The opening scene sets the stage for the remainder of the movie in a few key ways. First, the Simon and Garfunkel song perfectly suits the scene, which is the case each time one of their songs plays. Second, the main character, Benjamin Braddock (Dustin Hoffman), is filled with uncertainty and doubt, which is the case throughout the movie. Third, the scene takes place at an airport where people often look full of conviction and purpose but are secretly at least a little confused about where they are supposed to be going and are uneasy about going there, which again is the case for the key characters in most scenes throughout the movie.
Ben knows exactly where he is going, but in a metaphorical yet much more real sense he has no idea where he is going. In the airport, he knows where to go. In his life, he does not. Paul Simon wrote "people talking without speaking; people hearing without listening" and he could have easily added "people moving without progressing," but progressing isn't a lyrically fluid word, so he left it out. As usual, Paul Simon was right.
Here's the thing about Ben: he's kind of a doofus. A recent graduate (as you may have guessed), he excelled in college, won some prestigious award, everyone is so proud of him, but he doesn't seem to have a firm grasp of what's going on in the world. Ben is almost less a character and more a caricature of a recent college graduate who is not sure what to do next. Everything Ben does is awkward. He's not a bad guy (though he does some unsavory things); he's just filled with so much uncertainty and self-doubt that he sweats and stumbles his way through any and all things adult. It's an incredible comedic performance by Hoffman. He manages to make the movie hysterically funny despite the dialogue containing virtually zero jokes.
His interactions with the hypnotizing Mrs. Robinson (Ann Bancroft) are comedy gold. She's majestically cool and composed, while Ben barely has the confidence to order himself a drink. Their polar opposite personalities make her seduction of him a beautiful whirlwind of cringey, awkward hilarity that seems to last forever. But in a good way. At least in a good way for us viewers, since we aren't dealing with the awkwardness firsthand.
I cannot stress this enough-Bancroft is magnificent. As one of the first cougars in cinema history, she sets an impossibly high bar. She's sophisticated, beautiful and undoubtedly in charge. She uses Ben as her plaything. Though to be fair to her, he's no victim. He's a willing participant from the beginning.
The first part of the movie parallels Ben's life at the time. It's entertaining as can be but aimless. Then we meet Elaine Robinson (Katharine Ross). She's as beautiful as her mother and as full of uncertainty as Ben. Mrs. Robinson insists that Ben does not take out her daughter on a date. Ben agrees. Then as soon as his parents pressure him to take her out he gives in because he's a pushover doofus.
Here things get interesting as Ben finally talks to someone who understands what he's feeling. He's completely enamored with Elaine. Or at least he thinks he is. He wants to marry her. Or at least he thinks he does. Maybe he's just latching onto these feelings because he finally found some sense of direction for the first time since graduating. He finally knows what to do next.
The ending is perfect. I don't say that lightly. The ending is perfect because it lingers just a little bit longer than most movies normally would. It looks like it's going to be a typical happily ever after fairy tale ending that we have all seen a million times. Then it keeps going. In those final 15 seconds we see the elated smiles fade, reality hitting, and doubt creeping back into the faces of the characters. The movie began with uncertainty, and it ends in uncertainty. Ben faces the same question that has plagued him throughout the story. Now what?
Ben knows exactly where he is going, but in a metaphorical yet much more real sense he has no idea where he is going. In the airport, he knows where to go. In his life, he does not. Paul Simon wrote "people talking without speaking; people hearing without listening" and he could have easily added "people moving without progressing," but progressing isn't a lyrically fluid word, so he left it out. As usual, Paul Simon was right.
Here's the thing about Ben: he's kind of a doofus. A recent graduate (as you may have guessed), he excelled in college, won some prestigious award, everyone is so proud of him, but he doesn't seem to have a firm grasp of what's going on in the world. Ben is almost less a character and more a caricature of a recent college graduate who is not sure what to do next. Everything Ben does is awkward. He's not a bad guy (though he does some unsavory things); he's just filled with so much uncertainty and self-doubt that he sweats and stumbles his way through any and all things adult. It's an incredible comedic performance by Hoffman. He manages to make the movie hysterically funny despite the dialogue containing virtually zero jokes.
His interactions with the hypnotizing Mrs. Robinson (Ann Bancroft) are comedy gold. She's majestically cool and composed, while Ben barely has the confidence to order himself a drink. Their polar opposite personalities make her seduction of him a beautiful whirlwind of cringey, awkward hilarity that seems to last forever. But in a good way. At least in a good way for us viewers, since we aren't dealing with the awkwardness firsthand.
I cannot stress this enough-Bancroft is magnificent. As one of the first cougars in cinema history, she sets an impossibly high bar. She's sophisticated, beautiful and undoubtedly in charge. She uses Ben as her plaything. Though to be fair to her, he's no victim. He's a willing participant from the beginning.
The first part of the movie parallels Ben's life at the time. It's entertaining as can be but aimless. Then we meet Elaine Robinson (Katharine Ross). She's as beautiful as her mother and as full of uncertainty as Ben. Mrs. Robinson insists that Ben does not take out her daughter on a date. Ben agrees. Then as soon as his parents pressure him to take her out he gives in because he's a pushover doofus.
Here things get interesting as Ben finally talks to someone who understands what he's feeling. He's completely enamored with Elaine. Or at least he thinks he is. He wants to marry her. Or at least he thinks he does. Maybe he's just latching onto these feelings because he finally found some sense of direction for the first time since graduating. He finally knows what to do next.
The ending is perfect. I don't say that lightly. The ending is perfect because it lingers just a little bit longer than most movies normally would. It looks like it's going to be a typical happily ever after fairy tale ending that we have all seen a million times. Then it keeps going. In those final 15 seconds we see the elated smiles fade, reality hitting, and doubt creeping back into the faces of the characters. The movie began with uncertainty, and it ends in uncertainty. Ben faces the same question that has plagued him throughout the story. Now what?