A short film featuring Indiana's friend Sallah who narrates about Indy's discovery of the Temple of the Forbidden Eye built for god Mara where visitors can see future. Filmed for Adventureland ride in Disneyland.
Since long hair was the fad in the late 1970's, extras were recruited from the California Maritime Academy in Vallejo, due to their required short haircuts, and their campus was close to the Marin and the Fremont Raceway filming locations. See more »
When Toad brings the cake to Major Creech, the major is not wearing a cap. After Toad blows up the latrine and the Major is covered in waste, he has a cap on. See more »
Hey, look, I want you to keep this, take that with you
[Hands Toad a twisted bolt]
That's from when my flywheel broke remember?
Terry 'The Toad' Fields:
That's great, man, that's really great. Hey, you know what I'm going to do for you? I'm going to capture you a VC flag.
Naw, don't so that man, just come back alive.
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Like Texasville, The Two Jakes and, before long, Evan Almighty, More American Graffiti is one of those sequels to that most people not only didn't want but don't know even exists: certainly George Lucas seems happy to pretend it doesn't (it's conspicuous by its complete absence in the otherwise comprehensive 78-minute documentary on the DVD for the original film), a fate not even Howard the Duck or The Radioland Murders share among his oeuvre. No Richard Dreyfuss, and Ron Howard is little more than a cameo but the rest of the original cast are all present and correct even an unbilled Harrison Ford turns up as a traffic cop while Scott Glenn, Delroy Lindo and Rosanna Arquette provide the "they were around that long?" factor in the supporting cast. Yet the result is even more of a mixed bag than the original, with writer-director Bill L. Norton separating his main characters over four different New Year's Eves with wildly varying results: Paul Le Mat has now graduated to drag racing, perhaps the least cinematic sport ever invented, Cindy Williams and Ron Howard get mixed up in student riots, Candy Clark's hippie chick finally gets the message about her loser guitarist boyfriend while, in by far the best part of the film, Charles Martin Smith's Terry the Toad is doing everything he possibly can to get out of Vietnam. Shot in multiple aspect ratios from 1.33:1 to 2.35:1 and with some imaginative and often amusing split-screen work, the execution is often better than the material and it's more entertaining than you might expect, but there's little of the resonance of the original.
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