All these strong objectives and obstacles add excitement in the movie and make the audience sympathize and root for Ben Braddock.
Moreover, presentational and representational acting is a significant portion of the acting techniques used in this movie. For example, at 00:16:36, when Mrs. Robinson gets naked and locks the door, Ben still looks at her body despite having refused to have sex with her. His eyes move from left to right, bottom to top, as if he were inspecting a piece of artwork. Hoffman's shaking upper body shows the audiences that he is nervous, yet from the sparks in his eyes, we can see he is overwhelmed and amazed by the naked body at the same time. Right after this moment, Mr. Robinson comes home. Ben opens the door lock, runs down the stairs five stairs at a time, sits down, and grabs a drink. Ben finishes this whole process in five seconds. Contrasted to the previous moment, Hoffman's movements are so big and dramatic that audiences can feel the intensity happening. At this moment, his representational acting indicates his panic, nervousness, and fear. Moreover, at 01:00:17, when Elaine figured out that Ben had an affair with her mother, she shows all her emotions through her eyes. Her eyes filled with tears and anger at the same time. Her presentational acting shows that she was upset, disappointed scared, and felt humiliated. In all, representational and presentational acting consists of a significant portion of acting tools. With the use of this technique, audiences can read and feel the character's feeling better. .
Aside from acting techniques, the blocking in this movie is laudable as well. At 00:19:35, Mr. Robinson and Ben's conversation was shot from the side and back. This actor position helps the audiences capture Ben's actions after Mr. Robinson said, "In many ways, I see you as my own son." He gets nervous and embarrassed, takes a deep breath and swallows his saliva.
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...
