Tuesday, March 30, 2010


A favorite film of mine that hasn't aged particularly well is Mike Nichols’ The Graduate, a 60s generation-gap social satire about directionless, Ivy League college grad Benjamin Braddock (Dustin Hoffman) and his struggle to find himself amidst the hypocrisies and false values of post-50’s suburbia.

I've seen The Graduate many times over the years and the witty dialog and sharp performances always make me laugh. I have noticed, however, that the character of Benjamin doesn’t wear so well on me after repeat viewings. Hoffman is really quite good, but to me the character of Benjamin is inherently unlikable and his moody self-absorption feels like a wearisome extension of the film’s simplistic “Noble Youth/Morally Bankrupt Adult” favoritism.

Perhaps it’s just my age showing, but what grates is the arrogance of a kid who attends four years of college (on his parent’s dole), returns home, contemptuous both of his parents and their way of life, yet whose high ideals fail to prevent him from exploiting his middle-class advantages and floating the summer away in their backyard pool (rent-free) while figuring out how not to wind up like them.

Here’s to the crabgrass, here’s to the mortgage, in fact here’s to suburbia
Allan Sherman

The main attraction in The Graduate and the sole reason why it ranks so high on my list of favorite films is, simply, the glorious Anne Bancroft, certainly one of the most talented and classiest acts ever to grace the screen. As the embittered, sexually predatory Mrs. Robinson, she is Star Quality personified and makes apparent how she became the older-woman crush for scores of young men at the time. Displaying a heretofore unseen genius for comedy, Bancroft is sexy and smart, tough and touching, and gives one of those surprising, nuanced performances that gets better and better with age.

I know that we are not really supposed to like Mrs. Robinson and that the film sets her up as this big villain, but, as is often the case with movie bad guys, hers is the best written and most fleshed-out character in the piece. She’s a wonderful cinematic creation. An almost feminist deconstruction of the male adolescent fantasy of the older woman, Mrs. Robinson is not the lonely dreamy fantasy pin-up of Summer of ‘42, but a strong, assertive and intelligent woman who knows what she wants and uses the leverage of her maturity to get it.

“Would you like me to seduce you? Is that what you’re trying to tell me?”

Sure she’s manipulative, an alcoholic and a self-professed “neurotic,” but she’s also the most emotionally honest character in the film and I like her immensely. She doesn’t kid herself (she doesn’t pretend to be in love with Benjamin any more than she does her husband), she doesn’t take any of Benjamin’s guff (love the way she hurls his car keys into his aquarium) and she is waaaay cool (the streaked hair and animal print wardrobe are beyond sensational).

Mrs. Robinson: The original cougar

Satires are dicey because by definition they deal with caricature. Play it too broad, you have a cartoon, play it too straight and you run the risk of actually being the thing you’re satirizing. In The Graduate Anne Bancroft is the emotional anchor that makes possible the arch absurdity of Nichols’ view of American suburban rot. Armed with a set of regal cheekbones and a look of perpetual haughty nonchalance, Bancroft lays waste every other character the minute she opens her mouth and lets out with that throaty, no-nonsense voice of hers.
Bancroft imbues Mrs. Robinson with a steely world-weariness that gives way to surprisingly disarming smiles and glimmers of raw vulnerability that remind us that toughness is often just the armor worn by those most disappointed by life and themselves.

One of the few actresses able to combine old-school movie star glamour with contemporary earthiness. No matter how gorgeous she looked (and she was seriously gorgeous …she was just 35 at the time, Hoffman was 30) she always exuded such real intelligence, humor and sensitivity. You really can’t take your eyes off of her.

The early scenes between Bancroft and Hoffman are such masterfully choreographed games of sexual cat and mouse (Hoffman’s comic discomfort compliments Bancroft’s droll assurance) that they are what most people recall. But my favorite scene in the entire film is the hotel room tryst that comes after Mrs. Robinson and Benjamin have been involved for some time. Benjamin is eager to take things to a more personal level while Mrs. Robinson is content to keep things strictly physical.

As he badgers her to reveal details of her personal life, for the first time there is a power shift in the dynamic of this couple and we get a glimpse into the sadness behind Mrs. Robinson’s cool exterior. Bancroft goes through an amazing array of emotions in this scene and she is splendid and heartbreaking. Bancroft has played many wonderful scenes in many films, but this remains my all time favorite.

In retrospect, I can’t believe how long it took me to see The Graduate. I was ten years old when it first came out, and, despite its recommended for adults rating, would certainly have sneaked in to see it were I interested. What I recall most are the newspaper ads that played up the graphic of the dopey schlub accosted by the shapely lady's limb. Seeing this, I was positive the film would be one of those smirky, smutty 60s sex comedies of the type I loathed (the result of too may TV reruns of Tony Curtis movies, I guess). Anyhow, when I finally saw it at a revival theater at age 20, I was pleasantly surprised at how smart it was and how hilarious I found Benjamin’s bemused stutterings in the face of Mrs. Robinson’s determined seduction.

Those scenes still make me laugh, but I can’t say I enjoy the sequences without Anne Bancroft all that much. I guess Mrs. Robinson seduced me, too.

Autograph of Dustin Hoffman. He was in the courtyard restaurant at a dance studio where I was working. BOY! Is he ever handsome in person!

Copyright © Ken Anderson


  1. and the way you've written about her character has seduced me...

    thank you, very well expressed. funny i should catch this post at this moment of my own sensational obsession with mrs robinson/anne bancroft. the most disheartening scene is in that hotel room. it is almost too difficult for me to watch. she's unmasked at that moment and plays it tragically well in that sideways glance after benjamin rips the sheets off of her - a performance of the same caliber as vivien leigh, when her voice lowers and she unveils the real blanche dubois to mitch.

    the next we see of mrs robinson is as she really is - no makeup, dressed like a slob, passing time at home with a drink, the tv, and a burning cigarette. she never quite recovers from that scene in the hotel room and i find it deeply painful.

  2. Thanks for visiting my blog and thanks for a very interesting observation that will send me off to view the film again. I'd never taken notice of the fact that the Mrs. Robinson in the scenes following the hotel room is perhaps a slightly wounded/unmasked version of her previous self. If you're just discovering Anne Bancroft, try to dig up a copy of "The Pumpkin Eater," she's great in it.

  3. I also still love to watch this movie and completely agree with you about the slightly annoying character of Benjamin! Plus how ironic their real life age difference is, lol.
    I haven't stumbled over a lot of Anne Bancroft films yet, but there was once a dance film also starring Shirley McLaine, and I saw Bancroft in 'Elephant Man' where she is the loviest. Such a beautiful and warm character, wonderfully played and beautiful on the outside as well.

  4. Hello Eva Mary
    Yeah, Benjamin is a little rough going for me. A reader pointed out to me that in the novel it's made clearer that Benjamin is not so much of a brat so much as one of those kids whose life was so fully orchestrated by his parents: they told him where to go to school and what to study, etc. That softens my perception of him somewhat, but Bancroft is still the jewel of this film. I'm not familiar with a lot of her work, but I did like her in "The Elephant Man" as well. Just gorgeous! I always wonder what "Mommie DearesT might have been had she not dropped out...
    Thanks so much for commenting and visiting from far away Austria!

  5. I couldn't agree more on this Ken - Anne Bancroft simply makes this film what it is.

    As Mrs Robinson she is so self-assured and confident in her pursuit of Benjamin (Hoffman). The little gestures and touches she adds to her performance make me love the one character who is supposedly the morally bankrupt villain in the story.

    The way she conducts her first encounter with Benjamin, pouring his drink, lighting a cigarette, and saying that her husband should be back "quite late. He should be gone for several hours". She has the best lines of the whole film, delivering them with (as you said) a touch of world-weariness and non-nonchalance.

    "Do you have a patrol car in the vicinity? Good. We have a burglar. Just a moment, I'll ask him ... are you armed?"

    Fabulous :)

    1. Isn't Anne Bancroft the best? I read somewhere that she gave Katherine Ross hell during the filming, but she is so much the lifeblood of this movie to me.
      Her seduction of Benjamin is coolness personified, and you're right; she does have the best lines. Just reading the quote you wrote made me smile in remembering. Glad to know you are as charmed by this over-30 "villain" as much as I am!

    2. 'Coolness personified' - couldn't have put it any better! :)