Wasn’t it “Want me to call the cops?” or something like that.
If we’re delving into trivia, everyone from around here knows that when Benjamin is racing to Santa Barbara in his ever so awesome Alfa, he goes through the tunnel at Gaviota. The tunnel is, of course, only on the northbound side of the freeway.
Another interesting tidbit about the film: in the scene where Ben and Mrs. Robinson have sex for the first time, one of the cuts was a first take: Anne Bancroft is undressing. Dustin Hoffman was told to “wing it,” and for some reason decided that slapping a hand onto her breast was the thing to do. As soon as he did it, he realized it was an incredibly stupid thing to do, and started to laugh. Unable to control himself, he walked off camera, then back onto camera with his back to it, and began knocking his head on the wall, trying to calm down.
Classy Anne was able to keep a straight face through the whole thing.
I love Anne Bancroft’s performance, but the fact is it would’ve been far more transgressive if that role had been filled by a genuinely middle-aged woman (at least forty) with a less-perfectly preserved figure. IRL Bancroft, at age 36, was just a shade under being six years older than Hoffman, and a tad too young to play Ross’ mother – unless she was knocked up at around fifteen.
When I was in college, I wrote a paper comparing/contrasting the novel and the film. I scarcely remember it now, but one of the things I touched on was the film’s use of reflective surfaces (mirrors, panes of glass, watery surfaces) in underscoring the theme of identity (or, perhaps more accurately if I were to write it today, performativity in the public and private spheres) – the way that Ben, who is trying to stave off the formation of an adult identity and role for himself, and Mrs. Robinson, who is unhappy and unfulfilled in her role as a wife and mother – are playing with notions of who and what they are and are supposed to be in the eyes of others. (Having said that, though, the ultimate framing device depicting Ben wasn’t a reflective surface, but, famously, Mrs. Robinson’s come-hither legs!)
There’s a lot to consider in the story, but the one thing everyone in the class agreed on was the film’s superiority to the novel. “Who is Charles Webb?” has to be one of the all-time best trivia questions for Jeopardy!'s “name the author” category.
That pales in comparison to him driving over to Berkeley to visit her at Cal…on the upper span of the Bay Bridge, going East. That’s the wrong way. I can’t fathom shutting down the Bay Bridge for one shot in a movie these days - there would be a riot.
I remember someone telling me this so I’ve studied the shot a little bit. Are you sure that he is actually driving towards Berkeley? I seem to recall that it was difficult to see anything definitive as far as Yerba Buena Island/San Francisco/Berkeley goes. The Bay Bridge is symmetrical from certain angles. If I was shooting it, I would’ve had the Alfa drive on the top level towards San Francisco and use artistic license to justify it. This would be a lot easier than shutting down the Bay Bridge, even in 1967!
Oh, I’m quite certain. It’s very clear based on what you see in the background that he’s going the wrong way - the helicopter pans across Yerba Buena quite clearly, (though briefly), and you can see Richmond Harbor and GG fields in the distance. Not difficult at all to see definitive geography - for locals, anyway. 
OK, you’re probably right. Ignorance fought and all that. I will double check it the next time I get the DVD though. It must’ve been a cluster fuck to shut down the Bay Bridge and get cars to drive the wrong way on both levels.
But, just to make sure, I had to check IMDB, which has a great trivia trivia section. Neither the Gaviota Tunnel nor the Bay Bridge is mentioned. However it does say that the leg in the movie poster is that of Linda Gray!
Another hilarious bit:
And, frighteningly enough, the song “Mrs. Robinson” had a working title of “Mrs. Roosvelt”, about Eleanor Roosevelt. Yikes, that would not have worked!
I first saw **The Graduate ** in the mid 70s when I was in high school. It totaly blew me away then, and has held up well over numerous repeat viewings. Highlights include:
No, no. Sexual intercourse began in 1963 (which was rather late for me) – Between the end of the Chatterley ban and the Beatles’ first LP
No, but I’d guess pretty frequently after '69.
How could you not forever be a fan of Buck Henry after this film too. Besides being ever so perfect as the hotel clerk, if memory serves he’s also the one that came up with the “One word… Plastics.” line.
Hell Buck, just shoot me next time.
I friggin’ love that film. You know the part at the end when they run off, and he sticks the cross through the church doors to lock them in? That inspired me to lock in my high school’s choir class in the same manner.
You guys are almost making me want to give this movie a second shot. I saw it +/- 10 years ago, and was disappointed – couldn’t see what all the fuss was about. Maybe it’s time to give it another shot…
**Though, for the record, I’m not the only one who doesn’t think it has aged well: I submit Roger Ebert’s retrospective review.
One of the few times I’ve disagreed with Ebert.
Ah, this helps make sense of things for me. When I saw it about a year ago, I thought Mrs. Robinson was the most interesting person in the film and just wished everyone else would…well…snap out of it. Everyone (but her) just seemed to be in a fugue state. I liked the movie a lot, but I thought Benjamin was an ass and Elaine a twit and, as the old Yiddish saying goes “At least G-d in his wisdom didn’t ruin two families with those two!” Or something like that. They deserved each other, in their idiocy together. Blonde boy was lucky to be rid of her.
So I wasn’t missing anything. At least, nothing other than a generational perspective.