Mrs. Robinson - From "The Graduate" Soundtrack

"Mrs. Robinson" is a multifaceted song that operates on several levels of meaning, enhanced by its connection to the 1967 film The Graduate. On the surface, it addresses the film's character, an older, disillusioned woman trapped in a loveless marriage who has an affair with a recent college graduate. However, the lyrics expand far beyond the film's plot to become a broader commentary on the societal malaise, hypocrisy, and generational disillusionment of the 1960s.

The verses allude to themes of mental health, hidden secrets, and political cynicism. The lines about being in an institution ("We'd like to know a little bit about you for our files") and hiding secrets ("Put it in your pantry with your cupcakes") suggest a critique of the clean, suburban facade of the post-war American dream, implying underlying dysfunction and alcoholism. The song captures a sense of societal breakdown and the loss of authentic values.

The most debated lyric, "Where have you gone, Joe DiMaggio? A nation turns its lonely eyes to you," symbolizes a longing for the heroes and perceived innocence of a past generation. Paul Simon explained that he viewed DiMaggio as a symbol of grace and dignity from a simpler time, a stark contrast to the turbulent and morally ambiguous present. Mrs. Robinson's reply that he has "left and gone away" confirms this sense of loss, suggesting that the era of uncomplicated heroes is over, leaving a void filled with alienation and cynicism. The song, therefore, serves as an anthem for a generation grappling with the loss of innocence and searching for meaning in a rapidly changing, and often hypocritical, world.

The song begins with a salutation to Mrs. Robinson, suggesting that a higher power, Jesus, loves her more than she comprehends. This is followed by a blessing, assuring her that a place in heaven is reserved for those who pray. This chorus acts as a recurring, almost ironic, blessing throughout the song.

The first verse shifts to a more clinical and institutional tone. An unidentified speaker, possibly representing a societal or medical authority, expresses a desire to gather information about Mrs. Robinson for their records. They offer to help her "learn to help yourself," a phrase often associated with therapy or rehabilitation. The verse paints a picture of a place with "sympathetic eyes," encouraging her to walk the grounds until she feels at ease, strongly implying she is in some form of institution, like a psychiatric hospital or a sanatorium.

The second verse delves into the theme of secrets and appearances. Mrs. Robinson is advised to hide something in a secret place, stashing it in her pantry alongside ordinary items like cupcakes. This secret is described as a private family matter, a "Robinsons' affair," that must, above all, be concealed from the children. This points to the hypocrisy and hidden dysfunctions lurking beneath the surface of a seemingly perfect suburban life. The verse is punctuated by the nonsensical phrase "Coo coo ca-choo," an homage to The Beatles' "I Am the Walrus," which adds to the slightly surreal and disjointed feeling.

The final verse captures a sense of political and social apathy and disillusionment. It depicts a scene of a Sunday afternoon spent watching a candidates' debate. The reaction is one of cynical amusement—laughing and shouting about it—but ultimately concluding that no matter the choice, it's a losing situation. This feeling of powerlessness and disenchantment leads to the song's most famous lines: a lament asking where the great baseball hero Joe DiMaggio has gone. The nation, feeling a void of genuine heroes, turns its lonely eyes to him, a symbol of a bygone era of integrity and grace. The song concludes with Mrs. Robinson confirming that 'Joltin Joe' has indeed left and gone away, cementing the sense of loss and the end of an era of innocence.

The creation of "Mrs. Robinson" is intrinsically linked to the 1967 film The Graduate, directed by Mike Nichols. Nichols, a fan of Simon & Garfunkel, became obsessed with their music while filming and asked them to contribute new songs. Paul Simon was initially hesitant, fearing it was "selling out," but was impressed by Nichols's script and wit and agreed to write a few pieces. However, the songs he initially presented were rejected by the director.

During a follow-up meeting, with pressure mounting, Simon played a fragment of an unfinished song he had been working on with the working title "Mrs. Roosevelt," possibly as an ode to former First Lady Eleanor Roosevelt. The song only had a chorus and some placeholder "dee-dee-dee" sounds for the verses. Garfunkel suggested the name change to "Mrs. Robinson" to fit the film's character, and Nichols was immediately ecstatic, insisting they use it in the movie. The unfinished version, with its placeholder sounds, is what appears in the film.

After the movie's release and success, Simon completed the lyrics, and the full version of the song was recorded on February 2, 1968. It was released as a single on April 5, 1968, and included on the album Bookends. The song became a massive hit, in part due to its cross-promotion with the highly successful film. Though central to the movie's identity, because it was not written specifically for the film, it was deemed ineligible for the Academy Award for Best Original Song.

"Mrs. Robinson" features a fairly straightforward rhyme scheme and a compelling rhythm that gives the song its driving, infectious energy.

Rhyme Scheme: The rhyme scheme is not strictly consistent throughout but generally follows a loose pattern within the verses. For example, in the first verse, "files" and "eyes" create a slant rhyme, while "yourself" and "home" do not rhyme, giving it a slightly free-verse feel that suits the conversational tone. The chorus, however, has a more structured feel with the repetition of "pray" and "hey, hey, hey."

Rhythm and Meter: The song is in 4/4 time and has an upbeat tempo, which creates an interesting contrast with the often cynical and melancholic lyrics—a common technique for Simon & Garfunkel. The rhythm is propelled by Paul Simon's distinctive acoustic guitar playing, which combines percussive strumming with syncopated fingerpicking patterns. This rhythmic complexity, especially the syncopation, gives the song a forward momentum and a catchy, danceable quality. The vocal melody often syncs with the guitar, but also flows smoothly over it, creating a dynamic interplay between the lyrical rhythm and the instrumental backing. The percussive elements, including what sounds like congas, add another layer to the rhythmic texture, differentiating it from more traditional folk songs.

"Mrs. Robinson" showcases a blend of sophisticated literary and musical techniques that define Simon & Garfunkel's style.

Musical Techniques:

• Instrumentation: The song is built around Paul Simon's intricate acoustic guitar work, which features a mix of energetic strumming, Travis picking, and fingerpicking that drives the rhythm and melody. The use of a capo gives the guitar a bright, ringing tone. The arrangement is complemented by a melodic bassline and a punchy, distinctive percussive beat, likely featuring congas or bongos, creating a unique folk-rock sound with a slight Latin flair.
• Vocal Harmony: Simon and Garfunkel's signature close-harmony vocals are central to the track. Their voices blend seamlessly, particularly in the chorus, creating a polished and memorable sound that contrasts with the lyrical themes of disillusionment.
• Arrangement: The song has a classic verse-chorus structure that is both accessible and engaging. The production, by Simon, Garfunkel, and Roy Halee, is clean and layered, bridging the gap between folk revival and mainstream pop-rock sensibilities.

Literary Techniques:

• Ironic Tone: The lyrics are deeply ironic, particularly the chorus which offers a seemingly sincere Christian blessing to a character defined by her sins and secrets. This creates a satirical edge, critiquing societal hypocrisy.
• Allusion: The song is filled with allusions. The most famous is to baseball player Joe DiMaggio, symbolizing lost heroism. There's also a direct homage to The Beatles with the line "Coo-coo-ca-choo," borrowed from "I Am the Walrus."
• Ambiguity: The lyrics are intentionally ambiguous, allowing for multiple interpretations. For example, what exactly is the "little secret" Mrs. Robinson must hide is never specified, leaving it open to represent anything from alcoholism to her affair or deeper societal dysfunctions.

"Mrs. Robinson" had a tremendous cultural impact, becoming one of Simon & Garfunkel's most iconic songs and a defining anthem of the late 1960s. Its inclusion in the landmark film The Graduate inextricably linked it to the era's counter-cultural conversations about generational divides, alienation, and sexual liberation.

The song was a major commercial success, reaching No. 1 on the Billboard Hot 100 chart. In 1969, it made history by becoming the first rock song to win the prestigious Grammy Award for Record of the Year, also winning for Best Contemporary-Pop Performance by a Duo or Group. This critical acclaim helped solidify rock music's place as a serious art form. The song was inducted into the Grammy Hall of Fame in 1999.

The term "Mrs. Robinson" entered the cultural lexicon as a popular archetype for an older, seductive woman who pursues a younger man. The song has been covered by numerous artists across different genres, including Frank Sinatra, Bon Jovi, and most famously, the alternative rock band The Lemonheads, whose 1992 version introduced the song to a new generation. Its reference to Joe DiMaggio became one of the most famous lines in popular music, sparking discussions about heroism in modern culture for decades. AFI ranked it at No. 6 on its "100 Years...100 Songs" list of top tunes in American cinema.

"Mrs. Robinson" is rich with symbolism and metaphors that critique 1960s American society.

• Mrs. Robinson Herself: The character is a symbol of the disillusioned and morally compromised older generation. She represents the emptiness and hypocrisy lurking beneath the veneer of suburban prosperity, a theme central to the film The Graduate. Her secrets, such as alcoholism and a loveless marriage, are hidden away like cupcakes in a pantry, a metaphor for the private dysfunctions concealed by public respectability.
• The Institution: The lyrics describing a place with "sympathetic eyes" where one can "stroll around the grounds" strongly symbolize a sanatorium or psychiatric institution. This serves as a metaphor for the societal pressure to conform and be 'cured' of any non-normative feelings or behaviors, and it reflects Mrs. Robinson's internal collapse.
• Joe DiMaggio: The baseball player Joe DiMaggio is the song's most powerful symbol. He represents a lost era of American heroism, integrity, and innocence. By asking "Where have you gone?", Simon is not literally asking for his location but lamenting the disappearance of the values DiMaggio embodied. The "nation turns its lonely eyes to you" highlights a collective feeling of loss and a yearning for reliable, graceful heroes in a time of political turmoil and social upheaval.
• Jesus Loves You / Heaven Holds a Place: The recurring chorus, with lines like "Jesus loves you more than you will know" and "Heaven holds a place for those who pray," functions ironically. It contrasts a message of spiritual salvation with Mrs. Robinson's morally ambiguous actions, highlighting the hypocrisy of a society that preaches piety while engaging in secret transgressions. It offers a hollow blessing to a character who seems far from spiritual redemption.

The most prominent recurring element in "Mrs. Robinson" is the chorus itself, which acts as a thematic anchor. The lines "And here's to you, Mrs. Robinson / Jesus loves you more than you will know / God bless you please, Mrs. Robinson / Heaven holds a place for those who pray / Hey, hey, hey" repeat after the first two verses. This repetition serves as an ironic refrain, offering a hollow, formal blessing to a character embroiled in moral turmoil and secrecy. Its recurrence highlights the central theme of societal hypocrisy—the clash between outward appearances of piety and inner corruption.

A notable variation occurs in the third chorus, where the opening salutation is replaced with the nonsensical phrase "Coo-coo-ca-choo, Mrs. Robinson." This phrase, borrowed from The Beatles' "I Am the Walrus," breaks the pattern and injects a moment of surrealism, perhaps reflecting the absurdity of Mrs. Robinson's situation and the crumbling facade of her life.

The phrase "Hey, hey, hey" at the end of each chorus is another significant recurring motif. It functions as a hook but also as a kind of dismissive, rhythmic filler that can be interpreted as anything from a cheerful chant to a sigh of resignation, adding to the song's ambiguous emotional tone.