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Curt, the brightest boy of the year and scholarship winner, is plagued with doubts regarding his future. Everything that he's ever done has been aimed at college, yet now the moment is upon him Curt wonders if instead he should take time off to reassess his feelings. Symbolic of this uncertainty is a blonde in a white T-bird; elusive and enchanting she always slips away from Curt when he nears. In contrast, Steve is (if anything) over confident. He can list a multitude of reasons for departure, yet seems surprised when Laurie reacts badly to his suggestion that they can both sleep around while he's away - for experience, of course. This emotional turbulence takes a heavy toll on Laurie; she made all of the moves in their relationship and loves Steve dearly but is caught in the trap of what she wants (to stay with Steve) and what she should do (let him go). Steve's so confident of flying away that he entrusts his car to Terry, giving this acknowledged dork the opportunity to cruise with the best of them. It's a pity that he still looks out of place, even in such a marvellous chariot.
John's mean machine is a true hot-rod, fast, sleek and good at attracting the attention of the cops. Feeling somewhat lonely he's on the look out for any female company, yet didn't expect to get lumbered with 13-year-old Carol (Mackenzie Phillips). Embarrassing him just by being in the car, where everyone can see them, and chattering at high speed, John isn't reticent about showing his displeasure. He has more pressing matters to consider though, being aware of an opponent, Falfa (Harrison Ford), searching for him but reluctant to continually defend his position as the best. He's seen the wrecks of those who've failed and doesn't wish to end up that way. Meanwhile, Terry gets lucky with an older girl, Debbie (Candy Clark), Steve and Laurie oscillate between breaking up and staying together and Curt finds himself involved in a little trouble (lots actually!).
Artfully juggling disparate plot threads, the anchor for American Graffiti is it's evocative rendering of the period. Director George Lucas knows this time well and steeps the film in music, colloquialisms, behaviour and those little details which make the difference. The characters who inhabit this timeless space are beautifully described, embodying the maelstrom of feelings which effect everyone on the brink of adulthood. A time of challenge and prospects or a precipice of disaster and despair, it seems that the flick of a coin can decide the outcome. The added joy of seeing a host of actors during the time before they became stars increases the nostalgic feel, since now these very same actors are old and past such youthful impetuosity. The soundtrack also deserves mention for being packed full of classic tunes, an exercise which engulfed 10% of the budget. However, you probably had to be there to experience full recognition with American Graffiti and that's a shame.
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