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  • Genre: Comedy, Drama, Romance
  • Release Date: 12/21/1967
  • Running Time: 105 mins
  • Director: Mike Nichol
  • Cast: Dustin Hoffman, Anne Bancroft, Katharine Ross, William Daniels, Murray Hamilton, Elizabeth Wilson, Buck Henry, Brian Avery, Walter Brooke, Norman Fell
  • Producer: Lawrence Turman
  • Writer: Charles Webb, Calder Willingham
  • Distributor: Embassy Pictures
  • Offical Site: Click Here
  • Buy Tickets

Box Office

  1. Dear John, 32.4 mil, 32.4 mil
  2. Avatar, 23.6 mil, 630.1 mil
  3. From Paris With Love, 8.1 mil, 8.1 mil
  4. Edge of Darkness, 7.0 mil, 29.1 mil
  5. The Tooth Fairy, 6.5 mil, 34.3 mil
  6. When in Rome, 5.5 mil, 20.9 mil
  7. The Book of Eli, 4.8 mil, 82.2 mil
  8. Crazy Heart, 3.6 mil, 11.2 mil
  9. Legion, 3.4 mil, 34.6 mil
  10. Sherlock Holmes, 2.6 mil, 201.6 mil
Movie Title, Weekly Earnings, Total Earnings

The Graduate (1967)

It's difficult to see clearly a film that has become encrusted with 30 years of cultural significance, especially when that significance is laced with the kind of self-congratulatory boomer twaddle that attends this 1967 classic. But once you get past that "film that defined a generation" business (and one can't help but wonder whether, say, Black Power activists found the tale of a white, affluent young man's free-floating anxieties to be definitive of their generational experience), this is actually quite an enjoyable and even impressive movie. Director Mike Nichols, whose recent films have become appallingly lazy, makes virtually every shot here communicate several layers of meaning at once. Nichols's mise en scène, framing, and editing--even his use of focus--are all packed with intelligence and wit. Buck Henry's screenplay is pretty great, too, with its pitch-perfect comedy of social awkwardness and its corresponding parody of smug bourgeois cheer. Dustin Hoffman (in his first film role, as the titular character) is particularly adept at the former, while Anne Bancroft (as Mrs. Robinson) brilliantly conveys the acrid self-loathing that is the underbelly of the latter. True, the movie is resolutely apolitical in its drama of middle-class disaffiliation. (Save for a joke about "outside agitators," one would never know from the film that it was an imperialist war causing a lot of people to worry about their futures.) But when's the last time you saw a Hollywood movie that celebrated being a traitor to one's class? Other than Fight Club, that is. (Derek Nystrom) — Derek Nystrom

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