The Graduate

When The Graduate hit theaters in 1967, it didn’t just announce the arrival of a new kind of movie—it ushered in a new era of music in film. At its heart was a young, uncertain Dustin Hoffman as Benjamin Braddock, adrift in post-college confusion. But floating beside him, scene after scene, was the music of Simon & Garfunkel—songs that didn’t merely score the film, but gave voice to his silent angst.

Director Mike Nichols made an inspired decision: instead of hiring a traditional composer, he leaned into contemporary music that resonated with a restless generation. Songs like “The Sound of Silence” and “Scarborough Fair” didn’t narrate the action—they echoed it, deepening the sense of emotional dislocation and quiet rebellion. And then came “Mrs. Robinson”—an original song, unfinished when first used, that would go on to become a cultural touchstone.

The way the music interacts with the visuals—especially in scenes of Benjamin drifting in pools or speeding down California highways—feels poetic, even prophetic. It was one of the first films to treat pop music as a storytelling tool, shaping mood and character with lyrics that said what the dialogue didn’t.

The Graduate changed the way audiences and filmmakers thought about soundtracks. More than background, the Simon & Garfunkel songs became part of Benjamin’s soul, and by extension, the soul of a generation.