40th ANNIVERSARY CELEBRATION, PETALUMA, CA

Hey Folks,  I flew back home from Petaluma's Celebration of American Graffiti last Sunday, and boy, my arms are still tired!  But, all seriousness aside...  I had an incredible time and I'll be happy to share with you photos from the event as well as some other cool stuff.  However, for now, I have to return to a different world and concentrate on my occupation as a School Psychologist which provides monetary compensation that goes to paying rent, food, and my student loans.  I think you know what I'm talkin' about.  But, stay tuned for some great articles, posts, & pix.  In the meantime, here's a video about the Petaluma event from the local Bay-Area news.  See ya soon!

THE UNIVERSAL YEARS: FOLLOWING THE PROGRESSION OF A MOTOR

The coupe parked in the Universal Studio's shed circa 1975

Hey, how’s it hangin'? If you're like me than the answer is, "A little to the left." Any whooo, before I head off up to Petaluma, CA this Thursday, to celebrate the 40th anniversary of the release of American Graffiti, I thought I'd post a special article featuring cool pictures of the yellow coupe (now known as Milner's Coupe). In a previous post sub-titled "The Fastest Thing in the Valley" I described the controversy over the size of the '32 Ford Coupe's engine and the rumors that exist as to the motor being swapped sometime after it was first featured in the film. Is it true? Is it not? Do we care? Is the new Pope Catholic? So, in an attempt to clear up the confusion (or add to it) the coupes’ current and longtime owner, Rick Figari sent me some scraps from his scrap book to share with my readers. That would be you. It’s the least we could do for those of you who aren’t able to attend the celebration. The pics featured here are from a short period in the car’s history and are exclusively of the coupe’s engine as it appeared directly after it was featured in the 1973 film up until it was restored in 1982 by the individual who purchased it from Universal Studios after the sequel, More American Graffiti, Steve Fitch.   After looking closely at these pics of the motor over the years, and some logical deduction, I'm pretty convinced that since it was first featured in the 1973 film, the coupe has had the same engine - just worse for wear each year.  Enjoy, and I'll see ya at the finish line.

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The engine as appeared around the time it was featured in the film, The California Kid (1974)

A rear shot of the coupe parked at Universal Studios circa 1975.  After filming Graffiti in 1972, Transportation Supervisor, Henry Travers had prepared the car for street use prior to its planned sale.  To make it street legal he added a license plate light (in a lower position) and added a side view mirror.

The engine circa 1976.  Notice the chorme beginning to rust and the carbs and manifold covered in grime and bird droppings from the shed it was housed in.

This pic was taken circa 1979 right before it was put back on display on the Universal Studios Tour. Notice the oil filler cap is missing. It still has the original spark plug wires.

1979 Passenger side view of the engine with a dirty manifold and super cruddy carbs.  Notice the original wires are held together with electrical tape.

This 1980 pic shows how the engine appeared as the coupe was displayed on the Universal Studios Tour. Apparently many folks wanted a little bit of movie history and felt obliged to steal parts from it.  Notice the missing 2 scoops, wingnuts, oil dipstick, & radiator cap.

 

This pic shows how the engine looked in 1981 after Steve Fitch purchased the car from Universal Studios in a private auction.

A driver's side view of the engine as it looked in 1981 before owner Steve Fitch rebuilt the engine. The pic was taken after pressure washing the engine to remove some of the crud. The original valve covers are gone but it still has the same carbs, wires, plugs, etc. Notice the carbs are stuck in the "open" position. Henry Travers reportedly could never get those two carbs to perform properly when he attempted to prepare the engine for the movie's sequel

This 1982 pic shows how beautiful the engine looked after Fitch rebuilt the engine. Engine has new carbs, plug wires, oil filler, & radiator cap.  Rick Figari purchased the coupe from Fitch in 1986 and has since replaced the air filters with original movie-period scoops on the carbs.

 

~ FIN ~

MELS DRIVE-IN: A MODEL OF THE PAST

There are many famous landmarks all over the world such as the Eiffel Tower and the Egyptian Pyramids. Some of these landmarks even exist right here in the United States of America including the Statue of Liberty, the Golden Gate Bridge and of course, the original structure of the very first Mels Drive-in in San Francisco made famous in George Lucas' 2nd feature film, American Graffiti.  

 Although demolished years ago, the first Mels drive-in, formerly at 140 South Van Ness, with its classic circular structure and glowing neon has remained a shining icon in the hearts and minds of American Graffiti fans long after the final music-filled scenes first ended. Collecting models of many of the popular cars featured in the film has been a popular hobby of many Graffiti fans so it seems it was only a matter of time (say, forty years), before someone produced a model kit of the drive-in eatery so that the hobbyist had a place to park their Graffiti model cars.  That job went to Moebius Models. 

The folks at Moebius have developed a highly detailed plastic molded, HO scale model, of the original restaurant in light grey.  The features include signs, booth, diner counter and rooftop signs along with plastic for the windows.  The model drive-in consists of 64 plastic parts and numerous 4-color plastic pieces.  Color printed paper is used for all of the interior. It is scaled in 1/87 so it will also fit into any HO scale railroad setting and retails for about $44.95

Graffiti fan, and guest contributor, Charlie Lecach has already purchased two models and has almost completed painting and detailing one of them, which he calls his "test model." He was nice enough to honor us with a couple pix of his handiwork and give us an idea of just how amazing one can make this model appear.

The Vespa, trash can, serving window, the door inside giving access to the kitchen, the parking sign, the orange "closet", the orange base of the small MELS neon, the green plant and concrete around as well as the parking signs and neons are NOT part of the original Moebius model.  Charlie added all these parts himself to make the model closer resemble the drive-in eatery featured in the film.

For More Info:

Web Site: http://www.moebiusmodels.com/
Phone: 386-734-3599  

Postal Address:
Amoebas
PO BOX 229372
GLENWOOD, FL 32722

THE ONES THAT GOT AWAY or, NAME THAT TUNE!

Wolfman holds up some popular vinyl. Circa 1973

American Graffiti is saturated with wall-to-wall oldies from the 1950s & early '60s and most fans of the film can instantly identify the songs heard while watching the film. However, most fans aren't aware of the names of the songs that were written into the script but never made it into the film. Here I've compiled a list of 8 songs that were written into scenes in the second draft of the script dated May 10, 1972 but for various reasons didn't make the final soundtrack. I've included the dialogue as it was written in the original script, some of which may not have been in the film. For more on these subjects please see my article, THE AMERICAN GRAFFITI SOUNDTRACK dated Dec. 9, 2010 and the Nov. 8, 2010 post, WRITING GRAFFITI. Some of the original songs that humorously underscore the subject of each scene may have worked better than the ones that replaced it but I'll let you decide. All songs mentioned can be heard on You Tube or purchased through any music service. Enjoy.

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Scene: 12; TRAVELING – MAIN STREET – JOHN – COUPE

 John pulls alongside the Studebaker and the girl in the front seat rolls down her window.

  JOHN

You wanna ride around with me for awhile?

  GIRL # 1

I’m sorry, I can’t I’m going steady, I just can’t.

Song in Script: “FEVER” by Little Willie John (1956), Peggy Lee (1958)

Actual Song Used in Movie: “WHY DO FOOL FALL IN LOVE” Frankie Lymon & The Teenagers.

 ____________________________________ 

Scene: 27; TRAVELING – TERRY & DEBBIE - MERCURY

Terry is out again in the stream of taillights, flashing through the small town. He passes some kids on the street and waves - - they stop, seeing it’s Terry.  They shake their heads in amazement.

 A car pulls alongside and the driver yells over - -

DRIVER

Toad - -?  Is that you in that beautiful car?

Jeeze, what a waste of machinery…

 The car takes off - -

 TERRY

(Shouting)

Ah, suck gas bozo --

Song in Script: HAPPY, HAPPY BIRTHDAY BABY by The Tune Weavers (1957), Elvis Presley (1958).

Actual Song Used in Movie: “RUNAWAY” by Del Shannon.

 __________________________________________

Scene: 30; AUTO WRECKING YARD – JOHN & CAROL

 John’s coupe crunches to a gravelly stop in front of an auto wrecking yard.

 CAROL

Why are we stopping here?

 

JOHN

I wanta look at the cars.  It relaxes me.

Song in Script: “IT’S JUST A MATTER OF TIME” by Brook Benton (1959)

Song in Movie: NONE.  (There is no music during this scene.)

 __________________________________________

Scene: 37; TRAVELING – CURT & HOODS - PONTIAC 

The radio blares and we see all the hoods sitting super low in the car, their eyes just visible over the windows.  The Wolfman is giving the phone operator a bad time as she tries to get him to accept a collect call.  All the Pharaohs are amused. 

 BEAN

You tell her, Wolfman!  He’s my man.  When I graduate I’m going to be a Wolfman.  You know he broadcasts out of Mexico someplace…

 JOE

No he don’t. I seen his station.  It’s just outside town.  XERB right on the building.

Song in Script: “WESTERN MOVIES” by The Olympics (1958).

Actual Song Used in Movie: “JOHNNY B. GOODE” by Chuck Berry

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 Scene: 42; BURGERS DRIVE IN – JOHN & CAROL COUPE

 John cruises around the lot until he finds a space among the rows of dazzling cars.

 JOHN

(into intercom)

One ten cent Coke…Is ice extra?  All right, ice…..

 CAROL

Thanks for nothing.

Song in Script: “IN THE STILL OF THE NIGHT” by The Five Satins (1956).

Actual Song Used in Movie: “WHO WROTE THE BOOK OF LOVE” by The Monotones. 

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 Scene: 44; EXT. SCENIC LIQUOR STORE – 

TERRY & DEBBIE - MERCURY 

Terry pulls into the parking lot and stops.  He looks up at the flashing liquor sign and considers his battle plan.
 

 DEBBIE

Do you have ID?

TERRY

No… hey, but no sweat.  What’ll it be?

Beer, little wine?

DEBBIE

If you could get some Old Harper, I’d give you a French kiss.

TERRY

Old Harper, rrright!

Song in Script: “TEENAGER IN LOVE” by Dion & The Belmonts (1959).

Actual Song Used in Movie: “MAYBE BABY” by Buddy Holly.

 _______________________________________________

Scene: 55; MAIN STREET – TERRY, DEBBIE & STEVE

 The trio is standing on a busy street corner.

 

STEVE

I’m going over to Burger City

TERRY

You think Laurie’s there?

STEVE

I’m not looking for Laurie!  I don’t care where she is…you wanta come?

DEBBIE

Yeah

TERRY

No.

STEVE

Well, make up your minds

TERRY

No thanks, we gotta - - report the car missing.

 

Song in Script: “DONNA” by Ritchie Valens (1958).

Actual Song Used in Movie: “PARTY DOLL” by Buddy Knox

 ________________________________________________

Scene: 65; THE “COME ON IN” BAR – 

TERRY & DEBBIE - MERCURY

 A half a dozon people are standing around in the parking lot behind bar.  Debbie is sitting on the hood of  a  car, swinging her legs and chewing gum.  The people all seem to be watching something on the ground behind the car.  Coughing is heard, then gagging, and the unmistakable sound of someone being sick.

 OLD MAN

You cold, Lottie?  We’ll go in a minute.

OLD WOMAN

Maybe we should move him.  Staying on his hands and knees like that…

(she grins)

He looks like a dog, doesn’t he?  Looks like old Ginger.

 OLD MAN

Sicker than a dog, that’s for sure.

Song in Script: “POISON IVY” by The Coasters (1959).

Actual Song Used in Movie: NONE.

 __________________________________________

Scene: 70; INT. RADIO STATION – 

CURT & STATION MANAGER

 Through the maze of glass, shifting like prisms, he sees the station manager sitting by the mike - - howling!  Then he laughs and howls again, starting to sing an insane song called “Bluebirds on My Dingaling” pounding out the rhythm on the console. 

 CURT

Wolfman….

He backs away, leaving the Wolfman who’s on his feet now screaming out the end of the song, dancing by himself in the little glass room from which his voice radiates out through the night and around the world.

Song in Script: ‘BLUEBIRDS ON MY DINGALING” by Unknown. (May be a fictitious song.)

Actual Song Used in Movie: “HEART & SOUL” by The Cleftones.

~ FIN ~


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- THE PLANE TRUTH -

I was surfing the Internet, specifically the incredible, Goleta Air and Space Museum a while ago and I came across some pix of a familiar looking plane.  It was a white DC-7C proplane with orange and white stripes.  As it turns out the said plane was the same one that was used for the final scenes in the 1973 classic, American Graffiti.   How did I know it was the same one seen in the film even though it didn't have Magic Carpet Airlines painted on the side?  Well, as I learned, apparently planes are assigned a license or serial number that is displayed prominently on the side of the aircraft and remains with it for its entire life regardless of how it is used or how many times it changes hands. The number makes it easier to track its history compared to automobiles.  Movie car fans know what I’m talking about. The serial number of the DC-7C featured in Graffiti was N5903.  Because this particular aircraft, built in 1956, was somewhat rare, aircraft enthusiasts and aficionados would occasionally snap a pic of the airplane when it was spotted in a particular airport.  Thus, we are blessed with some really cool photos of the 4-engine plane. And, so, your buddy, Kip is here to provide you with an incredible pictorial history of this beautiful aircraft. Dig it baby!  Please note all of the pix on this particular post are published with the permission of the photo owners.  So don’t be a "Dick" and steal these. If you want to borrow or use a particular photo, please write and ask for permission. Thank you for not smoking and have a nice day.

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Wolfman chats on the XERB request line with a caller from Whittier, CA & spins WHISKEY & WIMMEN' by John Lee Hooker & Canned Heat.

NOT JUST ANY PLANE WILL DO

Although there were hundreds of classic cars featured in George Lucas’ masterpiece, American Graffiti, there was only one plane in the film. It is featured at the end of the story and it is the transportation that lifts Curt, (Richard Dreyfuss) out of the restricting and limiting confines of his small hometown and into the great wide-open future. The company which loaned the prop plane was named, Magic Carpet Air Travel Club.  Lucas once told writer, Larry Sturhahn that for the filming of this pivotal closing scene, they had specifically sought out a prop plane but they weren't easy to find.  Eventually the crew found a few airlines who would lease the plane if their name was prominently displayed on the side of the aircraft in the film. The choices included Air West, Air California, and Magic Carpet.  

"I decided to use Magic Carpet, but it wasn't written in the script," Lucas recalled.  He kept to the agreement but couldn’t pass up the opportunity to slightly alter the name to make it more fitting to the story and so the Magic Carpet Air Travel Club became Magic Carpet Airlines for the movie. "I thought it was appropriate, and that's one of those things that when fate gives it to you, you make the decision," said Lucas. The amended name was painted on the left side of the DC-7C. The aircraft was parked at Buchanan Field Airport in Concord California (Contra Costa County) where the final scenes of the movie were first filmed on August 3, 1972. Legend has it that on the first attempt to film the prop plane taking off, it got a flat tire on the runway and filming had to stop and a second-unit returned the following day to film the take-off, once the tire had been repaired.

THE LIFE & DEATH OF A PROP PLANE

Our future movie plane began it's history as a commercial passanger plane in 1956 for Braniff International Airways. The once popular airlines was in operation from 1930 until 1982. 

In November 1969 the future movie plane was bought by Club America, Inc.  This picture was taken in 1970 at the William P. Hobby Airport in Houston, Texas.

WE'RE AN AMERICAN BAND 

Stepping out in style. Members of the incredible power trio, Grand Funk Railroad exit the DC-7C which they leased from Club America. Inc. in the Spring of 1971. At the time of this pic, these guys were one of the hottest touring hard rock bands on the globe. Although "We're an American Band" remains their most iconic tune, one of my favorites is "Nothing is the Same," from the band's 3rd album, "Closer to Home," released in 1970.  

This pic taken at the Chicago Midway Airport in late-1971 shows the future movie prop plane with Grand Funk Railroad's name painted on the side.  Soon after this pic was taken, the 4-engine plane was bought by Magic Carpet Air Travel Club.

Bill Larkins took this beautiful photo at the Buchanan Field Airport in Concord, CA the day after filming American Graffiti had completed in August 1972. Bill told me that they repainted the left side only with the new film name, "Magic Carpet Airlines."  The actual name of the plane was on the right side, "Magic Carpet Travel Air Club," which was a company with an address in Sacramento, Calfiornia.

The aircraft was sold to T & G Aviation, Inc in 1976 and by 1980, when this picture was taken, the plane was being used as a bomber to help drop chemicals on forest fires in the Los Angeles and southern California area.



This photo taken at Chandler Memorial Airport in Arizona on 10/11/1984 is the last known photo of the proud old aircraft before its demise.  Two years later on 10/09/1986 the plane flew it's last flight at the Dakar-Yoff airport in Senegal (the north-western coastal portion of Africa.) The DC-7C was taking off and once the gears had retracted the #4 engine stopped and the propeller feathered, the plane lost altitude and ditched off Dakar.  The three crew members died and the only passenger on the plane survived injuries.

From commercial passenger plane to movie star, to firefighter, the classic 4-engine, DC-7C (N5903) had a good 30-year run and will forever remain an important part of film history. Trivia Fact: The steps that led to the plane in Graffiti were mounted on a post-1962, late-model truck. To avoid conflicting with the early-sixties time line a white van was parked in front of the truck to hide it from the cameras.  

   ~ FIN ~

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NOTES:

• Aircraft Accident Douglas DC-7C. Aviation Safety Network. http://aviation-safety.net/database/record.php?id=19861009-1

• Airliners.Net. http://www.airliers.net/search/photo.search?regsearch=N5903

• Douglass DC-6 & DC-7C Tankers. Air & Space Museum. http://air-and-space.com

• Sturhahn Larry. (1999) The filming of american graffiti. In Kline, S. (Ed.), George Lucas interviews (conversations with filmakers series). University Press of Mississippi.

-YOU GOT THAT RIGHT -

Hey gang.  'Sup?  Hope all of you are enjoying this Winter.  Sometimes I forget how fortunate I am to live in the Central Valley of Northern California where it stays relatively warm during the Winter months.  I say relatively because I've been following the news and some of those on the East Coast are enduring some brutally cold weather.  My best thoughts go out to those of you who are affected by the cruelties of Mother Nature.  Anyhoo, since the last post regarding my opinion on revisionist history was challenged by some of my readers, this post focuses on something that's not debatable: The fact that all four of the main cars that were featured in the film, American Graffiti were built to period specs. And, we've got the evidence to prove it: The J.C. Whitney Auto Parts Catalog. 

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Wolfman talks with a fan & plays around with the tune, "Sh-boom Sh-boom" by The Crew Cuts

PERIOD CORRECT GRAFFITI CARS

By guest contributor, Charlie Lecach

If you know something about vintage cars and if you’re a die-hard American Graffiti fan, you’ll notice a few anachronisms while watching the movie, which is set in 1962. Nothing really dramatic, just a few post-62 models here and there in the background, ranging from a ’67 Chevy Impala to a ’73 Olds Cutlass. Anyhow, let’s come to the real heroes of this great movie, besides the actors and the music : The four “main cars” which are Milner’s  deuce coupe, Steve’s ’58 Impala, Falfa’s ’55 Chevy and the Pharaoh’s ’51 Merc. When checking out a 1962 edition of “J.C. Whitney’s automotive accessories and parts” catalog, you can notice that all of these cars have been built according to period specs.

Let’s start with the chrome plated reversed wheels, available for Fords and Chevys according to J.C. Whitney. Three out of four of the above mentioned cars are rolling on these wheels. The Mercury has stock wheels with Fiesta hub caps, which have been painted to match the car’s color. Remember the white fur on the Merc’s rear deck mat? It’s listed on page 71 of the 1962 J.C. Whitney catalog. Of course, if you had a car club like the Pharaohs, you could order a plaque custom made to your club’s name or logo through J.C. Whitney. 

Even though it’s just mildly customized, Steve Bolander’s ’58 Impala has shaved door handles, ’59 Cadillac bullets in the stock tail lights and a “California rake”. No problem to find any parts for lowering the suspensions or install some door poppers, thanks to J.C. Whitney. Same goes for the Caddy type bullets, available on page 67 if you had the 1962 edition. In the 1959 catalog, on page 74, you had the choice between 2 or 3 inch wide fuzzy dice, like those hanging in Steve’s Chevy. The same page also describes a plastic skull called “Chattering Charlie” a “realistically produced” plastic skull, to hang on your inside rear view mirror. Sounds familiar? Just ask Bob Falfa!

 


Now about John Milner’s hot rod: let’s forget his alternator for a minute and look for a pair of finned “no name” valve covers. You could get them on page 75 for about $ 33. His front wheel hot rod fenders were available on page 97 in different shapes and sizes. The piston gearshift knob was sold for $ 1.75 and was installed with a plastic bushing and a set screw. In other words, it was probably quite easy to pull it off the shift lever to give it as a gift to young Carol! Even the Man-A-Fre 4 carb. manifold, which was advertised in Hot Rod Magazine in February ’61. The “professional type racing air cleaner stacks” were already a classic from J.C. Whitney and could easily be attached to Milner’s Rochester carburetors. 

Let’s face it, while he was buying or modifying the movie cars, transportation manager Henry Travers probably didn’t check out the period accuracy of each listed part installed. Nevertheless, he did a great job and this transportation manager really transported each one of us into the early sixties!

The '32 Ford coupe's engine (probably a 283) was equipped with finned valve covers which were readily available for many engine sizes in the JC Whitney catalog

Even the Grant 502 steering wheels seen in all of those cars except the Merc, could be ordered at Moon Equipment Company as soon as 1961.

~ FIN ~

THAT'S THE WAY IT WASN'T

Director, George Lucas on-location of American Graffiti. Summer, 1972.

This evening I was reading a repost of an article from Road & Track magazine that my pal Jeff posted on his awesome blog, Jeff's All Graffiti All the Time.  In the article the author, Peter Egan recanted a conversation with a friend who grew up during the 1960s.  In trying to describe what his youth was like he told the author, “If you want to know what it was like, you have to watch American Graffiti [sic] it was exactly how things happened at the time.”   I’m always a bit mystified when people make a statement such as this. Are they being literal?  Really?  Is that really how it was? People’s emphatic blanket statement of “That’s exactly how it was” has been a point of contention with me for almost as long as I’ve been an American Graffiti fan.  I understand the phenomena of dragging the main. When I was 16-yrs-old I spent my Summer nights cruising the streets in bumper-to-bumper traffic in the Central Valley California town of Merced (located South of Modesto and North of Fresno). But even so, I think too many of us romanticize our youth.  Maybe my psychology background and general cynical nature contribute to me being doubtful about what people say about the way things used to be.  From what we know about the human brain, our memories are highly unreliable. To this thought the columnist Manfred Wolf once wrote, "We stylize our past, mythicize it, and advertently or inadvertently rewrite out history.  We are all revisionists, and memory is nothing if not ideological."   I’ll avoid any long pompous sounding theoretical philosophy but, I think everyone projects his or her own experience onto the story in American Graffiti, which is probably what makes the film universal, no pun intended (Graffiti was released by Universal Studios). Most great literature and art has some elements of ambiguity that allow for different interpretations by the individual viewer/listener thus, increasing it's popularity. 

The cast & crew often ate meals at the old Mayflower Van & Storage building in Petaluma where cars and filming equipment were stored during the daytime.  (Photo courtesy of Candy Clark)

A couple of year ago, I was doing my Internship at a school district in Mendota, California and an older teacher I worked with spoke about how back in 1962 he used to cruise in Turlock, and Modesto, where the film takes place.  He said kids would come from out of town to cruise and the streets would be bumper-to-bumper traffic at times.  He doesn't recall every car being a chopped and channeled hot rod. For us, he said, cruising was a social activity-a way to flirt with and meet girls. There were a lot of, makeshift hot rods. Kids would take a rusted old car, give it a coat of cheap paint, heat the springs to lower it, take off the muffler so it would sound loud and mean and "Whala!" Keep in mind we're referring to a time before car manufactures began pandering to the youth market with stock hot rod muscle cars like the GTO, or the Mustang in 1964. Even Graffiti's Director, George Lucas didn't own a flashy auto back in the day. While he was in High School Lucas drove a low horse powered Fiat Bianchina.

NOT EXACTLY A BABE MAGNET: Director, George Lucas drove a 2 cylinder FIAT in high school.

Of course, there's no denying that, back then, plenty of teens in the Northern California Valley made it their mission to make the flashiest and fastest machine possible by customizing an older Plymouth, Chevy or Ford but it wasn't the norm. I’m going to go out on a limb here and guesstimate that less than 5% of the kids who cruised the circuit in The Valley actually had really flashy high-performance cars that they worked on frequently. That is probably the reality. Crusing didn't necessarily mean you were part of the Kar Kulture. But, in Graffiti, almost EVERYONE appears to have a hot car. Although it is filmed in a cinema verite style with small hand- held cameras, and actual buildings and surroundings are used as the location for the film, Graffiti is not a documentary. The film is, as Lucas has said, a teenage fantasy in a world where a years worth of nighttime excitement and action takes place within one evening and teenagers always get the best of adults. For more on the style of the film, please see my 2-part post beginning Tuesday, September 28, 2010 titled, "American Graffiti Style."

in Graffiti almost EVERYONE appears to have a hot car.

American Graffiti is historical fantasy, It is an uncluttered version of the way things used to be, filtering out any unpleasantness of the era. It is set in the middle of September, 1962, over a year after the Nation had been through the Bay of Pigs incident and the Cuban Missile Crisis was a only a few weeks away, but this is never addressed. Earth was on the brink of destruction yet it is never alluded to in the film because it is beautiful, lighthearted nostalgia. That reminds me, I can't remember if I was watching the film for the 7th or 8th time before I came to the realization and I asked myself, "Where are all the black people?" There are none. If the film represent things as they were, then apparently African American people didn't exist in the early-1960s.  But, similar to all films, it takes a certain amount of suspension of belief to get caught up in the stories.  For example, The idea that someone would let her younger sister, (Carol) get into the car of a horny male stranger (Milner) is hard to believe.  But this sets up some pretty funny consequences and we soon learn through their interactions that Milner is a decent guy and in a least this instance is truly, "Harmless as a baby kitten."

Where are the black people?

I’m not on some sort of mission to disprove the historical accuracy of Graffiti, because that would be missing the point of the film. The tone of this cinematic masterpiece is not just nostalgic but also reflectively mournful. Although, on the surface the film is lighthearted, at its core is subject matter that is serious and at times, harsh. Issues of uncertainty, the loss of youth, confronting the future, and even death are approached. Lucas' exceptional efforts to address these topics still resonate today. (For more on this, please see my posts beginning January 21, 2011 for a 3-part article on the themes and symbols of the film.)  Subsequent generations are able to relate to the concerns of these characters.  The essential topic approached in Graffiti is one that is still not easy to answer. Should a person stay close to home, caring for their family and community or should he or she leave home to pursue their potential through education and independence?

Graffiti is Lucas's attempt to capture his high school days and the cruising culture in Modesto, California.  The film mixes both elements of realism and fantasy as the young filmmaker shows the world the way society was but in an imaginative and entertaining way.  The style of the film is realistic whereas the film itself is not.  Lucas says, "The actual film... is a myth.  For instance, some friends of mine did that to a police car, but it didn't come off like that.  The car just sort of went clunk, and it was really un-dramatic.  But, in the film it comes off."  He further elaborated, "The hoods are another example.  There are groups like that, but their not really like that.  It's been mythized so that its easier to take and more fun. The fact that its shown in a very realistic style makes it believable."  

Nobody understands the reality of creating fantasy better than the cast & crew of American Graffiti

You can't fault people for getting caught up in a deliberately planned exercise in nostalgia, but let's recognize the perfect carefree side of the film for what it is: a myth. I understand people are protective of their memories and may take this the wrong way. So, if after reading this post it seems to you as though I'm saying people didn't cruise, hang out at a burger stand, and do crazy things then my point has been completely missed, and I need to come up with a better way to express my thoughts on this.   Let me just say the only real concern I have is when people equate movies & TV (old or new) with reality. The distinction so often gets blurred. For example, there’s something unsettling about calling a program “Reality TV," when it's about as true to life as an episode of Family Guy.  Sure, everything looks cool when filmed at different angles, edited so the boring stuff is taken out, and all that’s left is the most outrageous behavior and circumstances, which are then set to a great soundtrack. Even my life would look exciting under such circumstances.

- FIN -