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The Graduate
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The Graduate | — | — |
Genre | Comedy |
Format | Multiple Formats, Closed-captioned, Color, NTSC, Widescreen |
Contributor | Calder Willingham, Norman Fell, Mike Nichols, Walter Brooke, Elizabeth Wilson, Alice Ghostley, William Daniels, Dustin Hoffman, Murray Hamilton, Buck Henry, Anne Bancroft, Katharine Ross, Marion Lorne, Charles Webb, Brian Avery See more |
Language | English |
Runtime | 1 hour and 45 minutes |
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Product Description
College degree in hand and clueless as to his next move, suburban kid Benjamin Braddock (Dustin Hoffman) finds himself drawn into an illicit affair by older, glamorous family friend Mrs. Robinson (Anne Bancroft). Their brief liaison might have dire consequences, as Benjamin then develops feelings for her daughter, Elaine (Katherine Ross). Mike Nichols’ telling, generation-informing coming-of-age comedy co-stars William Daniels, Murray Hamilton; classic score from Simon and Garfunkel. 106 min.
Product details
- Aspect Ratio : 2.35:1
- Is Discontinued By Manufacturer : No
- MPAA rating : PG (Parental Guidance Suggested)
- Product Dimensions : 0.6 x 5.3 x 7.5 inches; 0.71 ounces
- Item model number : 2200
- Director : Mike Nichols
- Media Format : Multiple Formats, Closed-captioned, Color, NTSC, Widescreen
- Run time : 1 hour and 45 minutes
- Release date : January 21, 2014
- Actors : Dustin Hoffman, Anne Bancroft, Katharine Ross, William Daniels, Murray Hamilton
- Subtitles: : French, Spanish
- Language : English (Dolby Digital 2.0 Surround), Unqualified, Spanish (Dolby Digital 2.0), French (Dolby Digital 2.0)
- Studio : Mgm (Video & DVD)
- ASIN : B00079Z9VO
- Writers : Buck Henry, Calder Willingham, Charles Webb
- Number of discs : 1
- Best Sellers Rank: #53,659 in Movies & TV (See Top 100 in Movies & TV)
- #6,224 in Comedy (Movies & TV)
- Customer Reviews:
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**Spoiler Alert**
The Graduate was a unique movie for its time because of when it was made, who the actors were, and how America itself was changing. The movie made during the Vietnam War, and agitators are mentioned a couple of times during the film. Anti-war demonstrations were being conducted on college campuses all around the United States, especially at Berkeley, the university highlighted through much of the film.
It however must be said that the movie only touches upon this fact, the analysis of the movie goes into deeper historical context than just the war which was going on at the time the movie was filmed. So much culture was changing in America at that time. Some things that stand out in the movie are the generational gap, between the older people and the younger ones. The older more mature people whose lives are already defined, such as Ben's Parents represent an older America who represents old values, traditions, good morals and an old time America in which the father was the main provider for the family and knew what best for the family. The younger generation thought that the older was naïve, didn't understand them, and didn't get what was really going on.
The older generation had a defined family setting, the nuclear family, again traditional that was to be seen as the best parts of that, however we can see that as Elain's father is divorcing her mother that this area in America is beginning to fail and more and more marriages are falling apart ending in divorce. Perhaps alluding to the "Free love" that was espoused during that period in history, to break the bonds of matrimony and live free, and just "shack up".
This "Free love" might be able to possibly extend to Mrs. Robinson, the women whom seduced Ben. Women seducing men was unheard of during that time, let alone a woman of this age difference, yet so many things can be taken from the se4duction itself that lets us know how America is changing. Take a look at the naivety of Ben, as he drives her home, get out of his car, accompanies her to the door, goes inside, gets a drink, head up to her bedroom, helps her dress off, and all this time, not up until, the very end has he any idea whatsoever that she wants to seduce him. The seduction by women was unheard of in society, let alone a movie and repeated small brief flashes of her breast was unheard of at the time as well. The movie makers where testing the waters, and telling the ratings boards that America isn't this Naïve, that they can handle brief nudity in films and that they shouldn't have the belief that the culture isn't changing between the older and the younger, because it is.
Even after the seduction by Mrs. Robinson Ben is still in the precarious situation of not knowing what he wants to be, though he does know what he don't want to be, and that is like his parents and the people of his parents' generation. The movie plays upon this as that they are not above their own faults; Mrs. Robinson has a long lived love affair with Ben, all the while cheating on her own husband with a boy half her age. Totally unheard of and still a very great fault portrayed by her that the older generation might not be so traditional in values after all, so who are they to tell the younger generation how to live, how to act, and what to say, especially so after they have succumbed to their own form of evil?
However upon further inspection of Ben's character we can see that he thought of Mrs. Robinson as his only way out. One of the early scenes Mrs. Robinson throws Ben's car keys in the fish tank. This could represent several things. Firstly that Mr's Robinson was the key to what he wanted and the freedom he so much thought he deserved. He was just like a fish in the fish tank, caught in an area with very little move room and a go nowhere but in circles attitude unsure of what was happening or which way to go. We see this played out again as he is in a diving suit in the pool, he tries to come back up but his parents just push him right back down. Mrs. Robinson could be seen as his way out from a trapped existence, and she was the "key" to doing so.
All in this entire movie is about a transitional change from a more conservative culture to a more liberal one. This stance is repeated many times throughout the course of the film. It plays upon the fact that love can be used for ill or for gain. The differences between right and wrong is not always clear, and that lust and love are two different things, and while the movie challenges us to think about it in terms of a changing America in an antiwar type of culture, it still manages to entertain and tell us things about the human condition in that we are all human and just as likely to fail as to win and the winds of cultural change will blow no matter how hard you hold out.
Some have said that “The Graduate” is a reflection of the times and of young Americans of the day – lazy, self-absorbed rich kids doing whatever they want. I don’t know that I completely agree with the assessment, but I can see the point. I would note, however, that that judgment is not greatly different from how many see today’s millennials.
As for the movie, great cinematography, story flow, and music. I thought Ann Bancroft was amazing and made Mrs. Robinson come alive. Katharine Ross was little weak in her part. Dustin Hoffman played Ben well, but I found a lot of his character’s actions to be annoying. It’s the fault of the writer and/or director but why does he constantly repeat what the other person says as a question? Elaine: I don’t understand what’s happening. Ben: Are you confused? Well, duh. What else can that statement mean? And the ending is completely unbelievable. I felt the same way when it first came out, and it is even more unbelievable now. The same is true of the sequences in which they fall in love. They go from barely interested to in love in just a few scenes. Ben’s infatuation with Elaine, as it would have been called in the 60s, would today be called obsession, and his following her would probably be stalking. The times do change.
The film is about Ben (Dustin Hoffman) returning from the East Coast (college) back into the world of artificial, plastic people, and plastic realities, plastic hopes and plastic dreams. (Check out the first cut on Frank Zappa's "Absolutely Free" - called "Plastic people" - produced at the same time as the film).
Ben states in the first full scene after the intro, that he is concerned about his future. He says, "I don't know, I wanted to be . . . different". That is, a real person, not the plastic people that make up the parents and the Robinsons and the others at Ben's party.
If you watch carefully, Nichols has made what is essentially a black and white film (the colors of plastic). All throughout the first act, black and white themes of plasticity predominate. The Robinson's house, is black and white on the outside as well as on the inside, with the tacky black and white plastic bar stools, Mrs. Robinson dressed in black, etc. Yet outside the picture window (during the famous seduction scene), everything is green and alive, in direct contrast to the plasticity of the world inside, the world which Ben so desperately wishes to escape. The only time that there is any real color during Act I is when Mrs. R. invites Ben into Elaine's room to see her portrait. There is a soft pink glow superimposed over the black and white plasticity of the Robinson house.
This black and white motif is continued in practically all the important scenes: Ben's room at his parent's house is wall-papered in black and white, with black stripes representing the bars of the cage within which Ben has found himself trapped. The room at the Taft hotel is in black and white; Ben in the diving gear is black and white.; Nichols is forcing upon the audience this concept of PLASTICITY of the society. Only when Ben first takes Elaine outmon a date is there any real sense of color, since she is the first REAL (non-plastic) person he has met. But black and white continues to dominate the first act until the end when we get the famous camera shot of Mrs. Robinson, soaking wet, dressed in black, standing in the corner of two white walls, saying "Goodbye, Benjamin". Act I constitutes Ben finding that there is a way out of this plastic world - but only through Elaine.
Act Two constitutes the montage sequence, so masterfully done by Nichols with Simon and Garfunkel's "Scarborough Fair" background. Here color predominates as Ben carefully watches Elaine and begins to formulate his plan for escape - to escape with Elaine.
Act III, the finale, is, like most sonatas, in presto agitato. It is Ben's desperate attempt to get to Elaine before she has a chance to get married to the "ape-man" (see the zoo scene) Carl. When Ben finally reaches the Church, guess what?, it too is in stark black and white, again representing the values of Ben's parents and friends. (Also, we never get the first names of the parents or the Robinsons).
This is a film that explores the desperation of a young man attempting to escape from a phony and plastic life, but who almost gets drowned in that false-ness (the affair with Mrs. R.). The film is a classic: timeless, relevant, and naked in its message. If you have not seen it, DO SO! If you have seen it, watch it again; you'll be amazed at how well Mike Nichols incorporates the black/white/plastic theme on so many different levels. I could go on and on, so get the film (with the commentaries). You will not be disappointed.
Top reviews from other countries
C'est la contre-culture des années 60 qui s'immisce dans le débat public. Scorsese, De Palma, Coppola, Friedkin, Lumet, Cimino, Denis Hopper pour citer quelques-noms, assez voir très connu.
"Le Lauréat" est le chef de file et marque un véritable tournant, le topo est très simple, un jeune fraichement diplômé (Dustin Hoffman, là aussi gros changement, plus de grand, beau et musclé comme Lancaster mais des petits aux gueules atypiques comme De Niro, Pacino, qui n'aurait jamais pu joué dans les films d'avant) doute de son avenir, doute du futur qu'on lui propose. Il va donc passer sa phase de dévoiement, d'initiation, en ayant la bonne idée de se taper la femme du collègue de son père (la fameuse Mrs. Robinson, titre phare de Simon & Garfunkel qui signent la magnifique B.O., rendant le film encore un peu plus culte). Tout va partir de là.
Il faut se replacer dans le contexte de l'époque, l'Amérique puritaine a encore très peu l'habitude de parler de sexe, encore moins hors mariage, qui est plus avec une femme beaucoup plus âgée, et mère d'un enfant !
Le film frôle aussi le road-movie un instant, comme l'époque en donnera à la pelle. Et c'est superbe.
Les plans d'ouverture et de fermeture du film sont parmi les plus célèbres et les plus importants du cinéma mondial, ils peuvent paraître anodin de nos jours (le cinéphile ayant perdu un peu de capacité d'analyse et de culture il faut l'avouer !) mais leur compréhension est cruciale pour saisir l'Histoire moderne des Etats-Unis.
L'édition quant à elle est excellente (j'en vois certains la critiquer), c'est en carton certes, mais c'est solide et le rendu est bien plus classe que du plastique (PLASTIC ! vous comprendrez en ayant vu le début du film, on pourrait là aussi épiloguer pendant des heures sur cette phrase, surtout avec la résonance au présent et les commentaires ici !).
L'image est d'un rendu excellent, une remasterisation effectuée par Criterion, maison d'édition américaine prestigieuse et réputée. Le son est bon et vous pouvez vous rendre compte du travail effectué en changeant grâce à votre télécommande les différentes pistes.
Au vu du prix, aucune hésitation possible.
P.S. : Bonus excellent et nombreux, avec interviews du réalisateur Mike Nichols, Dustin Hoffman. Petit livre à l'intérieur, photos du tournage.
Reviewed in France on September 6, 2019
C'est la contre-culture des années 60 qui s'immisce dans le débat public. Scorsese, De Palma, Coppola, Friedkin, Lumet, Cimino, Denis Hopper pour citer quelques-noms, assez voir très connu.
"Le Lauréat" est le chef de file et marque un véritable tournant, le topo est très simple, un jeune fraichement diplômé (Dustin Hoffman, là aussi gros changement, plus de grand, beau et musclé comme Lancaster mais des petits aux gueules atypiques comme De Niro, Pacino, qui n'aurait jamais pu joué dans les films d'avant) doute de son avenir, doute du futur qu'on lui propose. Il va donc passer sa phase de dévoiement, d'initiation, en ayant la bonne idée de se taper la femme du collègue de son père (la fameuse Mrs. Robinson, titre phare de Simon & Garfunkel qui signent la magnifique B.O., rendant le film encore un peu plus culte). Tout va partir de là.
Il faut se replacer dans le contexte de l'époque, l'Amérique puritaine a encore très peu l'habitude de parler de sexe, encore moins hors mariage, qui est plus avec une femme beaucoup plus âgée, et mère d'un enfant !
Le film frôle aussi le road-movie un instant, comme l'époque en donnera à la pelle. Et c'est superbe.
Les plans d'ouverture et de fermeture du film sont parmi les plus célèbres et les plus importants du cinéma mondial, ils peuvent paraître anodin de nos jours (le cinéphile ayant perdu un peu de capacité d'analyse et de culture il faut l'avouer !) mais leur compréhension est cruciale pour saisir l'Histoire moderne des Etats-Unis.
L'édition quant à elle est excellente (j'en vois certains la critiquer), c'est en carton certes, mais c'est solide et le rendu est bien plus classe que du plastique (PLASTIC ! vous comprendrez en ayant vu le début du film, on pourrait là aussi épiloguer pendant des heures sur cette phrase, surtout avec la résonance au présent et les commentaires ici !).
L'image est d'un rendu excellent, une remasterisation effectuée par Criterion, maison d'édition américaine prestigieuse et réputée. Le son est bon et vous pouvez vous rendre compte du travail effectué en changeant grâce à votre télécommande les différentes pistes.
Au vu du prix, aucune hésitation possible.
P.S. : Bonus excellent et nombreux, avec interviews du réalisateur Mike Nichols, Dustin Hoffman. Petit livre à l'intérieur, photos du tournage.