George Lucas

American Graffiti Analysis (1973)

Super Short Summary

     The story of American Graffiti follows a group of many young friends splitting ways and roaming the streets of California during the night, getting into trouble and love. Teenagers Kurt and Steve, who have graduated and have one last night together before leaving the state, lend their hot rod to their nerd friend Terry, who uses the car to find his own love. John, the oldest, gets stuck with a young girl named Carol who slowly become acquaintances throughout the night. Kurt spends the night searching for the woman of his dreams and finds himself getting advice from a famous radio voice, The Wolfman, at the top of a radio station tower. After losing the car and almost getting beat up, Toad is saved by John who races an old cocky guy named Bob so Steve can get his high school sweetheart Laurie back, prompting Steve to stay and let Kurt go by himself. 

Thematic Connections

     The main theme of American Graffiti is to keep moving forward and to not live in the past. The characters are constantly struggling with being kids and being adults. Toad can’t handle his new responsibilities, John begins to identify with Carol, a child, and Kurt and Steve revisit their old high school and find themselves at a loss of deciding to stay or go. Another theme is man’s relationship with machine, specifically, cars. In the film, your car defines you. Toad’s social status goes up as soon as he gets his new ride, and John and Bob’s whole dispute revolves around whose car is better

Style Analysis

      For George Lucas, sound seems to be the most important of the parts of film-making. In American Graffiti, he settles for actors that aren’t bad, but aren’t quite good either as long as his sound fits the scene and changes as the scene changes. All music in the film comes from radios and changes volume to fit accordingly, while similarly there is no music when no radios are present. The editing is rather bland but a good film doesn’t need many fancy edits. George Lucas brings color and identity into his film through the use of cars. They are the most colorful objects and in so much absence of light they are noticeable anyway. As for cinematography, well… uh… I think the film knew how dark it was but thought of it as a stylistic choice. At least it’s realistic.

Critique

     American Graffiti is great for its time and genre. It captured a nostalgic feeling for many adults and spawned new ones for even younger adults. It succeeded at being a light-hearted comedy while also dramatic, with tropes spilling into romance. The film, however, seemed sort of pointless if you didn’t catch on to the themes. The lighting was so dark and so atrocious in some scenes that it couldn’t quite be taken seriously or it was distracting to try and make out what was happening. At the end of the film I felt mostly okay until the endcard sort of unnecessarily ruined the wonder texts are supposed to leave you in. That being said, I would recommend it to certain friends who like the 70’s vibe.

How George Lucas’s Love of Cinema Changed Movies Forever

Michael Moreci

Wed May 24, 2017

In 1975, a little movie about big trouble in a New England resort town came along and changed American cinema. That movie was Jaws, the Steven Spielberg-directed shark thriller that’s credited with inventing the summer blockbuster. Not only was Jaws a runaway box office success, but it was a bit of an anomaly in the fabric of 1970s American filmmaking. After all, from a certain point of view, the ‘70s can be understood as the American art house decade; in no other period did auteur-driven movies—such as The GodfatherOne Flew Over the Cuckoo’s Nest, and The French Connection—find so much mainstream success. Jaws, though, gave audiences something totally different, and people came in droves to see it. And then, just two summers later, audiences’ desire for big budget, genre-drive movies was cemented when Star Wars took the entire world by storm.

But for all their similarities, Star Wars did something extraordinary that Jaws did not.

There’s a part of George Lucas that, undoubtedly, shares Steven Spielberg’s pop sensibilities. Like Spielberg, Lucas finds tremendous influence in classic pulps—sci-fi, adventure, fantasy, even romance. And while Spielberg and Lucas both possess an unparalleled devotion to the craft of filmmaking, Lucas’s sensibilities were also rooted in the world of independent, arthouse cinema. As much as he was influenced by Flash Gordon, Lucas found equal inspiration in Akira Kurosawa; swashbuckling adventures like Robin Hood clearly captivated Lucas, but so did Buster Keaton’s silent movies. This duality of influences was clearly on display when Star Wars was ruling the box office in the summer of 1977—and the impact it had was profound.

One of the most memorable scenes in A New Hope is the lightsaber duel between Obi-Wan Kenobi and Darth Vader. And it’s a scene that is lifted—in a loving way—from Kurosawa’s masterpiece, Seven Samurai. For Kurosawa, violence was often blunt, brief, and brutal. This is where you see Lucas stray from the swashbuckling tendencies of, again, something like Robin Hood, where sword fights were fanciful and oftentimes infused with a touch of levity. Seven Samurai offered a wide-angle portrait of two swordsmen, fighting to the death, as did the Vader and Kenobi duel. What comes to the forefront is the emotional intensity of the moment, balanced alongside the life-or-death stakes of the confrontation.

That focus on the emotional resonance coupled with the visual language of Kurosawa—who, like Lucas, was heavily influenced by silent films—had a direct impact on movies in the years to follow. Ridley Scott, upon seeing Star Wars, all but altered the entire course of his career. “I canceled the film I was going to do, after I saw Star Wars,” Scott said in an interview with Deadline.com. Instead, he devoted his energy into making a sci-fi movie—a little movie called Alien. You can see the language of Star Wars written all over that movie, from its wide shots, its intimacy and, especially in its use of sound. Then, five years after he made Alien, Scott made Blade Runner, which again draws from the Star Wars aesthetic. Like the duel between Vader and Kenobi, the rooftop fight between Rick Deckard and Roy Batty is all about wide-angle shots and the deep emotion of the moment. Gone are the larger-than-life qualities that dominated sci-fi in the ‘60s, replaced with something more personal, more human. And those flourishes are pervasive to this day, even in the Star Wars universe. In this past season of Star Wars Rebels, Obi-Wan Kenobi is faced with another duel, this time against his foe of many years, Darth Maul. It’s a quick, emotionally charged moment, reminiscent of this scene from Seven Samurai:

But Lucas’s inspiration for Star Wars is hardly limited to Kurosawa and those moments of quiet intensity. Because Star Wars is also a space opera, and there’s no shortage of bombast in Lucas’s epic. Lucas’s space battles, painfully constructed with sets and models, drew their realism from a string of war films that captured World War II dogfights. Lucas drew heavily from movies like The Dam Busters and 633 Squadron. Both these movies captured a sense of realism in how pilots communicated, their attack formations, and what it was like to inhabit the cockpit of a fighter plane. Lucas took those elements, dropped them into space, and, with his masterful use of images and sounds, gave audiences a thrilling scene that would be mimicked for years to come. From The Last Starfighter all the way to Guardians of the Galaxy, countless movies have benefited from the ground Lucas broke in the climax to A New Hope—a climax that has its roots in movies that predated it by two decades.

What matters most, in the end, is execution; the magic rests in how the story is told. And with Star Wars, Lucas rewrote the playbook on how a science-fiction/fantasy story could be told, by drawing on a pastiche of influences and infusing his inspiration with an indelible style and voice. Lucas established a new template on a massive scale, and countless filmmakers have since looked to Star Wars as a guide. And when they do, they inevitably discover a rabbit hole that travels through a robust swath of cinematic history.

From technical achievements to helping establish the blockbuster’s role in American cinema to broadening the scope of influence on future generations of filmmakers, there’s no shortage of ways Lucas changed American cinema—and there’s no shortage of reasons to continue to celebrate his achievements 40 years later.