The Graduate

In the scene in which Benjamin and Mrs.

Robinson meet at the hotel bar, Benjamin unsuccessfully attempts to draw the attention of a passing waiter.

In the glass wall behind them, the waiter can be seen to stop as he leaves the frame and wait for his cue to re-enter.

When Ben sabotages Elaine's wedding, Mrs.

Robinson tells Elaine that it's "too late" to return to Ben.

She replies, "Not for me!" Her voice sounds as if she's screaming the line, but her mouth moves as if she's only whispering it.

As Benjamin and Mrs.

Robinson drive and run through the "rain" near the Robinson house, the lawns and shrubbery in the background are lit by bright sunshine.

When Ben is outside Elaine's house watching the Robinsons pack the car, he puts his hand on the rear-view mirror.

In the next shot, which is a close-up of the rear-view mirror, the hand is nowhere.

In the first scene at the airport, Ben walks close towards the automatic door, past a pillar.

In the next shot, he hasn't reached the pillar, and walks for a few second to reach where he was where the cut occurred.

In the "What are you so scared of" scene towards the beginning, Mrs.

Robinson has her shoulders slouching to the left.

In the next shot, from the reverse, they are slouching to the right.

During the "plastics" speech, we see a shot of Mr.

McGuire and Ben from the middle of the living room.

In the next shot, they are by the sliding door.

When Ben is in the hotel bar waiting for Mrs.

Robinson he takes a sip of his drink and the glass has ice in it, when he sets the glass down and there is a reflection of Mrs.

Robinson on the glass table there is no ice in the glass.

When Braddock is in the hotel sitting in bed smoking a cigarette, and he reaches up to the shades, and when his hand shows up again in the scene, the cigarette is no longer there.

On Benjamin's driving trips from Berkeley to LA, he goes through a tunnel.

This tunnel, north of Santa Barbara, is actually a northbound tunnel.

There is no southbound tunnel, contrary to the scenes in the movie.

When Ben is seen crossing the Oakland Bay Bridge on his way to Berkeley he is driving on the upper of the two decks of the Bridge which only carries traffic westbound from Oakland to San Francisco and thus would be taking him away from Berkeley.

The only way to get to Berkeley by way of the Bay Bridge is to drive Eastbound, and all such traffic is carried only on the lower deck of the Bridge.

When Ben tells his parents he is going to Berkley to see Elaine he is wearing a black collared shirt under a brown jacket.

When he is sitting on the fountain at Berkley waiting for Elaine it switches to a white collared shirt, then back to black in the next scene when he is getting a room.

As Benjamin exits Rt 101 in Santa Barbara for the church in the last scenes, the exit sign states "Santa Barbara - Vernon Ave".

There is no Vernon Avenue in Santa Barbara.

Nor is there an Allan Street, where the telephone operator tells Ben the church is located.

When Mrs.

Robinson gets Benjamin to come inside her home, she turns on the stereo after making a drink for Benjamin.

They go upstairs then, and when Benjamin hears Mr.

Robinson pulling up to the house and rushes downstairs, the music is no longer playing.

Robinson claims he is divorcing Mrs.

Robinson, yet they are apparently together again at Elaine's wedding.

However, this might have been a claim made to Ben by Mr.

Robinson to push him further away from Elaine.

Or, it's possible they really were divorced, but decided to stand together for their daughter's wedding.

The Robinsons are always able to draw fresh ice from the ice bucket on their bar, even after they have been away at a party, presumably for several hours.

When Benjamin and Elaine are in his Berkley room, at one point his face is full of shaving cream and he starts to shave.

When he suddenly decides to stop shaving and wipes all of the shaving cream off with a towel, he has no stubble or growth on his face.

He did not need to shave to begin with.

When Ben and Elaine are at the drive-in on their first date, they are talking and there is a foot just behind Ben resting on what seems to be the edge of the car.

The foot seems to belong to someone in the next car.

The camera angle changes and the foot is gone.

Mike Nichols didn't earn my esteem. At least until I saw The Graduate.

Mike Nichols directed this film about Ben Braddock, a confused young man trying to decide on his future in a society he can't understand, but instead becomes involved with the married mother of his reluctant girlfriend, and the various complications that ensue as a result.Dustin Hoffman leads a good cast, it has haunting songs by Simon & Garfunkel, is beloved by many of that generation, and even won Nichols an Academy Award for best director.

When people think of this movie they often seem to forget that this actually a comedy. And a pretty good one it is!

Mike Nichol's The Graduate is still as captivating and entrancing as I'm sure it was when it was released 31 years ago. Nichol's smooth direction (which he won an Oscar for) and the all round perfect performances by an excellent cast (including Dustin Hoffman in his first big role, Anne Bancroft and Katharine Ross) make The Graduate an unforgettable and emotional experience.

The Graduate is a coming of age story by all means. Dustin Hoffman play conflicted like any man at odds.

The music destroyed the enjoyment of this film. It should be shown to torture terrorists in prison.

Cultural Climax and Peak Materialism posted 2 days ago by Fandango (303)The Graduate is an interesting analysis into the end of the American zenith, the final decade before its gradual dissolution. The 50s and 60s are ubiquitously regarded as the civilizational peak of the country, yet this film paints a very different picture.

I find it disappointing that the Graduate isn't one of those constantly-talked-about classics like The Godfather, Kramer vs. Kramer, Apocalypse Now, The Shawshank Redemption, etc.

When the Motion Picture Production Code was abolished in 1967 every movie genre was irrevocably changed. Action pictures became bloodier, dramas became swearier, and romances became openly sexual.