So for the next two months, starting this week, I am going to hosts a Twee Film Society.   I’m going to choose a series of films and depending on how things go, potentially open it up to the community for suggestions as we go along.      We’ll discuss the best moments, the worst moments, the music, how it’s aged, what other films it’s influenced, and of course, what makes it a Twee cinema touchstone.  


The first film in the series will be Mike Nichol’s The Graduate – 1967, starring Dustin Hoffman, Katherine Ross and Anne Bancroft, and co-written by the great Buck Henry.



The film is currently streaming on Netflix, btw.


Here’s the Wiki page:


The trailer:



As well as Pauline Kael’s original review from The New Yorker:


One of the most talked about hits of the 60s, it was a formative influence on the counterculture, and it was the movie that made Dustin Hoffman a star. He plays Benjamin Braddock, who returns to his swank LA home after graduating from college, and feels alienated from his insensitive, self-indulgent parents and their whole set of lewd, money-making friends. As Mrs. Robinson (whose name was used for the title of one of the Simon and Garfunkel songs on the sound track), Anne Bancroft is tremendous fun, at first. She’s the amusingly voracious middle-aged woman who seduces the naïve Benjamin, and when he’s in bed with her and wants to talk about art, the comic moments click along with the rhythm of a hit Broadway show.

But then the movie deliberately undercuts its own hip expertise and begins to pander to youth. Benjamin falls in love with Mrs. Robinson’s fresh, wide-eyed daughter (Katharine Ross), and the mother is turned into a vindictive witch. (And the comedy turns into melodrama.) Commercially, this worked: the rejection of upper-middle-class values had a special appeal for upper-middle-class college students. The inarticulate Benjamin became a romantic hero for the audience to project onto. The movie functioned as a psychodrama: the graduate stood for truth; the older people stood for sham and for corrupt sexuality. And this “generation-gap” view of youth and age entered the national bloodstream; many moviegoers went to see the picture over and over again.


REMEMBER: If you want to pre-sign up to be a part of this group and be included in direct Twitter discussion, leave your Twitter handles in the comments section of the site or the FB page.  Otherwise you can come on board during the chat.  There are no obligations.  




NOTE: May 16th Film Society screening will be a Noah Baumbach double feature: his 1995 debut Kicking and Screaming (not to be confused with the Will Ferrell soccer comedy), and his controversial 2010 film Greenberg, which is streaming on Netflix (Kicking and Screaming must be shipped). Both are available for rental on iTunes and Amazon Instant Video for under $4.00 if you want to prepare in advance. There will be a formal announcement and info posted on the site on the 16th.

ALSO: If you want to join/sign up for the club just leave in the comments section this site or tweet me and I will be sure to include you in the discussion directly.


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