American Graffiti

May 21, 2012 § Leave a comment

Smug self-aggrandizing baby boomer bullshit. Is that too harsh?

The funny thing is that if I’d seen this five or ten years ago, I probably would have loved it. It’s got nostalgia for a bygone era (complete with malt shops!), a coming-of-age story, and a mix of lighthearted plots paired with serious themes–all movie elements I’m drawn toward. But the spending the last five years reading lots of obnoxious, baby boomer-penned New York Times columns about the millenial generation’s inability to move out of their parents’ houses, buckle down and get a job, et cetera et cetera has built up a certain animosity towards the fuzzy-wuzzy, romantic conception of the good ol’ days.

Let me get more specific.

  1.  This movie is so damn George Lucas-y. I’ll cut its initial audiences some slack, since the Lucas gimmicks that we’ve all come to know and hate weren’t yet defined. But to a generation raised on Star Wars and Indiana Jones, they grate. The entire character of Terry–the nerd of the group–exists solely for comic relief, and the kind of Lucasian comic relief that isn’t particularly funny to anyone over the age of 6 (see also: Jar Jar Binks, Short Round). His inclusion in the film makes about as much sense as Screech’s in the Saved by the Bell gang.
  2. This is more of a personal gripe, but god, I hate movies where we’re supposed to see a character as adorable and amusing while he takes advantage of older or disenfranchised people who haven’t done anything to him. I hate it ten times more when that character is an insufferable snotty teenager. This happens multiple times in this film (Terry hitting another car with his and then driving off, ordering food at the drive-in and leaving before he pays for it). Yes, I get this is supposed to be the sort of teenage fantasy world where the kids can get the best of cops, principals and other authority figures without having to pay for it–but I guess I’m a little too removed from that time in my life to find that kind of narcissism appealing. Also, get off my lawn and stuff.
  3. Fine, okay, most of the things on this list could mostly be summed up as “I hate Terry.”
  4. The movie treats its female characters as simply underdeveloped extensions of the male protagonists. While this certainly isn’t unique in Hollywood, the fact that it’s so blatant about it–and so lazy about not providing what could have been easy fixes–makes it stand out from its peers. The most obvious example of this is one that Pauline Kael once called Lucas out for: the fact that he only provides character epilogues for the four male leads at the end of the film. Lucas’s excuse for leaving the women out? That it would have taken up another screen. I rest my case.
  5. The women-as-wish-fulfillment-for-nerds angle is taken to absurd extremes here. Terry –have I mentioned that I hate Terry?–manages to pick up a beautiful but spacey blonde, and then, despite mucking up everything he could possibly muck up–failing multiple times to procure liquor for her and eventually having to borrow money from her, getting his car stolen–still manages to land a second date. And women throw themselves at Ron Howard, of all people. Ron Howard! Meanwhile, the two guys who you’d think might actually have women fighting over them–the hot rod racers played by Paul Le Mat and Harrison Ford–end up alone. I think George Lucas may have been working out some of his nerd-revenge fantasies here.

I’m calling it now: this is one of those films whose legacy was based almost entirely on timing. As baby boomer critics are replaced with younger ones who don’t have a personal connection to the time period, its star is going to fall quickly. On the plus side . . . great soundtrack, though. But not great enough to make me forget how much I hate Terry.

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