In 1944 Poland, a Jewish shop keeper named Jakob is summoned to ghetto headquarters after being caught out near curfew. While waiting for the German Kommondant, Jakob overhears a German ... See full summary »
Hannah Taylor Gordon,
A bad Polish actor is just trying to make a living when what should intrude but World War II in the form of an invasion. His wife has the habit of entertaining young Polish officers while ... See full summary »
A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow Marine recruits from their brutal boot camp training to the bloody street fighting set in 1968 in Hue, Vietnam.
George Lucas came up with the idea of shooting each of the four story lines in a different aspect ratio. Milner's Drag racing was in the 1950's exploitation style using a wide angle, stationary camera. The Vietnam sequences were shot on 16-milimeter film, like the TV reports of the time. Laurie and Steve's campus riot resembled a Hollywood version of student rebellions like The Strawberry Statement or Getting Straight. Debbie's trip were in multiple-image split-screen, inspired by Woodstock. See more »
When Ole and Eva are talking amongst them, they are not talking Norwegian as we are told they are, but in fact Danish. See more »
Debbie, you wanna stay away form weed. You know it's gonna lead you into cigarettes.
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Their futures were foretold at the conclusion of the original...
So why did we need "More"? It must've been a corporate decision--with financial gain the bottom line. If so, that plan didn't quite work, as "More American Graffiti" failed to catch on with its target audience, mostly due to the fact it reflects not the 1960s but TV sitcoms derived from '60s nostalgia. Ron Howard and Cindy Williams' story plays like a "Happy Days" rerun with bad language, however Charles Martin Smith's Vietnam episode is vividly captured--and the idea of him trying to blow off his own arm in order to get back home says more about the war than "The Deer Hunter" did in three hours. Paul LeMat has some good scenes flirting with a pretty Swede, while Candy Clark kicks around as a kooky hippie. The film, produced by George Lucas, is full of colorful distractions: multi-image cinematography, constant period music on the soundtrack, and lots of overacting. Unfortunately, nothing can distract from the laziness of the writing, nor from the film's somewhat tiring concept (which feels awfully gimmicky). The episodes aren't shaped with much thoughtfulness, and the film is insensitive and preconceived. ** from ****
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