Before I get to today’s blog…

Thinking about doing more with your writing? Why not join me in Paris June 2-7 for my Masterclass in Screenwriting? Come be part of a dynamic community of writers and literary agents to learn, to write, to network, to energize your literary goals—and just to have fun in the City of Light!

The Paris Writers Workshop is the longest running literary program of its kind. This program offers 6 masterclasses by renowned authors, each a specialist in their field—and I’ll be teaching the Screenwriting Masterclass—in English, of course.

The workshop will be held at Columbia University’s beautiful Reid Hall campus in the heart of literary Paris—Montparnasse.

Registration is now open: https://wice-paris.org/paris-writers- workshop

We’ll have a great time getting your story ideas off the ground!!

Coming of Age Films—The Graduate

For the last two weeks, we’ve looked at a couple of films from the 50s in the coming of age genre. It's a fertile genre that’s always marketable, so if it appeals to you, it’s really worth thinking about tackling and writing your own script in the genre.

As we move into the 60s, let’s look at a film that’s one of the quintessential coming of age films, The Graduate [1967] by Calder Willingham and Buck Henry. When this film came out it exploded on the scene. Everyone wanted to see it, everyone could relate to it, and even though it’s over 50 years old, I’ll bet you’ve seen it. [If you haven’t—run, do not walk!]

Take a look at a clip: https://www.youtube.com/watch? v=6cKafIqhEvk

The film made over $100 million in 1967—which, in 2021 dollars would be around $800 million. $800 million—an astounding figure.

It’s a simple story, really. A college grad, Benjamin, can’t figure out what to do with his life, so he hangs around at his parents’ house for the summer and gets involved in an affair with one of his parents’ friends, Mrs. Robinson. And then he goes on an obligation date with her daughter and, well, mom is not happy.

As I said—simple story. And it could have been done SO many different ways. The writers could have written a dramatic, angst-filled examination of the dilemma Benjamin finds himself in. They could have started it with him still in college, and thus let us see how the seeds of his dilemma took root. In fact, they could have used flashbacks that went back even further—into his childhood to show some of his youth and how difficult it was for him to cope.

But they did none of that. They began the film where the story starts—with him returning home, diploma in hand, and having no clue what to do next. And out of his aimlessness, he begins an aimless affair. He’s pretty inexperienced and the older Mrs. Robinson is so experienced she’s a pretty cold customer. This is a great set-up, so that when he meets Elaine Robinson, he’s got a real dilemma.

And still, it could have been a serious dramatic look at this situation. But it’s not. It’s more. It brilliantly combines Benjamin’s serious dilemma with the comedic situations he has to navigate. An innocent in many ways, Ben’s faced with some hilarious situations and we feel for him as he reacts in, at times, ridiculous ways.

So the filmmakers made some great choices—they didn’t JUST go ‘comedy’ or ‘drama’ but they combined both and, thus, kept up our interest. This is a film for any screenwriter to study—look at the scenes, look at the characters, look at the structure and see how a classic is made.

Next week, onto the 70s, with The Last Picture Show.

Copyright © Diane Lake

16May21

Email Diane a question to Diane@DianeLake.com