This is an automated archive made by the Lemmit Bot.

The original was posted on /r/movies by /u/CinemaWilderfan on 2025-06-08 18:42:30+00:00.

The Graduate is often mistaken for being deeply ambiguous, but this opinion came from Mike Nichols’ decision not to yell “cut” at the end of the final scene, allowing the characters to fade silent and stare at the camera to show uncertain expressions. This tonal shift feels profound, but it’s more of an aesthetic flourish than a true narrative or thematic ambiguity. The story itself is quite clear: Benjamin rebels against a future he doesn’t want, chases Elaine, and gets what he wants, and they laugh happily at each other when they board the bus. They look into the camera because they are looking into their future.

On the other hand, Rear Window is more genuinely ambiguous. While the murder is solved, the film raises unresolved ethical questions about voyeurism and whether Jeff’s decisions are ethical or not. Was he a hero for stepping in and helping others solve a problem or was he stepping into peoples’ boundaries? Even we don’t know how Jeff and Lisa would end up.