Logging

Film: The Graduate

This time around, I was fascinated by Mrs. Robinson. Surely this is an age thing. When I first watched the film, of course, I was closer to Ben's age. And the film strongly takes his perspective. But now, being closer in age to Mrs Robinson, I can't help but think - what is going on with her? What is her deal? Why is she so thirsty and obvious? Why does she fear Ben dating Elaine? As best I can surmise, Mrs. Robinson resents losing her youth. She was forced into marriage because she got pregnant with Elaine. Now both she and her husband are alcoholics and miserable. Her seduction of Ben is about getting her youth back, but of course, this is doomed from the start, and even she knows it. Hence her melancholy. In this respect, the film is much wiser than how filmmakers of today would and do treat the subject. Today, this film gets made by a female director (or perhaps a female writer), and they would insist Mrs. Robinson is an empowered individual. But she is not. She's a hungry predator who has a shot at redemption but instead chooses to punish Elaine for "ruining" her life. Hence, she plots for Elaine to marry poorly and sacrifice her own youth as penance for stealing it from Mrs. Robinson. This is as far as I can tell what's happening psychologically with her. 

Next observation, the music. Much of the magic of the film stems from how the music interacts with the images - the two beautiful montages sections that bridge the affair and his loneliness plus the travel up to Berkeley section. One montage actually goes for two songs! Clearly the music inspired the movie and the movie inspired the music. You can't imagine the shots or the opening or the montages without the music. Films cannot escape the era in which they are made. So the question of: why can't we make movies like that anymore is a nonsense. Because we don't listen to new Simon and Garfunkel songs on the radio is why. And even if we did, it's just an exercise in nostalgia at this point.