Film Review: ‘The Graduate
The Graduate is a charming satirical comedy about a young man's seduction by an older woman and the level of maturity he gains from the experience. Anne Bancroft, Kathryn Ross and newcomer Dustin Hoffman lead a very capable cast. Mike Nichols directs the film in a slick, contemporary style that fits well into the two-thirds of the film, while producer Lawrence Thurman provides all the necessary props of a materialistic society. The youth market in particular will appreciate this release by Embassy (Abroad, United Artists), as well as older audiences. Bo's big prospects will likely be in early exclusives heading into a hot overall playoff.
Based on the novel by Charles Webb, the excellent screenplay by Calder Willingham and comic stuntman Buck Henry tells the story of Hoffman, fresh out of college and wondering what it's all about. Murray Hamilton's wife, the predatory Miss Bancroft, introduces Hoffman to mechanical sex, the reaction to which turns into true love with Miss Bancroft's daughter, Miss Ross.
If the story were told purely in dramatic terms, it would be one of the modern-day Mellers, the hippie equivalent of a female character, where blank stares are supposed to convey emotion and plot, and extended cutscenes make it clear. and generously. Indeed, in his second film, Nichols used most of the palette tricks available, but thanks to the solid script, they do not shine for large parts of the film.
During the 70 minutes between Hoffman's return from school and the realization that Miss Ross is having an affair with her mother, the film is filled with farce, making its commentary on a materialistic society all the more effective. Only in retrospect can one recognize fundamental but not too damaging flaws: Hoffman's academic achievements are unconvincing given his fundamental courage. It doesn't matter, or not much, anyway.
Miss Bancroft, feline and sweet as Lauren Bacall, has a long career ahead of her as Universal newcomer Miss Ross. Hoffman is excellent in his role. William Daniels and Elizabeth Wilson play their parents in the latest fashion. A small but well-chosen following includes co-writer Henry as a servant.
It's only in the last 35 minutes, when Hoffman walks the runway of Los Angeles Frisco in search of Miss Ross, that the film slows down, making the interludes obvious and therefore very tedious. Vet director Robert Surtees used Panavision and Technicolor to full advantage. It would be wrong to say that Surtees "activated" the new methods; responds to the desire for a more accurate and, above all, modern look. In other words, he is a professional craftsman.
Richard Silbert's design stands out again. Paul Simon wrote the right songs for Simon & Garfunkel, and Dave Grusin's background score is equally competent. Sam O'Steen's editing is crisp and the other technical merits are solid. Consider this a victory for Joseph E. Levine, Thurman and Nichols.
