The history of cinema is replete with films that have earned their place not necessarily due to their inherent quality or groundbreaking nature, but rather through a fortuitous combination of circumstances that elevate them to the status of pop culture icons. The Graduate, the 1967 drama directed by Mike Nichols, is one such film. A defining hit of late 1960s Hollywood, it is often celebrated for encapsulating the mindset and aspirations of a generation that would come to be known as the Baby Boomers. While its cultural impact is undeniable, a closer examination reveals that The Graduate is less a revolutionary masterpiece and more a product of its time.
The film is adapted from Charles Webb’s 1963 novella of the same name. It follows Benjamin “Ben” Braddock (played by Dustin Hoffman), a 20-year-old college graduate returning to his affluent family home in Pasadena, California. Ben’s academic achievement is celebrated with a lavish party, attended by family friends, including Mrs. Robinson (played by Anne Bancroft), the wife of his father’s business partner, Mr. Robinson (played by Murray Hamilton). What begins as a seemingly innocuous request for a ride home quickly escalates into a seduction, as Mrs. Robinson, bored and disillusioned with her life, sets her sights on the young and inexperienced Ben. Despite his initial reluctance, Ben succumbs to her advances, embarking on a clandestine affair.
The plot takes a turn when Elaine Robinson (played by Katharine Ross), Mrs. Robinson’s daughter, returns home from Berkeley. Pressured by his parents and the Robinsons, Ben reluctantly agrees to take Elaine on a date, only to find himself genuinely drawn to her. This shift in affection enrages Mrs. Robinson, who reveals the affair to Elaine in a bid to sabotage their relationship. Heartbroken, Elaine ends things with Ben and returns to Berkeley. However, Ben, undeterred, pursues her, culminating in a dramatic and iconic finale.
The Graduate resonated deeply with its target audience—the post-World War II generation coming of age in the 1960s. For many Baby Boomers, the film became a cultural touchstone, symbolising rebellion against tradition, a break from the past, and an embrace of newfound freedoms. Ben’s confusion, alienation, and eventual defiance of societal expectations struck a chord with young viewers, who saw in him a reflection of their own struggles and aspirations. Even decades later, the film is often nostalgically hailed as a life-changing experience that “still speaks to them.”
However, when viewed through a modern lens, The Graduate loses much of its revolutionary sheen. Far from being a radical or groundbreaking work, the film is remarkably conservative in its portrayal of the 1960s counterculture. There are no long-haired hippies, no psychedelic experimentation, and no political protests. The characters are uniformly straight, white, and presumably Protestant, belonging to the affluent middle class of Southern California. Ben’s rebellion, such as it is, is motivated not by a desire to challenge societal norms but by his infatuation with Elaine. His actions, while dramatic, are hardly revolutionary and could easily fit into the plot of a soap opera.
One of the film’s most intriguing aspects is its portrayal of Mrs. Robinson, who emerges as its most complex and sympathetic character. Anne Bancroft delivers a masterful performance, imbuing Mrs. Robinson with a mix of vulnerability, bitterness, and defiance. Her seduction of Ben is less an act of lust than a desperate attempt to reclaim some semblance of agency in a life defined by societal expectations and personal disappointments. She admits to marrying out of necessity after becoming pregnant in college, a revelation that underscores the limited options available to women of her generation. Despite this, popular perception often casts Mrs. Robinson as the villain of the piece.
Dustin Hoffman, in his breakout role, brings a sense of youthful confusion and awkward charm to Ben Braddock. While his performance is commendable, it is not without its flaws. Hoffman’s chemistry with Katharine Ross, who plays Elaine, is notably lacking, making their romantic subplot feel forced and unconvincing. Ross, though talented, is given little to work with, her character serving more as a plot device than a fully realised individual.
Mike Nichols’ direction, while competent, is not without its shortcomings. His use of jump cuts, borrowed from the French New Wave, feels overly fashionable and at times disrupts the narrative flow. While Nichols’ Oscar for Best Director is a testament to the film’s cultural impact, it is difficult to argue that The Graduate represents his finest work.
Where the film truly excels is in its music. The soundtrack, featuring Simon & Garfunkel’s folk-rock melodies, plays a pivotal role in shaping the film’s tone and atmosphere. Songs like “The Sound of Silence” and “Mrs. Robinson” have become indelibly linked to the era, enhancing the film’s emotional resonance and contributing significantly to its enduring popularity.
Ultimately, The Graduate is a film that fails to fully deliver on its promises. It straddles the line between sex comedy and serious drama, excelling at neither. Even Roger Ebert, one of its early champions, tempered his enthusiasm upon revisiting the film decades later, acknowledging its flaws and limitations. While solid acting and direction make it worth watching, modern audiences are likely to view The Graduate less as a groundbreaking masterpiece and more as a cultural artifact—a snapshot of a specific moment in time.
RATING: 6/10 (++)
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