Directed by Mike Nichols and written by Calder Willingham and Buck Henry, Benjamin is freshly out of college. Reluctant to follow his parents’ advice of earning a substantial amount of money and marrying a noble woman, he soon finds himself in a world he never imagined. Starring: Dustin Hoffman, Anne Bancroft, Katharine Ross, Murray Hamilton, William Daniels and Elizabeth Wilson.
With the sheer deluge of films from before the turn of the century having aged so poorly, it’s always a joy to find those that age like a fine wine, and The Graduate is one of those films. Not least because of its sumptuous visual that is smooth, stunning and utterly enthralling. Made even better by the new 4K restoration work, it’s a true cinematic experience. Robert Surtees delivers phenomenal cinematography while Mike Nichols fills the atmosphere with an infectious nervous and frantic energy.
Classic film does have a particular set of skills in creating cinema where everything is all or nothing, there’s no middle ground, it’s diving headfirst or running for the hills. The Graduate is such a fantastic example of that because Dustin Hoffman’s Benjamin becomes hyper-fixated and unstoppable. His experiences with Mrs. Robinson open his eyes to adulthood, first making him isolate himself as he comes to grips with the moral dilemma, before lighting a fire within him to find true love. It’s a perfectly unconventional love story with some iconic scenes that are still just as brilliant today.
Particularly those between Hoffman and Anne Bancroft, when they have their first real ‘conversation’ it’s unbeatably charming. There are also so many layers to The Graduate that it would take too long to go into, although noting how much Bancroft resembles Elizabeth Wilson is an interesting one to note. The filmmakers also put together what is one of the greatest soundtracks of all time, the hits genuinely keep on coming all throughout the film. As well as there being some terrific transitions which are ridiculously well thought out.
Then you have the performances, Bancroft delivers such an assured portrayal that is impressively both domineering and vulnerable. The type of outward, unapologetic sexuality that she brings to the table is so far ahead of its time and fascinating to watch. Perfectly matched with the naivety, anxiety and nervousness of Hoffman’s Benjamin. His performance goes through so many changes and energies that it’s endlessly entertaining to watch, and remains a career highlight for Hoffman. The entire ensemble is excellent, Murray Hamilton is another highlight but it’s undeniable that Hoffman and Bancroft steal the show.
The Graduate remains an iconic film for good reason, it’s superbly made and filled with phenomenal performances. The visual is spectacular, and even more so with the new restoration work, the grain and richness of the aesthetic is seductive. The story remains fresh, the tone is layered and charged but also genuinely entertaining with a good sense of humour. It’s filled with this frenetic energy which is unstoppable and unmissable for any cinema fan.
[…] Losey’s direction has a sinister touch, there’s a coldness to Accident, the style itself fills the film with a touch of doom, even if the opening hadn’t done that already. The restoration work particularly highlights the fantastically deep, rich colours of the film. The suaveness of its aesthetic pairs really well with its characters’ abundance of vanity of greed. There’s something to it that almost makes it feel like a darker cousin to The Graduate. […]
LikeLike
[…] Losey’s direction has a sinister touch, there’s a coldness to Accident, the style itself fills the film with a touch of doom, even if the opening hadn’t done that already. The restoration work particularly highlights the fantastically deep, rich colours of the film. The suaveness of its aesthetic pairs really well with its characters’ abundance of vanity of greed. There’s something to it that almost makes it feel like a darker cousin to The Graduate. […]
LikeLike