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| | | Simon & Garfunkel Graduate Soundtrack CD | Similar to Nelson Riddle's self-parodic work on Stanley Kubrick's LOLITA, Grusin's instrumentals have a satiric edge that comments on the film's action. On their own, especially to one unfamiliar with the film, they sound like deadpan parodies ... Full Descriptionof the worst excesses of pseudo-hip Hollywood, especially the hilariously out-of-it "On the Strip," the background for the scene where Benjamin and Elaine make the Sunset Strip freak scene. It sounds so much like the theme to one of Chuck Barris's game shows that the disconnect has to be intentional.
The soundtrack to Mike Nichols' 1967 masterpiece, THE GRADUATE, alternates between Paul Simon's songs and pieces of Dave Grusin's deliberately naff Swingin' Sixties score. All of the former, with the exception of "Mrs. Robinson" and a negligible solo acoustic guitar rendition of "Scarborough Fair/Canticle," are available on Simon and Garfunkel's earlier albums.
Simon & Garfunkel: Paul Simon (vocals, guitar); Art Garfunkel (vocals).
Entertainment Weekly (10/12/01, p.28) - Ranked #7 in EW's "100 Best Movie Soundtracks" - "...Nichols' use of old and new Simon & Garfunkel songs was ingenious...Even though half of it is devoted to a mood-music score, this landmark introduced 'youth music' to grown-ups' movies..."
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Graduate Soundtrack Music Review Average Rating: (5 out of 5 stars)   The Expanding World of Movie Music
The importance of folk music in the social protest movements of the 1960s, along with the identification of rock music with the American counterculture, meant that the growing movie audiences of young adults was primed to hear those kinds of music on movie soundtracks. In the second half of the 1960s, increased emphasis on unique music for a specific film encouraged a turn for pop music groups for scoring films. Hollywood hired rock musicians for a film, or they aquired the rights to previously recorded music. The scoring for "The Graduate" consisted of songs by Paul Simon and Art Garfunkel that lent a distinctive underpinning to the film's offbeat story line. Nonetheless, although the Simon and Garfunkel "sound" was new and different, it was used conventionally. Just track, for example, the lyrics for "The Sounds of Silence" through the movie: its essential purpose remained strongly narrative, precisely as in classic Hollywood scoring.
Submitted by filmfactsman (Beverly Hills, CA, USA)
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