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First tagged "movies" by Ma Dalton "Mamamia"
Full Specification tags: harrison ford(2), movie, american grafitti
Product Description
d="productDetails">Product Details
- Amazon Sales Rank: #2130 in Movie
- Released on: 2010-09-28
- Rating: PG (Parental Guidance Suggested)
- Running time: 114 minutes
Customer Reviews
Most useful patron reviews
111 of 119 people found a following examination helpful.
By Alex Diaz-Granados
"Where were we in `62?"
I wasn't around in `62 -- we was innate in `63, as a matter of fact, and we was 10 when George Lucas' American Graffiti was released. we wasn't unequivocally wakeful of possibly George Lucas or American Graffiti in 1973, nonetheless 4 years after we would know Lucas from his subsequent -- and many renouned -- film, Star Wars. we did not go to a cinema many in 1973, nonetheless we saw this smashing film when it was promote by ABC some years later. (ABC, capitalizing on a "hot" new sitcom, Three's Company, shamelessly promoted it as "starring Suzanne Somers." In fact, Suzanne is not even billed with a 8 "stars.")
If film and radio historians have it right, though, American Graffiti was a matter for a 1950s Nostalgia breakthrough that begat TV's Happy Days, Laverne and Shirley, and a blessedly ephemeral Joanie Loves Chachi (not to discuss Sha Na Na and Broadway`s Grease). And it isn't terribly startling that Happy Days and a spin-offs owe their impulse -- if not their unequivocally existence -- to Lucas' initial vital culturally poignant film. Happy Days starred Ron Howard, who (as Ronny Howard) had second billing in Graffiti, while Laverne and Shirley costar Cindy Williams was a womanlike lead.
American Graffiti is a bittersweet nonetheless comedic demeanour during what a DVD broadside content says was "America's final age of innocence." In a summer of `62, JFK was in a White House, a Beatles were still opposite in this side of a Atlantic, and expostulate in diners and film palaces were unequivocally popular. There was no Internet or even Studio 54 usually yet, so kids went cruising, looking for girls to collect adult or rivals to competition in their souped-up prohibited rods. (Lucas, in a Making Of documentary on a 25th Anniversary DVD, says his vigilant in creation American Graffiti was to request cruising as a socio-cultural materialisation that died in a some-more violent half of a 1960s.)
The movie's structure -- hackneyed now nonetheless it was insubordinate during a time -- intertwines several plots involving a organisation of recently graduated Southern California high propagandize seniors on their final night before going to college. Curt (Richard Dreyfuss) is fretting about going to college in a East with his crony Steve (Howard). Wracked with indecision, he spends his final night in city acid for The Blonde in a White Thunderbird (Suzanne Somers in her first, despite small, role). His misadventures means him to step out of character, generally when he crosses paths with The Pharohs, a internal squad of miscreants.
Curt's sister Laurie (Williams) contingency not usually cope with her brother's final notation hitch with "cold feet" nonetheless with a fear of losing Steve. In what might be a standard conditions for couples who are "steady" nonetheless are going to be distant by circumstances, she's ravaged by Steve's thought that they "see other people" while they are in school. "I can't design we to be a monk," Laurie says with fake bravado, nonetheless in "The Smoke Gets In Your Eyes" sequence, it is apparent that she is harm and angry.
The other dual subplots of this smashing film core on Toad (Charlie Martin Smith) and John (Paul Le Mat). Toad is a car-crazy, girl-deprived nerd that we possibly knew in propagandize or that we commend in ourselves. His attempts to stir a poetic Debbie (Candy Clark) are waggish -- rivaled usually by a likewise themed stage in Summer of '42 -- usually to learn that Debbie likes him for who he unequivocally is. John, on a other hand, is a Han Solo of this bunch, a high propagandize castaway who loves quick cars and even faster women. He, too, discovers a proposal side as he is saddled with 12-year-old Carol (a pre-One Day during a Time Mackenzie Phillips). Not usually contingency he learn calm while pushing around with Carol, nonetheless also he is being challenged as a tip drag racer by Bob Falfa (played by a male who would be Han Solo, Harrison Ford).
All these stories will intersect in a climactic, leader take all race, and several Lucas touchstones will resurface in his after Star Wars array -- a choice to possibly take or reject a certain path, a attribute between group and their machines, and a query for possibly adore or adventure.
Serving as a unifying thread to all these subplots is Wolfman Jack, mostly listened on a radio nonetheless seen fast in a Yoda/Ben Kenobi character of coach for nervous Curt.
Lucas uses strain here unequivocally effectively. Each strain (and there are over 40 here, trimming from Rock Around a Clock to The Great Pretender) was selected to yield romantic context, not usually duration atmosphere. He envisioned American Graffiti as a low-pitched "with no singing or dancing."
This film is fun to watch and unequivocally deserves carrying been votes as one of a American Film Institute's tip 100 Films of All Time. Watch it with a crony or alone, and if we were of age in a 1960s, answer a movie's famous record line: "Where were we in `62?"
32 of 34 people found a following examination helpful.
By Scipio
I creatively watched this film in high school. Despite carrying been told about many of a best scenes in allege by my friends, it was still a lot of fun. Of course, a lot of other people suspicion so too, as it spawned a nostalgia disturb for a 50s and early 60s ensuing in many (too many?) seasons of "Happy Days," among others.
A few years ago, we saw a film again on TV. we satisfied that, even nonetheless we was many some-more mature (at slightest physically), this film still seemed unequivocally unequivocally good.
I recently got a DVD and watched it scrupulously and we have to contend that, after clever scrutiny, this unequivocally is one of a excellent films ever made. we won't retell a story that's many improved told by a movie, but: it has a lot of laughs, nonetheless it's not wholly a comedy (especially a ending); it has copiousness of music, nonetheless it's not a musical; it has copiousness of action, nonetheless no blood and gore; it seems impossibly realistic, nonetheless there is never a lifeless moment; there are mixed storylines and an garb cast, nonetheless it never gets confusing.
Every aspect of this film is impressive, nonetheless I'm utterly struck by a talent of George Lucas and associates when it comes to casting. Every actor in this film seems ideal for a purpose they play. If we demeanour tough you'll see utterly a few informed faces removing their start (including Suzanne Somers unequivocally fast as a lady in a Thunderbird). Many, utterly Harrison Ford & Richard Dreyfuss, went on to long, successful careers. Although they were all good in this film, we suspicion that Candy Clark was a standout.
If we get this collector's book of a DVD you'll also be means to see an in-depth "extra" on a story behind a creation of a film - unequivocally interesting. It's moving to see that somebody as now eminent as Lucas had to be impossibly studious and determined (and put adult with a lot of implausible Hollywood idiots) in his early days before his thought was finally realized. His success in creation this film underneath such tough resources creates a finish product even some-more impressive. It's also unequivocally considerable to me that George Lucas went from writing/directing/creating a film like "THX 1138" to this and afterwards to "Star Wars" - all 3 unequivocally good and VERY opposite films. we don't know of anyone else who has achieved anything utterly like that.
Although I'm now fast coming center age, we wasn't unequivocally aged adequate to be a partial of a epoch decorated in a movie, so this isn't a nostalgia outing for me. The strain isn't my strain - I'm some-more of a post-British Invasion fan. But a fact that a film can make we describe deeply to characters from a picturesque time and place you've never been says something significant. Also, a fact that it I've now enjoyed it on several opposite levels and during widely varying ages says even more...
Simply one of a biggest cinema ever made.
23 of 24 people found a following examination helpful.
By David Von Pein
I consider you'll find that a income you'll flare over for this DVD Collector's Edition of 1973's "American Graffiti" will be income unequivocally wisely spent. Because a outstanding, in-depth, 78-minute documentary feature, "The Making Of American Graffiti", is value a cost all by itself.
Every singular one of a film's vital expel members takes partial in a documentary program. Director George Lucas and Producer Francis Ford Coppola (plus other members of a prolongation staff and crew) also attend in this fascinating behind-the-scenes "Making Of" feature, that is one of a best documentaries I've ever come opposite on a DVD.
Mr. Lucas talks plainly and extensively about a creation of "Graffiti" and guides a viewer, step-by-step, by a many aspects of formulating this singular film -- from a problem in removing a studio meddlesome in a project, to a movie's filming on a streets of dual tiny California towns, and by to a recover of a design in theaters (the film non-stop on Aug 11, 1973).
Many engaging tidbits of information are suggested in a documentary, including Harrison Ford's correlation of his "cowboy hat". It seems that Harrison was against to removing one of those awful '60s-style haircuts (as were others in a cast). So Ford talked Director Lucas into vouchsafing him wear a cowboy shawl instead. And afterwards there's Charlie Martin Smith ("Toad"), who had some problems parking his engine scooter in a film's unequivocally initial scene. But Charlie's gaffe was left in a final cut of a film by Director Lucas. (Which is a good thing too; it's a good impulse in a picture.)
Some strange actor Screen Tests are also enclosed in a Making-Of documentary. If we keep your eyes peeled on a "clapboards" that are shown in a few of these Screen Test shots, you'll note that a date of filming is "May 26, 1972" (which is 15 months before a film finally got expelled into theaters).
"Graffiti" took usually 4 weeks to film, nonetheless Mr. Lucas, during a documentary, pronounced that it took him 6 months after filming was finished to revise a film down to a docile size. He tells us that his initial cut of "Graffiti" was a huge 3 hours in length. Therefore, many paring was required.
Other reward facilities on a DVD embody a Original Theatrical Trailer, that we found unequivocally good. Plus, a goodly series of "Cast & Crew Bios" to corkscrew through; as good as some ominous Production Notes. All content pages we found many rewarding as well.
Then, of course, a DVD (which was creatively expelled by Universal Home Video on Sep 15, 1998, to commemorate a movie's 25th anniversary) offers adult a nice-looking Anamorphic Widescreen 2.35:1 chronicle of "Graffiti" itself. Colors demeanour abounding and jam-packed and a black levels during a many outside night scenes demeanour unequivocally pointy as well, with small in a approach of video distractions. Some fans of a film will no doubt be unhappy that a Dolby 5.1 re-mix was not enclosed here (just a 2.0 Surround Sound lane is employed for this DVD). But we consider a Surround lane does utterly nicely. But a bone-fide 5.1 would also have been nice, to prominence a extraordinary series of rock-and-roll oldies in a film.
OTHER INFO ABOUT THIS DVD RELEASE....................
Feature Film:
> Video -- Widescreen 2.35:1 (Enhanced for 16x9 Widescreen Televisions).
> Audio -- English (2.0 Dolby Digital Surround); French (2.0 Dolby Digital Mono).
> Subtitles -- English and Spanish.
> Running Time -- 1 hour, 52 minutes.
> Chapter Stops? -- Yes. There are an contentment of section breaks here (49 total).
"The Making Of American Graffiti" Documentary:
> Video -- Full Frame 1.33:1 (With clips from a tangible film shown in 2.35:1 Widescreen).
> Audio -- English usually (2.0 Dolby Digital Stereo).
> Subtitles -- English, Spanish, and French.
> Running Time -- 1 hour, 18 minutes.
> Chapter Stops? -- Yes. There are 7 sum section breaks.
>> Menus -- All "Static". No music. No charcterised transitions.
>> Packaging -- Keep Case. (One Disc.)
>> Enclosures/Inserts? -- Yes. There's a unequivocally nicely-done 8-page fold-out booklet, that includes behind-the-camera photos and quotes from George Lucas and many other expel members on their memories of a film. Plus: Full Chapter Lists for both a movie's Scene Selections and a Making-Of Documentary.
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"American Graffiti", IMO, is in a category by itself. It has a ideal 1960s "feel" to it, that Director George Lucas strives so tough for (and succeeds in portraying). Each time we re-visit this film we are immediately ecstatic behind to a Summer of 1962, and to all those good oldies grating divided on a automobile radio.
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