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What would you do, after coming back from college, a transition is required, to expand and fill your knowledge, you're not sure just what you want, with this new world, in which you haunt, and you feel a touch distressed - as Mrs. R. slips off her dress. You make a run and disappear, uncomfortable, abashed, there's fear, but days later you have courage, which you find is not discouraged, rendezvous are orchestrated, passions sated, unabated - there is mutual satisfaction, until the train loses some traction. The ladies daughter is a spanner, and you become somewhat enamoured, but you just will not be warned, the dangers of a cougar scorned, as her claws unsheathed like daggers, scythe you from, immortal swagger, and all your futures take a turn (again), as your fingers feel the burn.

Benjamin Braddock is snared by the older Mrs. Robinson as he struggles and juggles with his transition into a post college world that only emerges gradually, and then never really reveals itself in total, although everyone else seems to know what's good for him and the paths that he should take. A timeless classic, as relevant today as it was back when it was made, and sometime before, albeit the older lady scenario not one most young men would encounter, no matter how much they would like it to.

I saw this film for the first time in September 1968, after working for just one year as a professional cinematographer. I rapidly saw it five more times, in order to observe technical details of the photography of the film, but every time I completely forgot to look at those details, since I became so absorbed by the film every time. Now, after more than 35 years as a cinematographer and film teacher, I still marvel at Mike Nichols' and Robert Surtees' work every time I see the film. Almost everything you can do with a camera can be seen in this film, and everything is perfectly right for the story. The Graduate is groundbreaking in more areas than the photography. The casting, writing, acting, picture and sound editing are all exceptionally good, and have influenced film-making ever since. I was very happy when I saw that The Graduate reached the 7th position in the American Film Institute's voting of the best American films in history.

What a ride....This is a perfect example of what art can generate if one puts soul and wit into it. Firstly, I find human emotions and life issues depicted in a bitter-comic manner to be a charming combination.Love,sex,insecurity,family relationships,shyness,deception are treated with great humor and witty dialog in this movie.Long and elaborated shots,incredible story-telling creativity (like 1-st person camera views,long still frames,distance frames),video-clip like sequences (beautifully sustained by Simon and Garfunkel's heart-warming poetry and sad irony).There is enough creative film work in The Graduate to suffice for 10 movies.The dialog is excellent and the acting pure genius.And, oh...the time frame...the sixties...don't get me started.The 2000's are like an insurance seminar compared to that... No need to praise this movie anymore, it speaks for itself.It is not,however,a movie for the masses.This is no Ben-Hur type of flick,with spectacular imagery and epic storyline.It is an epic of the inner soul.It requires a bit of meditation, it is only entertaining if you get in touch with your inner self and not expect to watch the screen and BE entertained. Despite its comic appearance,I always felt that it touched a sensitive somehow sad chord in me.It's kinda like:"Haha very funny, but I felt those type of emotions and they didn't seem funny then."It's also so easy to laugh at other people's feelings,torments and emotions, but when you realize that you are also part of that old human comedy and drama, your laughing becomes more restrained.More mature.I always connected with this movie, and with Mike Nichols.Too bad they don't make'em like this anymore.We live in an era where people like John Woo and Michael Bay are starting to dictate what we will be watching more and more.What a shame....

'The Graduate' is THE best movie comedy of all-time, ranking #1 on my IMDb "Top 10 Greatest Comedies List". The film is culturally significant and a flawless work of cinematic art.

The film propelled director Mike Nichols and actor Dustin Hoffman to the top of the Hollywood A-List.

For baby-boomers, this is an iconic film - a snap-shot of rapid cultural change that occurred in mid-1960s suburbia, complete with its post-college let-down, introspection, angst, and confusion.

Baby boomers perceived things much differently than their Greatest Generation parents, and Nichols (along with screen-play writer Buck Henry) integrated the resulting "generation-gap" in a way no film had done before.

Dustin Hoffman was fortunate to get the lead part as legend has it, and Nichols was fortunate to get him - both took advantage of the opportunity, and we are all fortunate they did so.

The best soundtrack sync in movie history...

Upon awakening one morning at the beginning of the film's production planning, Nichols had an epiphany about using the introspective and melancholy music of Simon & Garfunkel in the film after listening to their music on his bedroom record player - The resulting film sound-track "music sync" in 'The Graduate' established what was then, a new standard for use of popular music as an integral part of story telling. NO film since then has done this better. Without that music sync, this would have been a fine film, but it would not have reached its legendary film status.

Buck Henry's original screen-play delivers some very funny scenes - the hotel scenes running from the approximate 20 to 35 minute marks in the film are hilarious and everyone pulled it off to subtle perfection. Nichols ensured those comic moments were delivered with impeccable timing by utilizing Henry as a Day Player in the role of hotel manager.

Anne Bancroft is brilliant and hot, and portrays her tragic and narcissistic character "Mrs. Robinson" with perfection, in what has become an iconic film character.

Much of the film's success is due to the performance of the ensemble cast. Nichols directs the movie like one of his stage productions where every line by every actor has impact.

This is Mike Nichols' greatest and most important achievement in film, and over time has made many top 10 greatest comedy as well as all-time favorite movie lists. If one were to place slap-stick into its own separate genre (as so often the Chaplin and Marx Brothers films are cited as greatest comedies but are based largely on physical pantomime, not dialogue based comedy-drama), I believe this film is THE all-time greatest comedy in film.

What else can I add that hasn't already been stated by many others?

See 'The Graduate' again when the mood strikes.

First timers, you are in for a treat.

"Here's to you Mrs. Robinson!"🎶🍸

What I like the most about old movies like this one, are the subjects (Nowadays) that are quite controversial and that very little will likely be dealt with. The movie is good but bothered me a little because it seemed a little forced, there are many funny scenes the character Ben represents well the nervousness of "being a virgin" on the first night, I believe this movie was an inspiration for American Pie.

Here's to you Mrs. Robinson. Was it the song by Simon and Garfunkel made popular by the film, or did the film entrench the song into popular culture? Who's to say either way? It's a matter of opinion, and it's irrelevant really. The fact is, it's a great song and a great movie and the two compliment each other like peanut butter and jelly, ham and swiss or May and December.

This movie is for anyone who's ever wondered what they are going to do with their future, anyone who's been in love with someone their parents didn't approve of, or anyone who's had an affair with one of their parent's friends. Granted, not many will fall in the latter category, but it throws an interesting spin on the film.

The film perfectly encapsulates and portrays the feelings of self-doubt, alienation, disenchantment and unwanted pressures and expectations for a twenty-something just out of college. Dustin Hoffman is the only person we can possibly imagine in the role of Benjamin as his imprint and superb acting makes this film a great one. As reflected on in an interview with Dustin Hoffman on the DVD, "The Graduate at 25", his life changed after this film, propelling him into something of a superstar status as his incredible talent found wide recognition. When I saw "Rushmore" I had a similar feeling about young Jason Schwartzman in the lead role. For him, time will tell. Although "Rushmore" isn't the time tested success that "The Graduate" is, anyone who enjoyed "Rushmore" would likely enjoy "The Graduate" if they haven't already seen it. They are, however, distinctly different films.

This comedy is something of a benchmark in many ways. Not many films of a comedic nature are so socially relevant and of such high quality that they make the A.F.I.'s top ten of all time. The film by many standards is more than just a contemporary comedy. It is quite possibly the best one ever made, given its widespread appeal.

It is well shot with interesting sequences and hilarious segments that hold up against the test of time. It has been a long-time favourite of mine, and I can scarcely imagine growing tired of it.

Any film that has a shot of Moe's Books in Berkeley scores extra points with me.

A recent college graduate (Dustin Hoffman) is given a brand-new red convertible by his affluent parents and a place to hang out at while he figures out what he wants to do with his life. One of the friends of his parents (the gorgeous Anne Bancroft at just 36, lol) seduces him, and despite Hoffman being as awkward as he was in his Rain Man role, the two begin having an affair. Things get complicated when the husband encourages him to date his daughter (Katharine Ross), who's also returning from college.

While the film is entertaining, it was hard to connect with Hoffman's character. I felt for him most early on when his parents were forcing all their friends on him at a party, and you could really feel the generation gap. "I just want to say one word to you, just one word ... plastics," says a friend of his father, trying to talk to him about a prospective future. I wish there had been more of that kind of thing, or that the affair had played out in some more interesting way. As it is, when he's bouncing from mother to daughter, it's hard to really understand the emotion of it, because I didn't sense much of a connection to anyone from him. The mad race to stop a wedding seemed odd for such a film, and cliché besides. Also, as much as I like the Simon and Garfunkel songs that were on the soundtrack (including The Sounds of Silence, an all-time great), they really don't seem to fit the film all that well.

Yet another film that I knew of, had seen some scenes from but never watched from start to finish.

Call it my film education, if you like. Therefore with all the hype through the years this is a 'must see' film.

What a disappointment then. Great soundtrack but a weak plot, distasteful (by today's standards) storyline and bizarre action. There is little of merit. I like Dustin Hoffman, and he gives a decent performance but generally this is a film stuck in an American 60s haze.

If it wasn't for Simon & Garfunkel it really wouldn't be much of a film.

Watch it if you are a film buff or fan of Hoffman otherwise don't bother. It certainly isn't a 9 or a 10 but not bad enough to rate really low. A period piece best left alone.

What a wonderful time capsule. Not being old enough to grasp the entire "Swinging 60's" movement, I can't help but think this was pretty true to form to what was going on back then. Dustin Hoffman is of course great, but Ann Bancroft steals the movie, dominating every scene even when she's not in it. It must have been quite a risk for her to not only play an "older woman," especially in age conscious Hollywood, but also to play so much against "type." The music, the clothes, the houses all harken back to when America was discovering not every one lived like Ozzie and Harriet, and that a stiff martini could certainly loosen ones morals. The sexual energy this movie projects oozes across the screen and makes one feel like a voyeur.

Many of the remarks which are critical of this film are coming from people who are too young to have fully understood the mood of the sixties. Young people today embrace the goals of career advancement and material success as all-important, and in that respect, they are much like the older generation of the sixties. The younger generation of that era are, of course, today's older generation. At the time (though it may be hard to tell now), they rejected the values of their parents and were idealistic and Utopian in their approach to life. The generation gap was the biggest issue of the day (aside from the Vietnam War) and it was a recurrent theme in this film. The shallow, cynical, and corrupt older generation were wonderfully depicted by the boozing Robinsons. They wallowed in bourgeois elitism and hypocrisy, an apt theme the extravagant, big band lounge music that Mrs. Robinson puts on after Ben drives her home from the party. Recall, as well, the seemingly off-the-wall advice given to Ben by a man at the party: "One word, son -- plastics!" Actually, it might have been good advice, considering the way things have developed, but it sure didn't seem so at the time. The older generation were "plastic" (artificial and phony), whereas the younger generation strove to be honest and natural, though obviously, few succeeded at it for long. In any case, you had to have been there to fully appreciate and understand these references, which at the time were anything but subtle.

Even though Mrs. Robinson is undeniably a far more sophisticated and sexy woman than her pretty, naive daughter, Elaine represents the unapologetic and uncompromising idealism of the younger generation. Ben, who more than anything wanted his life to be "different" and grew tired of his purely physical relationship with Elaine's mother, just naturally shifted his romantic attachment to her daughter. The movie's score began to play a more important role as he courted her. I don't necessarily agree with those who claim the second part of the movie wasn't as good as the first. Although Ben indeed may have been kidding himself about just how much he loved and needed Elaine, he nevertheless fervently pursued her, and his love for the girl, whether real or imagined, represented what he considered most important in life. This was a real parting of the ways from the values of the older generation, who appeared to place romantic love fairly low on their list of priorities. In fact, without so many examples of their cynical and oft-nauseating attitudes continually in evidence, the movie changed into something else, just as it did in real life when the relatively innocent younger generation tried to experience life on their own terms (which few of them ever succeeded at doing for very long).

"The Graduate" was thus a classic movie that spoke for an entire generation. It is easy to understand why many members of the younger generation of today would be turned off by this movie. They are like the older generation of yesterday (only more so)-- boozing at an early age, driven by a desire to achieve material success above all else, obsessed with gadgets and other ephemeral distractions, and terrified that they might be perceived as "losers," which not coincidentally is the biggest insult they can apply to one another or to members of the older generation of today. Benjamin Braddock would be, to them, "a loser" who didn't know what was important or what he ought to want. When their own kids reach maturity and begin to seek greater meaning and purpose than the emphasis on money and position that is obviously so important to their parents, watch them reject almost everything Generation X stands for. It will be "The Graduate" all over again.

Dustin Hoffman is outstanding in his breakthrough role as a troubled young adult who is worried about his future. His awkwardness is endearing and universal. To this day, there are people who can relate to his Ben Braddock.

The music is one of the biggest accomplishments of this film. Simon and Garfunkel perfectly depict Ben's moods throughout the movie with their timeless classics.

Overall, this movie is well-written, well-played, and well-directed. It is a humorous and sensitive account of the difficulties of a young adult. It is definitely worth viewing.

After graduating in college, the twenty-year old Benjamin "Ben" Braddock (Dustin Hoffman) returns home and his parents give a party for him. The uptight and clumsy Ben feels uncomfortable and the wife of his father's business partner Mrs. Robinson (Anne Bancroft) asks a ride home to him. Soon she seduces the unexperienced Ben and they have a love affair. When Mrs. Robinson's daughter Elaine Robinson (Katharine Ross) returns home, Mrs. Robinson makes Ben to promise that will never date her. But soon Ben and Elaine fall in love with each other affecting the Robinson family.

"The Graduate" is an unforgettable movie for people of my generation. The story is dramatic and funny and Anne Bancroft is perfect in the role of the unbalanced Mrs. Robinson. Despite his actual age (30), Dustin Hoffman is hilarious and convinces in the role of an unexperienced young man seduced by the alcoholic wife of his father's partner. And Katharine Ross is extremely beautiful in the role of Elaine. The wonderful soundtrack by Simon and Garfunkel fits perfectly to this great movie. The rushed conclusion is silly but adequate for those years, with the couple in a bus without knowing their destination in the bus and in life. My vote is eight.

Title (Brazil): "A Primeira Noite de um Homem" ("The First Night of a Man")

When "The Graduate" was first released in 1967 everyone went to go see it. The college crowds devoured it hungrily, as it was the first of its kind – a film that proposed adults were emotional sell-outs who thrived on superficiality and materialism.

It earned Mike Nichols a Best Director Academy Award as well as solidifying itself as one of the biggest and most important films of the 1960s, a motion picture whose influence would extend effortlessly into the generations to come.

But is "The Graduate" really a great movie, or were moviegoers simply too caught up in the moment to realize what they were watching was nothing more than an exploit of the times? This is clearly an anti-bourgeois film, one with a liberal message of hippie politics; it was a drug culture movie, the defining motion picture of a generation of free love, school drop-outs and loners who sat around drinking beer all day moaning about how awful life was.

Perhaps I sound overly critical of a film whose purpose is to examine (or more appropriately define) an era? Surely it is not the fault of this movie that it is about an unlikable person? No, its fault is that it tries to sympathize with him – Benjamin is a spoiled rich kid, and it's hard to feel empathetic towards him when he wallows about drinking beer poolside, staring into his aquarium and ignoring everyone around him: A self-absorbed cynical.

Yes, Benjamin (Dustin Hoffman) is going through an awkward change in his life. He's an East Coast graduate who returns home to his parents' estate in an upper-class suburb and finds it hard to adjust to life again.

The opening scenes are promising – Benjamin is unable to interact with the adults, finding solace in his bedroom, where he stares at his aquarium, contemplating whatever it is gloomy college graduates contemplate.

A friend of his parents, named Mrs. Robinson (Anne Bancroft), tries to seduce Benjamin after he gives her a lift home – inviting him in for a drink and then undressing in front of him, blocking his exit.

Benjamin resists at first, but the temptation is too much to bear and he begins an ill-fated sexual relationship with the older married woman – driving to a nearby hotel every few nights to meet her.

Benjamin's parents don't seem to catch on at first, although his mother has suspicions that he's seeing someone. Benjamin shrugs her off and ignores his father altogether. When they set him up on a date with Mrs. Robinson's daughter (Katharine Ross), he feels extremely uncomfortable and takes her out to an unsuitable place for the evening as a way of making sure she never wants to see him again. However, much to his surprise, Benjamin finds himself falling for her anyway.

Here ends the first half of the movie – the second half is more serious, moody and focused on Benjamin and his new love interest. And of course the anger of her mother, who threatens to reveal the truth to everyone if he continues to date her daughter.

"The Graduate" uses some cheap tricks to force us into seeing things Benjamin's way – for example, before having sex Benjamin wants to talk like a normal person, and have a conversation with Mrs. Robinson. We're meant to stop a moment and reconsider Benjamin's morality – when in fact it's just a way of Benjamin trying to make himself feel better about what he is doing; justifying the basic animal instincts by twisting them into formality. By holding a reasonable discussion, the depravity of the casual sex is lessened. It all benefits Benjamin, no one else.

Furthermore the characters have little depth. Benjamin falls in love with Mrs. Robinson's daughter, Elaine, in what seems an instant. Their abrupt decision at the end of the picture (which I won't spoil) is now laughable, because in 1967 it offered an optimistic, endless adventure for the wide-eyed teens, I suppose; but now it just leads to foreseeable misery, and comes across as juvenile and ridiculous.

The film has influenced a wide array of modern directors, most noticeably Wes Anderson, whose style of film-making is based around similar themes of contempt, quirky humor and oddball characters, typically led by a cynic. (For example, Bill Murray in "Rushmore" or "The Life Aquatic.") Its cultural impact is phenomenal, being referenced in such popular entertainment as "The Simpsons" and an endless array of movies. (Perhaps most memorable of all, the extensive spoof in "Wayne's World 2.") And whom do you know that wouldn't recognize the line, "Mrs. Robinson, I think you're trying to seduce me"? Indeed, the cultural impact of "The Graduate" is unarguable – this is a milestone movie and few others have had such a diverse effect on how we live. Like "The Terminator" and "Star Wars," most people would recognize the material itself even if they haven't seen the movie. Hum the first few notes of the "Jaws" theme song and see how many people can guess what it is.

Similar is "The Graduate" in its appeal and popularity. It continues to endure, remaining a key word amongst film buffs and college crowds. But as a film it is just good, not great. It is not expertly crafted and is actually quite awkward. This is essentially a snapshot of the era and little else – the characters aren't likable and we're forced into feeling false admiration for them; the direction is somewhat clumsy, the script is often unbelievable and the movie's two halves – its drastic change from comedy to drama -- never really form a satisfying whole.

Like Benjamin, "The Graduate" just kind of sits there, staring at you –bored, self-absorbed, and lazy. This movie has no soul, no heart – and after forty years of sulking, that is what proves to be clearest of all.

Much has been said about how good The Graduate is. I have one word really to say, Amen! This film is wonderful in every way, from the cinematography, to the acting to the soundtrack.

ACTING- The acting is really quite excellent in The Graduate. In his first major role, Dustin Hoffmann(a great actor) is sensational as the innocent college graduate, while Anne Bancroft is also excellent as the older woman who seduces him. And Katherine Ross was surprisingly effective as the daughter Hoffmann's character falls for.

DIRECTION- Mike Nichols' direction is very, very good, easily one of his best directing jobs. He ensures flawlessly that there isn't a single wasted scene while watching The Graduate. And in my opinion, he thoroughly deserved the best director Oscar.

SCREENPLAY- I don't know when to start when saying how good The Graduate's script is. The humour is sophisticated and has the bite of a dry martini.

CINEMATOGRAPHY- The Graduate also benefits hugely from having beautiful cinematography, and it is quite innovative too. It also has a sense of visual irony about it, especially in the scene where Hoffmann runs to the church.

SOUNDTRACK- Maybe I am biased because I am very fond of Simon and Gunfunkel. In The Graduate, the soundtrack is so moving and beautiful, perfectly captures the mood of disaffected youth seething beneath the laid-back exteriors of the 1960s.

STORY- The Graduate works brilliantly as a satire, and the story is never less than engaging and thoughtful.

So all in all, The Graduate is a wonderful film on every level, one of my personal favourites of the 1960s that's for sure. 10/10 Bethany Cox