Svara and t are the components that contributed to the success or cult films of 1967: the imm agin indelible melancholy eyes and there's a Mrs. Robinson resigned from the doom and irreversible against it in graduated, inexperienced and insecure, a panacea and an elixir of eternal youth; l’ interpretazione mag istrale di un giovanissimo e allora sconosciuto Dustin Hoffman, calatosi quasi in modo incosciente nella parte d el laureato impacci ato e apatico, stereotipo del moderno eroe romantico sprofondato nel nuovo mal du siècle ; le stru ggenti e indimenticabili melodie folk di Paul Simon e Art Garfunkel, che hanno accompagnato le sequenze del lungometraggio e format o con esso u n binomio indissolubil e, una cornice che si fits with elegance and style to the rest of the work rhythmically perfect, but at the same time it is the backbone. What makes, however, "The Graduate" a representation evergreen and contextualized in every age is the profound modernity inherent in any material mentioned above in part, any of its perpetual literary and artistic cinematic masterpiece. The theme of the individual who "breaks the established path to follow the path intended " (Gregory Corso), mind is undoubtedly the main reason for this continuity with the past c ol, taking up the bulk of the artistic traits have marked and made famous the "Evening on Karl Johan street" expressionist painter Edvard Munch's famous work that found in the empty middle-class conformity and indifferent in the anguish and visceral essence of his life painting that is also taken metaphorically in the two m inutes initial and final symbols c or fictionalized in the movie. 
no coincidence that these issues would mark kerouachiana reappear ventemente know the art scene att HAT (the recent film "Into the Wild" is a confirmation) and try to reinterpret and represent as best as possible the seemingly untouchable "sound of silence" of the corrupt bourgeois hypocrisy, renewed and alive in every era, who "speaks without talking and hearing without listening" ("The Sound of Silence" Simon and Garfunkel) . At same time, the theme of love and emotional ties facing powerfully intertwined in the plot and going to make a balance with the first stage lens. It 's just the way it managed the burning issue of feelings and emotions, c he binds the three main characters among them and with the pre-revolutionary American society, to give a unique quality to the script and a tragicomic character, in which the anguish and the various situations are turbulent softened to perfection by devastating irony, but never intrusive, indeed, able to acclimate, paradoxical lment, often in contexts dramatic and giving a fresh feel to the overall style chosen by director Mike Nichols. The puzzle is then completed by the unique parallelism that characterizes the two stories of love experienced by the male lead, Dustin Hoffman, two totally opposite experiences (the one based on a purely utilitarian relationship for both parties, the other characterized by feelings clear and impervious), which will however to face the main reason for outlining the work and the crucial psychological development of the graduate ica. The uniqueness of the film in every single facet has been highlighted in a very comprehensive and implicitly, by the same Hoffman about a possible sequel adapted from "The Graduate", "Times have changed, maybe it is just a rethink a comedy drama "The Graduate" (I've always considered a tragedy, not a brilliant film), even if no one can bring that air, those emotions related to music and the liveliness of the film by Katharine Ross (Elaine Robinson in the film, Ed) … in un’America così dive rsa che però continua ad affollare i concerti di Simon & Garfunkel». 
Valerio Ferri
