**Warning! Spoilers Ahead!**
Some films age well, as their themes and styles resonate through different eras and lifestyles. "The Graduate" is not one of those films.
All of the values of this movie scream 1960s, and as a member of a generation defined by motivation and ambition, I find the pictured values of confused sexual rebellion and pronounced indifference difficult to understand. At its core, this movie is simply a twisted romantic comedy.
The twisted part arrives when Benjamin (Dustin Hoffman) decides to pursue Elaine Robinson basically out of spite. I suppose this fit in with the "**** You" attitude of that flower child generation, but now it just seems inane. Speaking of inane, Benjamin's theft of Elaine at the end of the movie is plain silly. Initially it's a cute and spontaneous moment. But upon any reflection, Elaine has zero reason to abscond with him, yet joyfully flees the scene as though Benjamin were a white knight. Again, maybe in 1967 his character was Galahad personified, but that shining armor has rusted greatly since then.
I can appreciate the style of the film. From the opening scene in the airport to the vivid yet reserved colors throughout the film, the look of "The Graduate" endures not necessarily as ground-breaking, but as a '60s time capsule.
Bottom Line: While this film was evidently a grand statement at the time, its message and appeal have faded greatly in the 35 years since then. A generous 6 of 10, largely based on legacy.
Some films age well, as their themes and styles resonate through different eras and lifestyles. "The Graduate" is not one of those films.
All of the values of this movie scream 1960s, and as a member of a generation defined by motivation and ambition, I find the pictured values of confused sexual rebellion and pronounced indifference difficult to understand. At its core, this movie is simply a twisted romantic comedy.
The twisted part arrives when Benjamin (Dustin Hoffman) decides to pursue Elaine Robinson basically out of spite. I suppose this fit in with the "**** You" attitude of that flower child generation, but now it just seems inane. Speaking of inane, Benjamin's theft of Elaine at the end of the movie is plain silly. Initially it's a cute and spontaneous moment. But upon any reflection, Elaine has zero reason to abscond with him, yet joyfully flees the scene as though Benjamin were a white knight. Again, maybe in 1967 his character was Galahad personified, but that shining armor has rusted greatly since then.
I can appreciate the style of the film. From the opening scene in the airport to the vivid yet reserved colors throughout the film, the look of "The Graduate" endures not necessarily as ground-breaking, but as a '60s time capsule.
Bottom Line: While this film was evidently a grand statement at the time, its message and appeal have faded greatly in the 35 years since then. A generous 6 of 10, largely based on legacy.