American Graffiti

After the arguably unjust box office failure of his arthouse-dystopian sci-fi film “THX-1138” (1971), George Lucas was challenged by his mentor and American Zoetrope producing partner Francis Ford Coppola (“The Godfather” trilogy, “Apocalypse Now”) to do something challenging to his own avant-garde sensibilities, which, for young George Lucas, meant creating a warm, humorous, character-driven teen comedy for well under a million dollars.

It’s easy to think that “Star Wars” was the beginning of this moviemaking revolution, but when you look at the totality of Lucas’ career, it was “American Graffiti” that give him both the success, confidence and financial clout to make “Star Wars” happen. Lucas’ struggles with the Hollywood studio systems (Warner Bros, Universal and later 20th Century Fox) eventually led to his creating his own studio, Skywalker Ranch, in Nicasio, California in Marin County (unlike Curt, Lucas’ own wanderlust came full circle). The ranch itself was conceived and created to be a high-tech filmmakers’ retreat for fellow artists. Skywalker Sound, for example—one of the most advanced movie audio facilities in the world—is located there. Today, Skywalker Ranch has its own resort hotel, and even its own fire station (!).

I was a mere ten years-old when I first saw “Star Wars,” so I witnessed this cinematic revolution unfolding as a young moviegoer, and there are times I almost feel sorry for the generations of film viewers since who aren’t able to fully appreciate the dramatic upheaval in cinema tech that came with Lucasfilm. Lucas’ companies (ILM, THX, Pixar, DroidWorks, etc) ushered movies (often kicking and screaming) from fragile analog film stock and magnetic sound strips into the current digital age, where they’ve been ever since.

What do we think about the End Title card that appears before the credits in American Graffiti.

They read:

• John Milner was killed by a drunk driver in December 1964.

• Terry Fields was reported missing in action near An Loc in December 1965.

• Steve Bolander is an insurance agent in Modesto, California.

• Curt Henderson is a writer living in Canada.

Does this add anything to the film for you? What impression did it make on you, if any? George Lucas faced a lot of criticism for overwriting the Star Wars prequels, could this be an early peek at this habit?

The movie only had a budget of about $777,000, which equates to about $4 million adjusted for inflation. My question is, with all those countless number of cars and other 50s props, with so much 50s music, and basically renting a whole city to film the movie lol, how did he have such a low budget?

I feel like if a movie like American Graffiti were replicated now, it would easily be in the $10-30 million dollar range. How did he make the project so cheap?

I got to rewatch this in a cinema last night and it was just fantastic. The movie is quaint in some ways, timeless in others. George Lucas essentially immortalising America's last moment of innocence.

It's surprisingly relatable to me, even as someone who grew up many decades removed. The way Lucas captures the final moments of adolescence still rings true, even if contextually everything has changed. I love the little details. Things like sitting on the hood of a car watching TV in a shop window, or trying to open your high school locker and finding out the combination has changed. It's almost superfluous stuff but it feels so authentic. The era feels lived in and real.

I also think the gender politics and writing of the female characters is uncharacteristically good for the time. I kept waiting for there to be some uncomfortable moment or example of gross behaviour but it never really comes. I think it's ages quite well in that regard, in a way I wouldn't have expected it to. It still falls into classic relationship tropes and cliches but never in a way borders on misogynistic.

What always fascinates me and brings me back, beyond the hangout vibes, are the hints of reality underneath the levity. Lucas wants to indulge in nostalgia and teen shenanigans but a couple of times the real world breaks through and the wholesome facade fades away. There are a handful of tiny glimpses of prejudice, misconduct, and other uncomfortable behaviour from certain characters in a way that I think deliberately breaks the veneer. They're fleeting and the you're quickly drawn back into the movie but they always linger in my mind, especially after the end title card.

I think he's successfully having his cake and eating it too in regards to presenting a wholesome picture of youth in the 60's. Lucas can't help but remind us this moment isn't going to last, and also that it might not actually ever have been real. It's a perfect portrait of the end of an era.

I'm also surprised Paul Le Mat didn't go on to have a better career. In my mind he's easily the standout of a really terrific ensemble. I know the sequel isn't meant to be good but is it worth watching out of morbid curiosity?