Film Analysis of The Graduate Directed by Mike Nichols Essays

Based off Charles Webb’s 1963 novel by the same name, The Graduate is an American romantic comedy/drama released in the United States on December 21, 1967 starring Dustin Hoffman, Anne Bancroft, Katharine Ross, and William Daniels. The film was directed by Mike Nichols, produced by Lawrence Turman and the screenplay written by Buck Henry and Calder Willingham. The film was produced by Lawrence Turman/Mike Nichols productions starting in March of 1967. Mike Nichols has also directed other well known films such as Catch-22 (1970), Working Girl (1988), and more recently Closer (2004). The film was distributed by AVCO Embassy Pictures nationally and United Artists internationally. AVCO Embassy Pictures studio, founded by Joseph E. Levine, the films executive producer, also claims production/distribution for other hit films such as Godzilla, King of Monsters! (1956), The Fog (1980), and Prom Night (1980). The movie was well received due to its $104 million dollar box office opening tab. The score was produced by Dave Grusin and the songs written by Paul Simon and Art Garfunkel.

The 1967 film by Mike Nicoles “The Graduate” is about Benjamin Braddock, a recent college graduate, who is at a crossroads in his life. He is caught between adolescence and adulthood searching for the meaning of his upper middle class suburban world of his parents. He then began a sexual relationship with the wife of his father’s business partner, Mrs. Robinson. Uncomfortable with his sexuality, Benjamin and Mrs. Robinson continue an affair during which she asked him to stay away from her daughter, Elaine. Things became complicated when Benjamin was pushed to go out with Elaine and he falls in love with her. Mrs. Robinson sabotaged the relationship and eventually the affair between Mrs. Robinson and

In this paper I am going to write about the movie “Grease.” Specifically, on the two main characters Sandy and Danny. I will be describing and analyzing their interpersonal communication, but mainly on the conflict of their communication.

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

Trainspotting presents an ostensible image of fractured society. The 1996 film opens, famously, with a series of postulated choices—variables, essentially, in the delineation of identity and opposition. Significant here is the tone in which these options are delivered—it might be considered the rhetorical voice of society, a playful exposition of the pressure placed on individuals to make the "correct" choices, to conform to expectation.

“Insidious” is a 2010 horror movie centralizing around the lives of protagonists Renai (Rose Byrne) and her husband Josh (Patrick Wilson). The movie mainly focuses on the supernatural activity going on within the house, and it is later revealed that the cause of the hauntings is due to demons attempting to take over the body of their unconscious son, Dalton (Ty Simpkins).

The film Pleasantville directed by Gary Ross is about two modern teenagers, David and his sister Jennifer, somehow being transported into the television, ending up in Pleasantville, a 1950s black and white sitcom. The two are trapped as Bud and Mary Sue in a radically different dimension and make some huge changes to the bland lives of the citizens of Pleasantville, with the use of the director’s cinematic techniques. Ross cleverly uses cinematic techniques such as colour, mise-en-scene, camera shots, costumes, music and dialogue to effectively tell the story.

If you have not seen Dazed and Confused than you are really missing out. It is a great movie that relates from everything to High School to Sex, Drugs, and Rock n Roll. With an outstanding cast (from the past) it is a movie that everyone can relate to. Dazed and Confused reflects the lifestyle of kids that are entering high school for the first time, to seniors owning the school and being the "man" on compass. It portrays that freshman must watch their backs at all times and if you think you're as cool as the seniors, then you better watch out. There is a ritual that the seniors do to the freshman that have given so many people in reality a though of. With School being out for summer, in Dazed and Confused, it offers a great soundtrack from

In the early 1900’s silent films amazed audiences with images, later talkies impressed with sound, today we have 3D. As technology continues to evolve so too will film genres. Genres, while having some shared characteristics, also differ in terms of stylistic devices used. For instance, the dramatic film “The Notebook” effectively uses color to reinforce theme and has plausible performers as the two main protagonists.

The movie, The Shawshank Redemption (1994), is based on a character Andy Dufresne. Andy is a young and successful banker who is sent to Shawshank Prison for murdering his wife and her secret lover. His life is changed drastically upon being convicted and being sent to prison. He is sent to prison to serve a life term. Over the 20-years in prison, Andy retains optimism and eventually earns the respect of his fellow inmates. He becomes friends with Red, and they both comfort and empathize with each other while in prison. The story has a strong message of hope, spirit, determination, courage, and desire.

This transformation is illustrated in The Graduate (1967) and Shampoo (1975), two of the most notable satire romantic comedies of the Modernist era. While both films exemplify the move away from the innocent, puritanical mindset that preoccupied post-war America, Shampoo presents its story much more explicitly with its straightforward presentation of nudity, profanity, and visible sex sequences. On the other hand, The Graduate, which debuted near the denouement of the Production Code, is less explicit and more suggestive, brimming with heavy implications of sexual encounters but devoid of any display of nudity or intercourse. Throughout the Modernist era, social satires have escaped the shackles of the Hays Code and evolved beyond simply a comic relief to also become a force that highlights and ridicules social vices, behaviors, and

Reservoir Dogs Was Tarantino, the right director at the right time? Was he too talented not to be noticed? Tarantino was fortunate in one respect; his first film was embraced by cerebral critics as well as the national publicity machine starved for new heroes. In a few years, Tarantino evolved from an unemployed actor-writer working in a video store to the hottest American filmmaker.

Edmonson, J. (2009). Let's be clear: How to manage communication styles. T & D, 63(9), 30-31.

In Michael Gondry’s Eternal Sunshine of the Spotless Mind (2004), the connections between people and memories become the focal point of a very unique romance. Through the use of new technology, the possibility of erasing memories makes painful relationships disappear like they never happened. The tale of Joel and Clementine allows the audience to rethink and question the process they undergo as beneficial or destructive. Though the process might be helpful in eliminating the pain caused from another person, four key scenes show how the lessons learned through relationship experiences are important.

Of the many symbolic details the first two we encounter at the very beginning of the film are cluing us in on the character of Dustin Hoffman who is known as Benjamin Braddock. The two details happen almost simultaneously, one being the song “The Sound of Silence” by Paul Simon and Art Garfunkel and the other is the symbolic action of him sliding across the screen on an airport conveyor belt. The first detail, the song, suggests that the character Benjamin or Ben is lost in the world. He has no idea where to go from this point in his life forward. He is lost in the “darkness of life” and is directionless. The second detail is the conveyor belt which forcibly moving him along. This conveys the fact that throughout