After breaking out

Alexie 2022-01-26 08:02:37

Looking at it again, New Hollywood is really bold and has a lot of subtext underneath. This is "sex". "Sex" has its own tension. Many directors know how to use this to sway the gray line, such as Ang Lee, which always catches people off guard.

Here, white (confused/empty/no idea) is emphasized at first, and then rules are emphasized. The characters are in a lot of rules, such as the announcement sound of the plane, such as the announcement sound of the escalator, they are all "teaching" you what to do. Then, from the half body of the person, to the luggage on the conveyor belt, which means that he is "passive" like luggage.

Then he went home, and the camera was almost close to him. The most important image here is that he was always "surrounded" and "blocked". It was very stuffy here, so he had to escape. This image of "blocking" and "surrounding" was later deepened, where his father told him to wear that diving suit.

He fled into his room, the woman came and forced him to do this and that. He tried to resist, but the result was "passive". It's very interesting here, the woman is wearing a leopard print, and then in her living room, she emphasizes the large greenery outside the window - this is the "jungle", the woman in the leopard print is the hunter, and he is the prey.

Then go to bed, where he is still hesitant because of his sense of morality, until the woman prods him, "This is your first time?" Since then, he has become a completely "active" character, even daring to kiss his little girlfriend on the street.

The little girlfriend is also an interesting character. She has almost no opinion, she is passive, hesitant, and she is the past him. So here is the point. Passiveness and confusion were the common state of young people at that time. But he has gained courage, so he began to rebelliously and gamely want to marry his little girlfriend. It's almost a venting mood.

So, the point of the story is that when you destroy the old moral system (sleeping with women), you can get a new life and be a free and brave person. This "old moral system" can be replaced by many, old values, old ways of love, and so on. The most obvious is that when he went to open the room, the director also spared no effort to shoot another wedding in the hotel, which is to contrast with what he will do later.

Also, when he went to find his little girlfriend, it was in the church. He claimed to be a pastor, and then he actually blocked the door with a cross. Also, he first looked down from a high glass—meaning, he was "from the sky." The writing is very detailed, in fact, it can be written. He directly enters the door and confronts them. But here, the little girlfriend just looked up at him, as if she was looking at God-because she also looked forward to being saved.

And then at the end, they got in the car, and when they were at a loss, they didn't know what to do. Break through, and then, don't care, leave here first, because this society is too boring. That's the point of the whole story.

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Extended Reading
  • Mona 2022-03-22 09:01:21

    Only when you know the meaning of love can you settle down and appreciate it, just like ben. Ben may not be mature, but he understands what love is. The end of the first act is the best written one I have ever seen. Mrs. Robinson's teasing and Ben's dullness constitute a very powerful scene. The film’s photography has also been designed. The large-aperture and less-focused photography fits the relationship between the plot and the confusion, depression, and resistance of the American society at that time.

  • Alden 2022-03-21 09:01:23

    I feel uncomfortable seeing it, I don’t know why

The Graduate quotes

  • Mrs. Robinson: [gets into Benjamin's car] Drive down the block.

    Benjamin: Mrs. Robinson, Elaine and I have a date, we're going for a drive.

    Mrs. Robinson: [angrily] Do exactly as I say!

    Benjamin: [Ben drives down the block] Now, it seems to me...

    Mrs. Robinson: Listen very carefully to me, Benjamin: You are not to see Elaine again, ever! Those are my orders, is that clear?

    Benjamin: Mrs. Robinson, do you think...

    Mrs. Robinson: I can make things quite unpleasant.

    Benjamin: How?

    Mrs. Robinson: In order to keep Elaine away from you, I'm prepared to tell her everything.

    Benjamin: [Ben stops the car] I don't believe you.

    Mrs. Robinson: [threateningly] Then you better start believing me.

    Benjamin: I just don't believe you would do that.

    Mrs. Robinson: Try me.

    [Ben gets out of the car]

  • Benjamin Braddock: [runs into the Robinson's house, up the stairs to Elaine's bedroom] Elaine! Elaine!

    Elaine Robinson: Benjamin?

    Benjamin Braddock: I'm coming up!

    Elaine Robinson: I'm not dressed yet!

    Elaine Robinson: [Ben barges through her bedroom door] Benjamin, I said I wasn't dressed.

    Benjamin Braddock: You've got to go over the back fence, and I'll meet you in the courtyard.

    Elaine Robinson: What's the matter?

    Benjamin Braddock: Hurry, put your shoes on.

    Elaine Robinson: [hysterically] Benjamin, Benjamin!

    Benjamin Braddock: Elaine.

    Elaine Robinson: What are you doing?

    Benjamin Braddock: Elaine, I have to tell you something.

    Elaine Robinson: What is it?

    Benjamin Braddock: That woman...

    Elaine Robinson: What?

    Benjamin Braddock: That woman - that older woman that I told you about?

    Elaine Robinson: You mean that one?

    Benjamin Braddock: Yes, the married woman; that wasn't just some woman.

    Elaine Robinson: What are you telling me? Benjamin, will you just tell me what this is all about?

    [Elaine turns around, and sees her mother, Mrs. Robinson standing in the bedroom doorway; her expression turns to shock]

    Elaine Robinson: Oh, no.

    Benjamin Braddock: Elaine...

    Elaine Robinson: Oh my God.

    Benjamin Braddock: Please.

    Elaine Robinson: Get out of here.

    Benjamin Braddock: Don't cry.

    Elaine Robinson: [screams] Get out! Get out, out! Get out!

    Mrs. Robinson: Goodbye, Benjamin.