The Graduate – Bitch Flicks

Movie Soundtracks: The Roundup

Check out all of the posts for our Movie Soundtracks Theme Week here.

Take Away This Lonely Man: (500) Days of Summer And Musical Storytelling by Victoria Edel

We hear the song one more time in a moment that mimics the first, after Tom’s illusion is shattered. Instead of listing what he loves about Summer, Tom lists the things he hates about her, concluding with “It’s Like The Wind,” and yelling, “I hate this song!” The romantic illusions are finally cracked. This isn’t the movie he thought it was.

Creating the Mythology of Beatrix Kiddo Through Music by Rhianna Shaheen

Tarantino’s vast knowledge of music is clear from the very beginning with Reservoir Dogs. However, it isn’t until the Kill Bill series when his soundtracks begin to drift away from pop and instead embrace more orchestral sounds like that of Ennio Morricone. Viewers need no knowledge of the genre to instantly recognize that spaghetti western feel. It’s that famous mix of Spanish guitar, orchestra, whistles, cracking whips, trumpet, flute and sometimes chorus that recalls images of Clint Eastwood clad in a green poncho and cowboy hat as the iconic Man with No Name.

Running Away With The Runaways: Sex, Rock ‘n Roll, and the Female Experience by Angelina Rodriguez

The music throughout the film deals with the lost and rebellious feelings during coming of age for young women. The movie tells the story of these two individuals and how their lives were affected by fame, but underneath that is the coming of age experience for young girls realizing their power and sexuality within a culture that seeks to suppress them.

The Siren Song of Cartoon Catgirls by Robert V. Aldrich

As evocative as the scene of the Puma Sisters doing their thing might be, and as culturally-charged a time as the release of Dominion Tank Police might have been, much of the success of this scene is owed to the music. “Hey Boy,” by Riko Ejima, is a haunting song that, while seemingly chaste in that it seems to be singing about dancing, captures something deep, deep in the soul.

Love It or Hate It, Emotions Served Raw in the Music of Les Misérables by Katherine Murray

Ugly singing; ugly make-up. ‘Les Misérables’ is deservedly known as the film that tried too hard to bum us out, and Anne Hathaway is known as the actress who tries too hard to be liked. But, isn’t it nice, sometimes, when somebody makes an effort?

The Sounds of Change and Confusion in The Graduate by Caroline Madden

Mike Nichol’s The Graduate has one of the most popular soundtracks of all-time. The songs reveal the dynamics of a character, theme, and a moment without the use of dialogue or a backstory, but simply through the lyrics of a Simon and Garfunkel song.

Love Jones: The Soundtrack of the Neo-Soul Generation by Inda Lauryn

Love Jones does more than captures a moment in time in the late 90s. It creates the point when neo-soul established itself as the music of all of us with artistic inclinations, those of us leaving fantasies of teenage love affairs behind for a more realistic image of making a relationship work. And, yes, for some of us it brought about a sexual awakening that helped us accept that sex could exist outside a relationship if it’s truly wanted that way.

Whale Rider: Women and Children First by Ren Jender

Lisa Gerrard of Dead Can Dance, one of the few successful women musicians who made the transition to film composer (she won a Golden Globe for her work on Gladiator), wrote and performed the music for 2002’s Whale Rider–and she didn’t have to date writer-director Niki Caro to do so. Gerrard might seem an unlikely choice: when I briefly worked in a women’s sex shop in the 90s, the store owner told me not to play Dead Can Dance on the sound system because they scared away customers. But Gerrard’s score for Rider does what the best movie music is supposed to do: reinforcing the drama of the film without calling unnecessary attention to itself.

What’s in a Soundtrack? The Sweet Sounds of Romeo + Juliet by Leigh Kolb

Zeffirelli’s Romeo and Juliet is a tale told by the older generation. Luhrmann’s Romeo + Juliet is one told by “unfaded” youth. When Des’ree was singing “Kissing You” as Romeo and Juliet kiss (and oh, how they kiss), she is singing with deep longing and pain. When Glen Weston sings “What is a Youth?” he sings at Romeo and Juliet, about how youth–and female virginity–fades.

The Soundtrack for That Thing You Do! Withstands the Test of Time by Lisa Anderson

That Thing You Do! with its sly humor, strong performances and ultimately heartwarming romance makes for satisfying viewing. It’s a meditation on the tension between art and commerce that manages to acknowledge what can be good about temporary fame. It’s also a squeaky-clean antidote to sordid, drug-filled “Behind-the Music”-type stories both fictional and real.

Watch Me Shine: Legally Blonde and My Path to Girl Power by Kathryn Diaz

My attachment wasn’t about Elle Woods or embracing hallmarks of traditional femininity that get belittled by western mainstream society (that would come later). I was all about lyrics like, “That’s not the way/ Nice girls behave/ Oh yeah I know/ You told me/ It’s not your choice/ I have a voice/ I guess you just don’t hear me.” It spoke to me on a spiritual level.

Girls Just Wanna … Take Control of Their Own Lives by Shay Revolver

I’m a lot older now and I still squeal with excitement when Girls Just Want to Have Fun comes on. When it showed up on Netflix my daughter and I watched the movie over a dozen times. We would take “supreme silly” dance breaks whenever the music would play and when the Netflix purge occurred we found a DVD copy (OK we got two in case one got scratched or lost) of our very own on Amazon so that we could continue this tradition at will.

Death by Stereo: Innocence Lost in The Lost Boys by Bethany Ainsworth-Coles

The Lost Boys is a classic 1980s vampire flick directed by Joel Schumacher. It is as famous for its soundtrack as it is for its content. The entire film in fact is exemplified in its main theme–“Cry Little Sister,” by G Tom Mac–from the typical horror themed sections to its classic 80s rock moments down to its choral moments. These sections sum up the film almost perfectly.

The Sounds of Change and Confusion in ‘The Graduate’

Mike Nichol’s ‘The Graduate’ has one of the most popular soundtracks of all-time. The songs reveal the dynamics of a character, theme, and a moment without the use of dialogue or a backstory, but simply through the lyrics of a Simon and Garfunkel song.

This guest post by Caroline Madden appears as part of our theme week on Movie Soundtracks.

The marriage of two different art forms- the sounds in our ears and the image on screen- can take a scene far beyond what was written on paper. With a well-placed song, a moment in film can be experienced on all levels, staying in our head long after the credits roll. Lyrics to a song can provide an insight into a character’s mind on a deeper level than just dialogue. Mike Nichols’s The Graduate has one of the most popular soundtracks of all time. The songs reveal the dynamics of a character, theme, and a moment without the use of dialogue or a backstory, but simply through the lyrics of a Simon and Garfunkel song.

The most renowned song used in the film is “The Sound of Silence,” which acts as the soliloquy of film’s protagonist, Benjamin Braddock. Inspired by the Kennedy assassination, the song became a popular hit associated with the 1960s counterculture and antiwar protests. “The Sound of Silence” holds what is the ongoing and overarching theme of the film–youths rebelling against the middle-class values of their parents’ generation. It also most representative of the inner turmoil Benjamin finds himself on upon graduating college and embarking on his new journey to “the real world.”

The first time the song plays is during the opening scene. The song kicks in after Benjamin’s plane has landed in Los Angeles. The pace of the song follows the speed of Ben’s monotonous progress through the airport. It peaks as he rides an escalator to meet his family and then fades out as the scene dissolves into a close-up shot of Ben at home, sitting unhappily in front of his fish tank, ready for his new life.

The next few scenes play out the lyrics we have just heard in the opening.

And in the naked light I saw

Ten thousand people, maybe more

People talking without speaking, people hearing without listening

People writing songs that voices never share

And no one dared disturb the sound of silence.

“Fools,” said I, “You do not know –Silence like a cancer grows.

Hear my words that I might teach you.

Take my arms that I might reach you.”

But my words like silent raindrops fell

and echoed in the wells of silence.

These lyrics echo the graduation party, where Benjamin is surrounded by a stifling crowd of his parents’ friends, all talking and asking him about his future without bothering to hear his answer. No one listens to his concerns or apprehensions. Benjamin wants to make sense of his world first before worrying about his future, but adults want him to have a plan. In the film’s most famous line, a family friend suggests Benjamin goes plastics.

The older generation wants the younger generation to follow in their footsteps, to conform for the sake of safety and tradition. This is the reasoning for all of Benjamin’s aimlessness and disaffectedness, seeing that his only option seems to be unhappily working in a sterile corporate setting until middle-age. His zombie-like drone in the airport opening reflects the future Benjamin pictures if he follows in his elders’ lead.

“The Sound of Silence” is also featured in a second montage. The song plays right after Benjamin has shut the hotel door to have sex with Mrs. Robinson, his first time. The montage begins with brilliant dissolves and intercuts as Benjamin monotonously (just like the airport opening) goes through the motions of his days at home with his parents over his shoulder and nights alone with Mrs. Robinson. The affair is not the answer he is looking for, though. He still suffers through “the sounds of silence” with no one around to understand or hear him. The song is played again because Benjamin is still as confused as he was at the beginning of the story.

Although “The Sound of Silence” has been told through Benjamin’s point of view, the lyrics can also reflect Mrs. Robinson’s state of being. We learn that she got pregnant before marriage, and that is why she is with Mr. Robinson. Mrs. Robinson was raised in the 30s, 40s, and 50s, and the mindset of that upbringing gave her no other choice. The consequences of her actions were that she had to live her life being with a man she did not want to truly be with.

Not only was she stuck in a marriage she did not want, she also makes it clear throughout the movie that she regrets letting her education go to waste. It is a sore spot for Mrs. Robinson, she goes from “I don’t like art” to “I studied art in college” in a matter of minutes.

“Hear my words that I might teach you.

Take my arms that I might reach you.”

But my words like silent raindrops fell

and echoed in the wells of silence.

Mrs. Robinson must have felt the truth of these words throughout the course of her life. Wanting to express to her parents how she did not love Mr. Robinson and did not want to be with him, how she wanted to continue her education. She was, and is, a woman in an unhappy marriage trying to make herself heard. But gender roles in the 1950s meant women were silenced, only expected to do their duties as a housewife, to serve their homes and husbands’ wills.

Mrs. Robinson’s unhappiness manifests itself within her actions in film. These changes in her actions were due to her increasing unhappiness in her mandated role as a housewife. These new ideals and changes of the 1960s led her to understand that women have just as many rights as men do, negating her ingrained mindset of the 1950s that women are supposed to bow to their superiors (men).

“The Sound of Silence” song ends, and “April Come She Will” quickly picks up as Benjamin lays in the hotel bed, cutting to him bored in his room and then leaving for the pool. The song ends with a clever match cut as Benjamin jumps off of a pool raft and into bed with Mrs. Robinson.

“April Come She Will” is a simple and bittersweet song that represents the seasons of Benjamin’s relationship with Mrs. Robinson.

April, comes she will,

When streams are ripe and swelled with rain

May, she will stay,

Resting in my arms again.

These lyrics represent how smitten Benjamin was with Mrs. Robinson at the beginning of their affair. Mrs. Robinson continues to stay, and their affair goes on for some time.

June, she’ll change her tune.

In restless walks she’ll prowl the night.

July, she will fly,

And give no warning to her flight.

However, their relationship is beginning to change after Benjamin being pressured by his parents and Mr. Robinson to go on a date with their daughter, Elaine.

August, die she must.

The autumn winds blow chilly and cold.

September, I’ll remember.

A love once new has now grown old.

Their relationship is coming to an end, and though the affair was exciting and new at first, it cannot go on forever it will soon dissolve.

The third song in the film is “Scarborough Fair,” and is played several times. It first plays as Benjamin is driving to Berkeley to find Elaine, who he is now newly smitten with.

Are you going to Scarborough Fair?

Parsley, sage, rosemary and thyme

Remember me to one who lives there

She once was a true love of mine.

This can be read as representative of his journey, Benjamin is searching for what he believes to be is his love, the answer to all of his uncertainty and meandering and questions of what to do with his life.

Between the salt water and the sea strands

(A soldier cleans and polishes a gun)

Then she’ll be a true love of mine

The war references represent the battle within him, the questions Benjamin is facing with his love life and whether or not he is going to do something about it. He is here in Berkeley to find Elaine and to convince her to be with him.

Are you going to Scarborough Fair?

These lyrics play as the film pans on Elaine, the first time we see her at Berkeley. The lyrics question if Benjamin is going to make the choice fight for what he believes he wants in his life? Is he going to go for it?

An early version of the chart-topping hit “Mrs. Robinson” is another highlight of the film’s soundtrack. Originally written about Mrs. Roosevelt, the title and character of the lyrics was changed to fit the film. The song plays several times throughout the film, most notably throughout the chase scenes as Benjamin heads to Elaine’s wedding.

The lyrics do not directly comment on what is happening on screen, but is instead a further reflection on Mrs. Robinson’s character. It is also a song that again reflects the theme of the film, the old generation vs. the new generation, and the ideals of the 50s vs. the changes of the 60s.

Hide it in the hiding place where no one ever goes.

Put it in your pantry with your cupcackes.

It’s a little secret just the Robinson affair.

Most of all you’ve got to hide it from the kids.

The entire older generation of the 60s was desperately trying to maintain an unmaintainable false image that they’ve been trying to hold up for years. Hide it from the kids, they’ll rip off the covers and expose everything that’s wrong with their generation’s ideals, which were forcing you to hide your true self or submit to a forced gender role. Work at a job you hate. Give up your education to get married because you are pregnant.

Where have you gone, Joe DiMaggio?

Our nation turns its lonely eyes to you.

Joe DiMaggio represents the heroes of the past, the traditional American values that were so highly honored in that time. But the ideals the past have given way to the upcoming changes, the defiance of gender roles and roles in society.

The Graduate begins and ends with the same song, “The Sound of Silence.” Elaine and Benjamin’s rebellion against their elders culminates here. Benjamin has stopped Elaine’s wedding and they leave together. They run onto the bus, their smiles and glee slowly turning to lost and forlorn looks as the music starts to play.

“The Sound of Silence” also speaks to Elaine’s character. Elaine has surely felt the “sounds of silence” as Benjamin has. She is also struggling with the idea of not wanting to spend her life being dictated and controlled by the ideas of her parent’s generations. Elaine must have felt pressure from her father and mother to marry this man, a perfect man to secure her future. Who needs an education from Berkeley when you can get married? But Elaine is not going to be doomed to repeat her mother’s mistake of being in a loveless marriage. What better way to out rightly and outrageously defy her parents than running away on her wedding day?

Although Benjamin and Elaine have succeeded in doing everything to defy their parents, now they ask “What are we left with?” What do they do now? Are they going to repeat the mistakes of the past and stay together without really loving or knowing each other? Benjamin’s questioning of what to do with his life is no different now than at the beginning of the film. He is just as confused and directionless as ever. The film ends as it began, book-ended with the famous Simon and Garfunkel tune.

The Graduate changed the world when it became one of the first films to reuse popular music for a film, as well as one of the first representations of counterculture youth. It proved that music could be used to comment and highlight themes and characters of a film. The songs impeccably fit with a film that first represented the future changes that would rock the country.

Caroline Madden is a recent graduate with a BFA in Acting from Shenandoah Conservatory. She writes about film at GeekJuice, Screenqueens, and her blog. You can usually find her watching movies or listening to Bruce Springsteen.

Wedding Week: The Top Hollywood Wedding Scenes

This is a guest post by Marcela de Vivo.

Weddings in the movies and in television always seem to be more elaborate than those we experience in reality. Fictional characters with traditionally low-paying jobs somehow find a way to have a wedding that would cost literally a million dollars in the real world. They’re often over-the-top with hundreds of guests, extravagant meals and elaborate ice sculptures–you know, fluff.

Wedding scenes on the big screen are a fantasy of what viewers would want if we had unlimited funds. But we don’t, so watching these top wedding scenes will have to do!

Movie still from the wedding scene in The Princess Bride

The Princess Bride

Princess Buttercup may not have wanted to marry Prince Humperdink, but that doesn’t mean she couldn’t appreciate the fairy tale ambiance of her wedding. Flowers and candlelight decorated the large church, which was filled with the richest, most powerful wedding guests in the land. As Buttercup hoped the rebellion outside the doors was on her behalf, the most memorable priest in movie history spoke about the joy of “maawwaaage.”

The wedding itself didn’t end too well for many of the characters, but all-in-all, it was a memorable wedding.

Movie still from the wedding scene in The Godfather

The Godfather

The father of the bride traditionally feels obligated to grant favors on the day of his daughter’s wedding, at least according to Marlon Brando’s character, Vito Corleone. Apparently, that extends to the bride herself.

Corleone’s daughter is known to have one of the most extravagant weddings in movie history, with a large tent and vivacious celebration with singing, dancing and plenty of alcohol. The best part of all was having the entire family together to celebrate–after that enormous cake, of course.

Movie still from the wedding scene in Bridesmaids

Bridesmaids

Lillian may not have been the main character, but when it came to her wedding, she was truly the star. Despite a case of terrible food poisoning, a disaster bachelorette party and temporarily losing her best friend and maid of honor, Lillian’s wedding was indeed spectacular, complete with a waterfront setting, designer wedding dress and colorful strobe lighting–something we could all admit to be somewhat jealous of.

The kicker was the entertainment: a surprise performance by Lillian’s favorite childhood band, Wilson Phillips. And best of all, she had all of her best friends by her side.

Movie still from the wedding scene in My Big Fat Greek Wedding

My Big Fat Greek Wedding

Sometimes family can complicate what should be the best day of a person’s life. For Toula, the days leading up to her wedding were difficult due to her incredibly traditional family. But when it came to the day of the wedding, it seemed like the universe was doing its best to ruin everything.

It was Toula’s family, as big and loud as they were, that made the day so special. Toula’s parents finally accepted her new husband and even gave her a house as a wedding gift (an entire house!). This is one movie wedding that goes to show that it doesn’t take perfection to have a perfect wedding.

Movie still from the wedding scene in The Graduate

The Graduate

One of the most iconic wedding scenes in movie history is also one of the least successful. Although the church wedding was nearly empty, the bride, Elaine, looked beautiful in her classic white wedding gown–at least Benjamin Braddock thought so. Unfortunately for Ben, he wasn’t the groom, but that didn’t stop him from whisking away the bride!

Ultimately, Elaine and Benjamin run off together, just minutes after she says, “I do.” Sure, there was a brawl, and the bride and groom didn’t stay together for longer than 5 minutes, but at least it was memorable.

We might not always get the perfect wedding of our dreams, with the fancy sculptures, favors, gift bags and decorations, but at least we can appreciate and treasure what marriage is actually about more than these films do.

Marcela De Vivo is a freelance writer from California whose writing covers everything on health, travel, gaming and technology. Watching these films really reminds her of what marriage truly involves and the value of family. Follow her on Facebook and Twitter today!