7. The Graduate (1967) "Mrs. Robinson, you're trying to seduce me, aren't you?" Director: Mike Nichols Stars: Dustin Hoffman, Anne Bancroft & Katherine Ross Oscars: Best Director

Synopsis: The Graduate hangs its mortarboard on the numbing confusion that overwhelms most recent college graduates. Dustin Hoffman doesn't know what he wants to do for a living — only that it's not "plastics." And despite the insistence of his mother and father, he doesn't want to take out a family friend's daughter, Elaine Robinson (Katharine Ross). Instead of taking Elaine out, Hoffman falls headlong into a relationship with her mother, the insatiable Mrs. Robinson (Anne Bancroft). Only then does Hoffman realize that he really does love Elaine. However, getting rid of Mrs. Robinson isn't that easy. Apparently, the two things in life that you can't simply walk away from are the Mafia and an illicit affair with your mom's best friend.

She said: Well, it only took me seven movies to get top billing. Let’s let the gal talk first for once. You’re always saying my spiel before I get a chance to do it. I know that “he” likes to start out with all this fancy-schmancy talk about what Academy Award some director won for some obscure technical achievement and what critic blew his nose during a recent screening of Lawrence of Arabia.

He said: Well, here’s an idea. Let’s stop reviewing The Graduate, by all means, and start bashing me.

She said: I talk to everyman. I’m not writing for the critic. I’m not writing for some film buff who knows that Juror #2 in 12 Angry Men does the voiceover for Piglet.

He said: Wow, you sure seem to know a lot of arcane facts about Piglet’s relationship to courtroom dramas, Mrs. Everyman.

She said: Piglet talks to the people, man. Alright, on to The Graduate. This movie is a classic. Dustin Hoffman’s breakthrough role not only launched his career, but gave us the catchphrase “Mrs. Robinson” for seductive older women seeking innocent younger men. Mrs. Robinson, played by Anne Bancroft, gave me the willies. I was living in this nice little bubble, where older married women didn’t chase after young bucks. But, I guess that’s what the film set out to do: Rock our world.

He said: Great, another captivating lecture in Morality 101. Anyway, I thought The Graduate was really a fun movie to watch, and it’s as fresh and timely today as it was in 1967. I noticed that the film weaves a theme of unrequited desire, and that we only want things that we’re not supposed to have. Hoffman only shows interest in Ross after she becomes engaged. Mrs. Robinson only wants Hoffman because she got a rush out of robbing the cradle.

She said: I never thought about it like that, but I agree with you. Once Hoffman showed interest in Mrs. Robinson’s daughter, the movie became much more interesting. I suddenly had characters to root for — two young people in love. The church scene at the end was one of the greatest film endings of all time. I felt swept up in the excitement. I was no longer in the audience. I was right there in the church with Hoffman and Ross. It was wildly fun.

He said: Yeah, Hoffman can sure swing a mean crucifix. I liked the ending, too. It was satisfying without being too cliché. Though since it’s release, I bet that the ending has been one of the most imitated scenes ever. I even saw it spoofed on Seinfeld ("Elaaaaaaaaaaaaaaaaaaaaaine"). Another interesting note: Two top 100 AFI movies starring Dustin Hoffman (The Graduate & Midnight Cowboy) close the movie on a bus.

She said: I really had fun with this movie. The soundtrack helped make it an instant classic. However, the #7 spot is a pretty tall order to fill. I see it in the top 20. In fact, writing this review has made me want to rent it again.

He said: The score by Simon and Garfunkel is as memorable as the movie, but gets a tad repetitive. The same three or four songs got recycled throughout the movie. Though The Graduate is probably the landmark film of the 60s, it seems a little out of place compared to the other top 10 movies — Singin' in the Rain notwithstanding. It doesn't really carry the same self-importance as On the Waterfront or Schindler's List or The Godfather, and it isn't as avant-garde as Citizen Kane, The Wizard of Oz or Casablanca. Don't get me wrong. I really liked it, just not at #7. I'd move it closer to #30. In this movie, you really start to notice the emergence of Dustin Hoffman's nose — I mean talent. Sorry, that was cheap shot.