#11512

[xupporter]

Happy Birthday To My Queen. My Spine.. My Air.. My Life.. I Love you Babe.. (No Bae) .. 😄 #920 #11512 #zxi #xai .. #hellandback https://www.instagram.com/p/B2oeUavpnNEaLdFjiKyzgnN9-yOj5p0kLU_k4s0/?igshid=16oic001wnxvy

[everymobbu]

[hi-hello-seoul-blog]

[doublefeaturetheater]

Jim Carrey interviewed about I Love You Phillip Morris

[doublefeaturetheater]

Harold and Maude

Priest: I would be remiss in my duty if I did not tell you that the idea of...intercourse--your firm, young...body...commingling with...withered flesh...sagging breasts...flabby b-b-buttocks...makes me want...to vomit.

[doublefeaturetheater]

On the one hand, a series of shots featuring Ben lounging on a raft in the pool--particularly those that appear in a five-minute musical montage that chronicles the course of his sexual relationship with Mrs. Robinson--suggest his emerging sexual identity; however, this symbolic use of water is undercut by the recurrent drowning imagery, which paints Ben as a victim, isolated and submerged beneath the shimmering waters of suburban mediocrity. It is in the contraposition of these two symbolic uses of water, then, that we get the sense that Ben's relationship with Mrs. Robinson is itself a reaction against the smothering influence of his parents, an oedipal response to their challenge to his manhood. This focus on water imagery begins with the first shot of the film proper; after the opening credit sequence fades out, we get a shot of Ben staring into his fish tank, a recurring symbol that emphasizes Ben's feelings of entrapment and aloneness. In the midst of the circling fish, at the bottom of the tank, stands a miniature plastic man in scuba gear, a thematic counterpart to Ben and a foreshadowing of the very role he will play at the bottom of his pool in one of the central scenes of the film. This opening frame goes a long way toward establishing the predicament that Ben faces at his parents' suburban home--the glass fishbowl symbolizes not only entrapment and futility, but also the same heightened sense of visibility that characterizes the suburban world of picture windows in which Ben once again finds himself.

Robert Beuka, "Just one word...Plastics: Suburban Malaise, Masculinity, and Oedipal Drive in The Graduate", Journal of Popular Film & Television, Spring 2000

[doublefeaturetheater]

"If You Want to Sing Out" by Cat Stevens, as featured in Harold and Maude

[doublefeaturetheater]

The Graduate

Benjamin: Mrs. Robinson, I can't do this anymore.

Mrs. Robinson: You what?

Benjamin: This is all terribly wrong.

Mrs. Robinson: Do you find me undesirable?

Benjamin: Oh no, Mrs. Robinson. I think, I think you're the most attractive of all my parents' friends. I mean that.