In the twenty-fifth century, a time when people have designations instead of names, a man, THX 1138, and a woman, LUH 3417, rebel against their rigidly controlled society.
Director:
George Lucas
Stars:
Robert Duvall,
Donald Pleasence,
Don Pedro Colley
In 1951, a group of high schoolers come of age in a bleak, isolated, atrophied North Texas town that is slowly dying, both culturally and economically.
Director:
Peter Bogdanovich
Stars:
Timothy Bottoms,
Jeff Bridges,
Cybill Shepherd
"The Washington Post" reporters Bob Woodward and Carl Bernstein uncover the details of the Watergate scandal that leads to President Richard Nixon's resignation.
Director:
Alan J. Pakula
Stars:
Dustin Hoffman,
Robert Redford,
Jack Warden
It's the proverbial end of the summer 1962 in a small southern California town. It's the evening before best friends and recent high school graduates, Curt Henderson and Steve Bolander, are scheduled to leave town to head to college back east. Curt, who received a lucrative local scholarship, is seen as the promise that their class holds. But Curt is having second thoughts about leaving what Steve basically sees as their dead end town. Curt's beliefs are strengthened when he spots an unknown beautiful blonde in a T-bird who mouths the words "I love you" to him. As Curt tries to find that blonde while trying to get away from a local gang who have him somewhat hostage, Curt may come to a decision about his immediate future. Outgoing class president Steve, on the other hand, wants to leave, despite meaning that he will leave girlfriend, head cheerleader and Curt's sister, Laurie Henderson, behind. Steve and Laurie spend the evening "negotiating" the state of their relationship. Meanwhile...Written by
Huggo
As Milner starts cruising, the 1961 Del Shannon song Runaway is playing on the radio. This was the first hit song to feature a synthesizer. The next hit with a synth was Telstar by the Tornadoes, which was released the same year as the setting of the movie. Telstar was inspired by the telstar satellite, which was the first communications satellite launched and the first to carry a live TV broadcast. While most likely unintentional, the fact that Runaway was in the film but not Telstar supports the movie's theme, which draws a division between the familiar past and the unknown but enticing future. See more »
Goofs
In the beginning, Falfa's 55 has chrome wheels. But when he rolls the car, it has painted wheels. See more »
Quotes
[first lines]
Terry Fields:
Hey, what do you say, Curt? Last night in town... you guys gonna have a little bash before you leave?
Steve Bolander:
The Moose have been looking for you all day.
[hands a check to Curt]
Steve Bolander:
They got worried... thought you were trying to avoid them or something.
Terry Fields:
What is it? What do ya got?
Curt Henderson:
Oh, great.
Terry Fields:
That's $2,000 man! Two thousand dollars!
Steve Bolander:
Mr. Jennings gave it to me to give to you. He says he's sorry it's so late, but it's the first scholarship the Moose Lodge has given out. And he, uh, says they're all ...
[...] See more »
Crazy Credits
At the start of the closing credits, the character and actor names for the main characters randomly appear in time to the opening xylophone notes of the Beach Boys' All Summer Long, which continues to play over the credits. See more »
Alternate Versions
One version has appeared on television with several scenes cut, including the entire sock hop except for the Louie, Louie sequence (which, ironically, was added to the 1978 re-release). See more »
This is the ground-breaking work by George Lucas, loosely based on his friends and his experiences as a teenager living in the San Joaquin Valley at the beginning of the 1960s, a time of gentle naiveté and innocence. There are no words to describe the edgy sweetness and humor that permeates this ensemble story of friends and enemies, jocks, brains, and punks maneuvering through the stultifying heat of the last weekend of summer vacation, 1962.
American Graffiti is a comedy, a drama, a tragedy, a musical, and a reminder of what small-town America once was, a mere forty years ago. From its breezy humor to its excruciating last moments (I remember theater-goers stunned in their seats, sobbing after the credits were done), Lucas's first major hit hits home. American Graffiti is pure magic.
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This is the ground-breaking work by George Lucas, loosely based on his friends and his experiences as a teenager living in the San Joaquin Valley at the beginning of the 1960s, a time of gentle naiveté and innocence. There are no words to describe the edgy sweetness and humor that permeates this ensemble story of friends and enemies, jocks, brains, and punks maneuvering through the stultifying heat of the last weekend of summer vacation, 1962.
American Graffiti is a comedy, a drama, a tragedy, a musical, and a reminder of what small-town America once was, a mere forty years ago. From its breezy humor to its excruciating last moments (I remember theater-goers stunned in their seats, sobbing after the credits were done), Lucas's first major hit hits home. American Graffiti is pure magic.