"The Graduate" (1967), directed by Mike Nichols, is one of the most groundbreaking movies of the 1960s. Dustin Hoffman, Anne Bancroft and Katharine Ross, through their objectives and obstacles, presentational and representational acting, and blocking and realization, make the plot exciting for the audience and help the audience understand the characters mindset.
To begin with, the objectives and obstacles for the actors in this movie are very clear, which helps the audiences understand exactly what is happening. For instance, at 00:11:00, Ben's objective is to go home right after he dropped Mrs. Robinson off. He expressed this objective by constantly turning around and reaching for the door, and right after doing each task as Mrs. Robinson requests, he keeps asking Mrs. Robinson if he can leave. However, Mrs. Robinson doesn't let him go, which makes it his obstacle at the moment. She keeps finding things for Ben to do, such as asking him to wait until her husband gets home, offering him a drink, showing him Elaine's room, asking him to help unzip her dress and bring up the purse. Anne Bancroft's acting choices really let audiences feel Ben's obstacle as she managed to request a new task either right before or right at the moment that Ben wants to leave. Furthermore, in the last fifteen minutes of the movie, the main objective for Ben is to find Elaine and marry her; however, this process is difficult because of the obstacles getting in the way. When Ben breaks in to Robinson's house, Mrs. Robinson calls the police and claims he breaks in. Then she told Ben that Elaine is getting married and doesn't tell him the address, which later turns out to be the major obstacle. When overcoming this obstacle, Ben encounters many minor obstacles as well, such as try to fight time, not being able to find the phone number at the gas station, the car running out of gas and so on. In this scene, Dustin Hoffman's chose to drive the car so fast that dusts were flying by, to flip over pages in the phone book in such a rush that he tore couple of pages and to jumped into his car to save time.
The females in film noir are usually femme fatales - mysterious, double-crossing, gorgeous, unloving, predatory, unreliable, irresponsible, manipulative and desperate women. ... The femme fatale in Billy Wilder's Double Indemnity is Phyllis Dietrichson, and the likeable but amoral male character is Walter Neff. ...
A film that was shown in class called Double Indemnity fits many of the noir characteristics, and is recognized as one of the great noir films. Double Indemnity follows a plot that weaves a typically dark and non traditional view of the American home. ... From the beginning, this film differs much from Double Indemnity as far as the lighting and mood of the film is concerned. ... The classic noir film Double Indemnity differs a great deal from the gangster film The Public Enemy. The main difference that struck me when viewing these films was the femme fatale in Double Indemnity. ...
In the movie of "Double Indemnity" Phyllis was shown as a cold-blooded killer, the opposite of the women in "So Proudly We Hail." ... In "Double Indemnity", Phyllis plays a role of a cold-blooded killer. ... For Phyllis in "Double Indemnity", she was the opposite of the nurses. ...
From Phyllis Dietrichson in Double Indemnity (Billy Wilder) through to "Wendy Kroy" in the Last Seduction (John Dahl), the femme fatale has developed through both periods of noir eras. ... The neo noir films, however, have focused on darker sides of this new woman, and come up with many differences that single the fatale out from the previous fatale that we saw I films like "Kiss me, Deadly", "Double Indemnity", and "Chinatown". ...
A wide array of films including Double Indemnity (1944), and Murder, My Sweet (1944), Out of the Past (1947), Kiss Me Deadly (1955), reflect the tensions and insecurities within film noir, and counter-balance the optimism of Hollywood's musicals and comedies. ... After a betrayal or double-cross, as in Jacques Tourneur's Out of the Past (1946), she was frequently destroyed as well, often at the cost of the hero's life. ... A second representation of paranoia and entrapment in film noir is Billy Wilder's Double Indemnity (1944). ...
Now is the time, I am ready to embark on one of the most exciting as well as difficult parts of my long journey: Graduate School. ... I can confidently say that Graduate school will be a welcome challenge, one that I plan to face with my arsenal of experience, passion, dedication and discipline. ... Passion and desire are the internal instincts that have brought me this far in life, and are the core characteristics that I am going to rely on to carry me through graduate school. ... I believe myslef to be a strong candidate for admission to Queens College Graduate Program. The well of knowledge...
The females in film noir are either of two types - dutiful, reliable, trustworthy and loving women; or femme fatales - mysterious, duplicitous, double-crossing, gorgeous, unloving, predatory, tough-sweet, unreliable, irresponsible, manipulative and desperate women. ... After a double-cross, she was frequently destroyed as well, often at the cost of the hero's life. ... Cain's novel Double Indemnity (1944) with a persuasive Barbara Stanwyck who convinced insurance agent/lover Fred MacMurray to murder her husband so they could share 'double indemnity' insurance proceeds ...
Mike Nichols "The Graduate" is one of our nation's greatest films it has withstood the test of time and its popularity has spanned many generations. "The Graduate" is not your classic love story it has a twist which has added to its intrigue and popularity. In "The Graduate" a young budding star actor Dustin Hoffman delivers a stunning performance as the young confused graduate Benjamin Braddock, this performance catapulted Hoffman to the superstar we know him as today. ... The acting is amazing in this film Dustin Hoffman did a wonderful job portray the lost graduate who well learned...
