telescopic, now looking to one side so that the main image is way off center. Benjamin watches the fish tank and it is another way for him escape reality.
Nor does anything demand Mrs. People talking without speaking, people hearing without listening. The film won only one award - Best Director. The last shots show them sitting exhausted and expressionless in the rear seat, oblivious of the stares of their fellow-passengers. Nichols is reported to have salted his crowd with casting-agency hippies. Robinson: Will you unzip my dress? From : This was an unusual decision for the time, as the song had charted over a year earlier and recycling established music for film was not commonly done. He complies and pulls the zipper down.
If he lit into the congregation without the perfect rationale of self-defense, the scene would appear vengeful, even sadistic. Ben in a panic, now standing : Mrs. This behavior is usually accompanied by uncoordinated lurches, as if he is behind the wheel of a body too big for him to drive. Not only can they not do it; they keep missing more. As she tosses him her keys, they land directly on the scuba diver. The 1960s were a time when the old societal and familial values were being questioned and this film successfully addresses this dissatisfaction while at the same time relating these issues to gender, both for men and women.
The second is the famous shot under Mrs. Benjamin, first miserable and then perfectly frantic through these stampeding events, is saved only by the arrival of Mr. You're gawky and your hair is plastered down with Brylcreem, and your date looks as if you found her behind the counter at the Dairy Queen. Ben: Because you're going to bed. 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.
And so I thank you for casting this short, 29-year-old, unknown actor with a prominent nose to play Benjamin Braddock. Had there been a single great teacher—or, for that matter, a great hanger-on—back at his nameless Eastern college, he would not be quite so mopily lost. McGuire: There's a great future in plastics. Despite its bizarre antecedents, the last few hundred feet of the film have a healthy American quality: Benjamin and his girl racing across a green lawn, he in his chinos and stained windbreaker, weary with work well done, and she in her lovely white wedding dress, looking so pure. For Benjamin to make their youthful hopes his own would be preposterous. Ben: Of course he does, but he might get the wrong idea. Benjamin's parents and their friends are garrulous, heavy-drinking hypocrites, and Mrs.
The remarkable thing is that there is not the slightest necessity for either of these sequences of transformation. In addition, the fact that those at the party are all part of the older generation—with the men discussing business and the women chatting quietly or being objects for the male gaze—shows how they are reinforcing his status as a boy. It may give exquisite pleasure over long periods without making us laugh out loud. The Graduate was released in 1967. Robinson walked in right now? Upon his arrival home, he finds himself surrounded by fawning adults who have, in a way that escapes them, made a mess of their lives.
They wanted to do more than return to their suburban homes, earn money, and become their parents. While it lost Best Adapted Screenplay to In the Heat of the Night 1967 , Willingham and Henry got the last laugh, as their script ranked No. He literally and figuratively drifts, with no direction in his life, except to show up at the meaningless liaisons with Mrs. Elaine drops Benjamin when he confesses his affair with her mother, but he pursues the young woman to her Berkeley campus and desperately woos her. Robinson: Well, I don't know. His listeners, his applauders immediately conjure up a picture of scruffy, nihilistic hooligans.