Review of American Graffiti (1973) by Matt G — 30 Aug 2018

Most of us remember our teen years with some form of longing; the freedom, the friendships, the adventure. However, many of us forget how difficult it was. Not just the heartbreak, aimlessness, put-upon responsibility and endless levels of adult authority; we tend to forget hard it was to be so certain about everything yet so often wrong. Lucas's 45-year-old classic captures this frustration perfectly; not with a critical, "you-darn-kids!" eye, but with humorous sympathy. No matter what your generation, American Graffiti is YOUR American teendom; fearful bravado, naïve excitement, and all.

American Graffiti is essentially an anthology film, covering the last night of summer for a group of recently-graduated small-town-American teens in 1962. Lucas displays such caring control of his characters, with a script bursting with as much honesty and life as hormones from an 18-year-old. The dialogue is timelessly wonderful, often hilarious, and always trusting that the audience will keep up with its recognizable usage and references without obnoxious hand-holding. And the up-and-coming cast is bright-eyed and stellar, with Dreyfuss's every-teen and Phillip's spunky tween brat leading the pack.

Perhaps its biggest impact is the invention of nostalgia culture, specifically among teens. Sure, by its very nature, some of the references, styles and societal norms are unintentionally dated (ogling of women, faking sexual harassment, teacher-student relations). However, nearly as often, its completely intentional. The use of golden oldies radio to score the evenings frivolities, including the use of DJ and rock-and-roll guru Wolfman Jack, is used for more than cheap recognition. American Graffiti soars above most "hey-remember-this?" pop culture by making its nostalgia dressing, not the purpose, and letting the universal truths of adolescence shine brighter.