“The Graduate” starring Dustin Hoffman, Anne Bancroft, and Katharine Ross (directed by Mike Nichols) is considered an iconic film for its controversial themes at the time the film was made. It was so groundbreaking for it's time, the film has become synonymous with the late 60's as helping to define the era. For this assignment, I will be responding to the screenplay for “The Graduate” as the director.
According to the screenplay, the story takes place in 1967. “The Graduate” is best represented using the language, fashion, hairstyles, make-up, musical score, interior and exterior design elements reminiscent of the mid to late 1960’s. Researching the time frame in which this story takes place is necessary to realistically reflect the era and how each character would look. Attitudes of the times would have an impact on the characters behavior and plot, and the viewers need to feel they are viewing this era authentically. Reviewing films that have successfully recreated the nostalgic feel of the 60's is helpful during period research. In short, it needs to look and sound like the 60's so you “feel” the era. Fashion trends can be faithfully replicated using vintage style guides matching the era and economic level and age of the characters.
As far as costuming is concerned, the attire must have nostalgic 60's look. If the design and fashion choices aren't authentic, it will distract the viewer and prevent them from feeling immersed in that time frame. Ben’s costuming, for example, must convey an entitled, privileged attitude so his actions seem consistent with his character. I believe the costuming must convey overall affluence so the audience expects maturity, and their foolish actions appear paradoxical.
Mrs. Robinson’s character must appear like she materially has everything a person could want. However, her obvious privilege stands in contrast with her unfulfilled emotional state. She must be depicted as someone attractive for her age rather than someone struggling to maintain youth by wearing fashions meant for a younger woman. Mrs. Robinson would most likely wear muted, darker tones tailored to represent an upper class lifestyle, which has left her feeling ignored and suffering a mid-life crisis. Because she appears to accept her station in life, she is able to hide in plain sight while using her authority to seduce Ben unbeknownst to her husband and young adult daughter.
Elaine must be depicted as the most sincere and thoughtful of the characters. Her innocence should be obvious amid the scandalous behavior. Her fashions, while well made given her character's affluence, should be playfully styled for a young woman reminiscent of the era. Hair and make up should reflect her youthful optimism that matches the style of the late 60's. Her conveyed goodness represents all the opportunities available to her as compared to her mother having been limited by her choices.
The set design should reflect the interior furnishings of a successful upper middle class family in the late 1960's. Family moments should include popular foods of the day, as well as music of the era, or a score with a vintage feel. Fashion magazines from the late 60's as well as period photography can help replicate an authentic era feel.
As for film direction, it should be shot from Ben’s perspective, except for the scenes when Mrs. Robinson is making an overture, or another character is attempting to take control. There should be an emphasis on who has the power in each shot by angling down on the character being controlled, or up on the character that is in control. The camera should level out only when both characters have equal control in a scene, or a monumental moment, such as Elaine fleeing her wedding to run off with Ben.
Lighting and cinematography would be reminiscent of publicity stills taken in late 60's of (now) iconic celebrities, such as Marilyn Monroe and the Kennedys. The film would be shot in color, but the color choices for clothes and interiors would be muted cool tones giving the film a “black and white” in color feel similar to intensely lit publicity shots of the era.
Because of the strength of the screenplay, recreating The Gradate on camera would be a reasonable task as the artistry and tone are consistent throughout. As a director, you should keep as close to the source material as possible with only small adjustments for screen adaptation. To avoid adjustments for pacing might leave in moments that add nothing to further the story, or may change the perception of characters from the author's intention. For example, Stanley Kubrick’s 1952 adaptation of the controversial novel, “Lolita” only seemed to borrow character names, and oversimplify the plot to exclude any scandalous content. Adrian Lyne’s 1997 Showtime Original film version of “Lolita” more closely followed the dark theme of the novel with only pacing adjustments. The screenplay for The Graduate is well thought out, all that is needed is to marry the characters, story, and dialogue to visuals.
No comments:
Post a Comment