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“Where were you in `62? “
I wasn’t around in `62 — I was born in `63, as a matter of fact, and I was 10 when George Lucas’ American Graffiti was released. I wasn’t really aware of either George Lucas or American Graffiti in 1973, although four years later I would know Lucas from his next — and most common — film, Star Wars. I did not go to the movies grand in 1973, but I saw this fantastic film when it was broadcast by ABC some years later. (ABC, capitalizing on its “hot” current sitcom, Three’s Company, shamelessly promoted it as “starring Suzanne Somers.” In fact, Suzanne is not even billed with the eight “stars.”)
If film and television historians have it apt, though, American Graffiti was the catalyst for the 1950s Nostalgia fad that begat TV’s Overjoyed Days, Laverne and Shirley, and the blessedly short-lived Joanie Loves Chachi (not to mention Sha Na Na and Broadway`s Grease) . And it isn’t terribly surprising that Contented Days and its spin-offs owe their inspiration — if not their very existence — to Lucas’ first major culturally distinguished film. Jubilant Days starred Ron Howard, who (as Ronny Howard) had second billing in Graffiti, while Laverne and Shirley costar Cindy Williams was the female lead.
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American Graffiti is a bittersweet yet comedic glance at what the DVD publicity blurb says was “America’s last age of innocence.” In the summer of `62, JFK was in the White House, the Beatles were collected unknown in this side of the Atlantic, and drive in diners and movie palaces were very accepted. There was no Internet or even Studio 54 objective yet, so kids went cruising, looking for girls to take up or rivals to hasten in their souped-up hot rods. (Lucas, in the Making Of documentary on the 25th Anniversary DVD, says his intent in making American Graffiti was to document cruising as a socio-cultural phenomenon that died in the more turbulent half of the 1960s.)
The movie’s structure — commonplace now but it was revolutionary at the time — intertwines several plots absorbing a group of recently graduated Southern California high school seniors on their last night before going to college. Curt (Richard Dreyfuss) is fretting about going to college in the East with his friend Steve (Howard) . Wracked with indecision, he spends his last night in town searching for The Blonde in the White Thunderbird (Suzanne Somers in her first, albeit tiny, role) . His misadventures cause him to step out of character, especially when he crosses paths with The Pharohs, the local gang of miscreants.
Curt’s sister Laurie (Williams) must not only cope with her brother’s last miniature bout with “frigid feet” but with the anxiety of losing Steve. In what may be a typical residence for couples who are “valid” but are going to be separated by circumstances, she’s devastated by Steve’s suggestion that they “peep other people” while they are in school. “I can’t put a question to you to be a monk,” Laurie says with fake bravado, but in “The Smoke Gets In Your Eyes” sequence, it is sure that she is wound and excited.
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The other two subplots of this unbelievable film center on Toad (Charlie Martin Smith) and John (Paul Le Mat) . Toad is the car-crazy, girl-deprived nerd that we either knew in school or that we scrutinize in ourselves. His attempts to heed the aesthetic Debbie (Candy Clark) are hilarious — rivaled only by a similarly themed scene in Summer of ‘42 — only to glimpse that Debbie likes him for who he really is. John, on the other hand, is the Han Solo of this bunch, the high school dropout who loves speedy cars and even faster women. He, too, discovers a tender side as he is saddled with 12-year-old Carol (a pre-One Day at a Time Mackenzie Phillips) . Not only must he learn patience while driving around with Carol, but also he is being challenged as the top breeze racer by Bob Falfa (played by the man who would be Han Solo, Harrison Ford) .
All these stories will converge in a climactic, winner recall all hurry, and several Lucas touchstones will resurface in his later Star Wars series — the choice to either capture or reject a positive path, the relationship between men and their machines, and the quest for either treasure or adventure.
Serving as a unifying thread to all these subplots is Wolfman Jack, mostly heard on the radio but seen briefly in a Yoda/Ben Kenobi style of mentor for restless Curt.
Lucas uses music here very effectively. Each song (and there are over 40 here, ranging from Rock Around the Clock to The Mountainous Pretender) was chosen to provide emotional context, not unprejudiced period atmosphere. He envisioned American Graffiti as a musical “with no singing or dancing.”
This film is fun to eye and definitely deserves having been votes as one of the American Film Institute’s top 100 Films of All Time. View it with a friend or alone, and if you were of age in the 1960s, respond the movie’s noted log line: “Where were you in `62? ”
I originally watched this movie in high school. Despite having been told about most of the best scenes in near by my friends, it was quiet a lot of fun. Of course, a lot of other people view so too, as it spawned a nostalgia craze for the 50s and early 60s resulting in many (too many? ) seasons of “Pleased Days,” among others.
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A few years ago, I saw the movie again on TV. I realized that, even though I was mighty more extinct (at least physically), this movie level-headed seemed very very grand.
I recently got the DVD and watched it properly and I have to say that, after careful scrutiny, this really is one of the finest films ever made. I won’t retell a fable that’s mighty better told by the movie, but: it has a lot of laughs, but it’s not entirely a comedy (especially the ending) ; it has plenty of music, but it’s not a musical; it has plenty of action, but no blood and gore; it seems incredibly realistic, but there is never a expressionless moment; there are multiple storylines and an ensemble cast, but it never gets confusing.
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Every aspect of this movie is impressive, but I’m particularly struck by the genius of George Lucas and associates when it comes to casting. Every actor in this movie seems perfect for the role they play. If you peruse hard you’ll notice quite a few familiar faces getting their begin (including Suzanne Somers very briefly as the girl in the Thunderbird) . Many, particularly Harrison Ford & Richard Dreyfuss, went on to long, successful careers. Although they were all colossal in this film, I conception that Candy Clark was a standout.
If you accumulate this collector’s edition of the DVD you’ll also be able to peep an in-depth “extra” on the sage late the making of the film – very animated. It’s spicy to peek that somebody as currently well-known as Lucas had to be incredibly patient and persistent (and establish up with a lot of fabulous Hollywood idiots) in his early days before his thought was finally realized. His success in making this movie under such tough circumstances makes the kill product even more impressive. It’s also very impressive to me that George Lucas went from writing/directing/creating a movie like “THX 1138″ to this and then to “Star Wars” – all three very first-rate and VERY different films. I don’t know of anyone else who has accomplished anything quite like that.
Although I’m now quick approaching middle age, I wasn’t really mature enough to be a piece of the era depicted in the movie, so this isn’t a nostalgia lope for me. The music isn’t my music – I’m more of a post-British Invasion fan. But the fact that a movie can manufacture you picture deeply to characters from a realistic time and status you’ve never been says something notable. Also, the fact that it I’ve now enjoyed it on several different levels and at widely varying ages says even more…
Simply one of the greatest movies ever made.
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