In this article, Dave Tianen explores the difference between a good film and a good date film.  Dating and movie-going are inextricably linked, and this association is one of the arguments used to explain why movie theaters will not become obsolete in the face of DVDs, the Internet, and other technological innovations.  Tianen address the disparity in which Citizen Kane is the “perennial choice for greatest film of all time,” yet arguably one of the worst films to see on a date.  There are no specific criteria for the “perfect date film” though numerous studies have been conducted to try to figure out what elements of a film make it a good date film and what aspects do not or have no bearing.  According to this article, the American Film Institute conducted a study of critics in 2002 to determine the best movie romance and Casablanca was chosen as the best movie romance of all time.  Alternatively, Harlequin Books recently conducted a study and polled entertainment and lifestyle editors on the ten most erotic movies of all time, in which 9 ½ Weeks was chosen as the sexiest film ever.  In addition, Leslie Halpern compiles a list of the 100 best date movies based on her own first-hand research in her new book entitled Reel Romance: The Lover’s Guide to the 100 Best Date Movies.  Halpern’s list does not include or even refer to Harlequin’s sexiest movie of all time, 9 ½ Weeks, demonstrating the level of ambiguity on this subject and the lack of objectivity.  In fact, only two movies from Harlequin’s list are on Halpern’s Top 100 list.  Tianen resolves this inconsistency by acknowledging that all such studies will inevitably have their own specific criteria and nuances.

            In this article, Karen Lurie acknowledges the wide array of interpretations of The Graduate (1967) ranging from a sex farce to a generation gap comedy to a “ballad of alienation and rebellion.”  These different interpretations affect the way in which viewers receive and react to the elements of the film itself.  Lurie offers a plot summary and touches briefly on a number of the themes and symbols that permeate the film.  After this hasty plot summary, Lurie delves into a more critical analysis and assessment of the film, mostly concentrating on its ending and the meanings that viewers impose upon this ending.  Lurie argues that the widely accepted view of The Graduate as having a happy ending is forced upon the film by those who are determined to make it a romantic comedy.  The way in which Benjamin and Elaine flee the suburban life that they have been restricted by further contributes to the cursory assumption that the ending implies happiness and triumph, but the final scene is actually much more profound and ambiguous.  As Benjamin and Elaine sit on the bus driving away from the church, their smiles become forced and then disappear altogether.  They do not say a word to one another as the lyrics of Paul Simon’s song “Sounds of Silences” fills the air, “Hello darkness, my old friend…”  If one were to critically assess their relationship, though they claim to be in love, Benjamin and Elaine barely know each other.  They do not have the support of their families and Benjamin does not have a job.  With Paul Simon’s “darkness” foreshadowing a dark future, the ending is not one of bliss and contentment as so many viewers mistakenly believe.