Classic Review: The Graduate (1967)

A comedy in the strangest sense, Mike Nichols’ The Graduate finds equal importance in the hilarity and despair of its main characters. Subtly, repetitions and nuances in dialogue reveal the strange psychosexual aspects of the film's relationships, but also, as we may expect more, the awkwardness of the protagonist, Benjamin.

For me, the film epitomises perfection with its precise structure and superb performances; each moment of stylised editing feeling distinctly purposeful. Indeed, each match cut hauntingly and forcefully reiterates the disturbed and irreconcilable bonds between the Ben and Mrs Robinson, the iconic cougar that seduces him.

The humour is inventive and lovably awkward, yet the audience are constantly reminded of the pain that Ben causes (an issue that actually initiated a distaste that I had for the film on my first viewing). These moments are especially resonant considering the desperation that Anne Bancroft conveys through her unforgettable performance as Mrs Robinson, (in shots that subtly highlight her perspective through intelligent and meaningful blocking and framing) conveying an overwhelming sadness just through facial expression.

It is telling that for a film that appeared to usher in a new generation of filmmaking, The Graduate seems to combine the quip-heavy and articulate construction of old Hollywood, as well as the rebellious and experimental style of the new; avoiding both rigidity and excess. If we consider other cornerstones of the so called 'New Hollywood', there is a certain and sobering sense of melancholy at the end of the movies' hedonistic pursuit - Bonnie and Clyde must die, etc. With The Graduate, this bittersweet feeling is constant.

Of course, critics have long discussed the ambiguity of the final scene: is it affirming youthful hedonism, or deconstructing the rebellious tone of the film’s unlikely narrative. ‘It's too late,’ howls Mrs Robinson at Elaine (her daughter) when she begins to run away with Ben.

    'Not for me', she replies, in a line that expertly claims to understand Mrs Robinson's turmoil, as well as the themes of youth and disillusionment. In just one line, The Graduate demonstrates an acute awareness of human tragedy, as well as what it means to be born into, or to live with, the judgments of a previous life.

Far more than 2001, this film truly masters the match-cut as a medium of expression. Each instance of the technique in this film dramatically and emotionally contrasts two scenarios, conveying a haunting fatalism that remains compelling. One, for example, juxtaposes Ben diving on a lido with a shot of him diving into bed with Mrs Robinson. How more economically could a director evoke the complex relationship between Ben’s apathy and sexual exploits, as well as the recurrent and dreamlike continuation of these things? The film is also wickedly funny, so it’s got that going for it.