A well meaning but burned-out high school teacher tries to maintain order against the backdrop of a pending lawsuit against his school district when it comes to light they gave a diploma to an illiterate student.
Rebellious football player Johnny falls for cheerleader Tracy. They come from opposite backgrounds; she's from a comfortable well off family, his is poor and broken. Tracy already has a ... See full summary »
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 (1970) or Getting Straight (1970). Debbie's trip were in multiple-image split-screen, inspired by Woodstock (1970). See more »
The soldier outside the HQ bunker who spots Toad carries and then aims an AK-47 style rifle, supplied to communist forces by the Soviet Union and China. Using enemy weapons would normally be against regulations, although it was not unheard of for US soldiers in Viet Nam to obtain and use weapons like the AK-47. However, this would be very unlikely in relative rear areas like a fire base, especially under a commanding officer like Major Creech. See more »
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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