The plot of The Graduate revolves around twenty-one-year-old Benjamin returning home after completing his Bachelor’s program. Like so many young men before or since, despite having put so much work into getting the diploma, he doesn’t know what he is going to do with it. The past feels like a con, and the future a scary game where, as he will explain, the rules are made up on the fly. Dodging his own celebratory party, which is populated entirely by friends of his parents, Benjamin runs into Mrs. Robinson. Sensing his confusion, Mrs. Robinson sets her sights on the boy, luring him into an illicit affair and ushering him into manhood. It’s no accident that her wardrobe is full of animal prints. She sets upon the hopeless grad like a predator. Hoffman is hysterical as the reluctant lover, so easily manipulated in his fumbling cluelessness.
Eventually, though, Benjamin is going to have to quit lounging around the pool and do something with himself. Both Mr. Robinson and Mommy and Daddy think the answer is in dating Elaine, the Robinson daughter, home for the summer from Berkeley. This is a crossroads for Benjamin, as dating her daughter is the one thing Mrs. Robinson asked him not to do. For as much as she could be seen as the criminal in the movie, you have to feel sorry for the woman when Benjamin forges ahead with his asinine plan. Really, her only crime was expecting a dopey kid to realize how damaging such an action would be. —DVDtalk.com
Mike Nichols (born Nov. 6, 1931, Berlin, Ger.) American motion-picture and stage director whose productions focus on the absurdities and horrors of modern life as revealed in personal relationships.
Nichols immigrated with his family to the United States at the age of seven. He attended the University of Chicago (1950–53), studied acting under Lee Strasberg in New York City, and then returned to Chicago, where, with Elaine May, Shelley Berman, Barbara Harris, and Paul Sills, he formed the comic improvisational group The Compass Players. Nichols and May then traveled nationwide with their social-satire routines, and from 1960 to 1961 they performed on Broadway in An Evening with Mike Nichols and Elaine May.
Nichols made his Broadway directorial debut with the highly praised Barefoot in the Park (1963) and went on to direct a series of commercially and critically successful Broadway plays, many written by Neil Simon. He won Tony awards for Barefoot in the Park, Luv (1964… read more
I don't get the love for this film. Cinematography is wonderful at times, yes. S&G are fine, if too repetitive. Some of the actors are perfect. But Dustin Hoffman is not one of them. He is so incredibly unbelievable, his recitation so false, I thought I was watching a B movie. As for his character, he becomes a lunatic stalker; it is not cute and romantic, it is uncomfortable and disturbing. The second half fails.
A Letter to Momo in Japan, Hou Hsiao-hsien on Taiwanese cinema, Nicolas Rapold on Michael Glawogger, Ben Rivers’s playlist and more.
Profiles of Nichols and a 1999 interview with Arthur Miller as the revival opens on Broadway.
Belle découverte pour moi que ce Le lauréat avec Dustin Hoffman et Anne Bancroft. Derrière ces allures de film ne jouant que sur la carte de la séduction, Mike Nichols dépeint le choc générationnel… read review
My feelings for this little article began with an unquenchable lust, bloomed into immense admiration, settled into a cozy tolerance then plunged into sickening despair. The first half is overflowing… read review
Mike Nichols directs this coming-of-age film, or rather a graduating-college-what-the-fuck-do-I-do-now story, either way we see Dustin Hoffman growing up and becoming a man. Some films from the late… read review