American Graffiti
American Graffiti

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- 74/100 based on 95,152 votes

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 ... (Full plot summary below)

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Actors in American Graffiti:

Richard Dreyfuss
Ron Howard
Paul Le Mat
Charles Martin Smith
Cindy Williams
Candy Clark

Full Plot Details

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, two of their friends cruise around town for the evening. Steve has left his car to meek and mild-mannered Terry "Toad" Fields to look after during his absence. The wheels give Toad a new sense of confidence, which he uses to try and impress Debbie Dunham, a more experienced girl generally out of his league. And John Milner, who is seen as the king of the street race in his souped-up yellow deuce coupe, tries to get rid of precocious pre-teen, Carol Morrison, who has somehow become his passenger for the evening, while dealing with the challenge of bold out-of-towner, Bob Falfa.

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Movie Reviews

Chicago Sun-Times - 10/10 by Roger EbertOn the surface, Lucas has made a film that seems almost artless; his teenagers cruise Main Street and stop at Mel’s Drive-In and listen to Wolfman Jack on the radio and neck and lay rubber and almost convince themselves their moment will last forever. But the film’s buried structure shows an innocence in the process of being lost, and as its symbol Lucas provides the elusive blonde in the white Thunderbird -- the vision of beauty always glimpsed at the next intersection, the end of the next street.
Montreal Film Journal - 10/10 by Kevin N. Laforest...not a bad film but not an exceptional one either. It's modestly entertaining to watch, but I didn't find it really involving
The Hollywood Reporter - 10/10 by Alan R. HowardThe ingeniously structured screenplay by Katz, Huyck and Lucas offers up a load of wonderful characters who whirl about in ducktail haircuts and shirtwaist dresses, lost in the obscenity of American culture. Thanks to some of the most spirited, daffy dialogue since Lubitsch, their sweetness is deliriously funny. No matter how high the dramatic stakes become, the movie never loses its sense of humor, and although it has a lot to say, it's gloriously free of pretensions.
Me gusta el cine - 10/10 by Sebastian Zavala Kahn...it transports you to 1962, to a moment in American history in which all you had to worry about was your car, your music and your friends... [Full review in Spanish]
The Dissolve - 10/10 by Matt SingerIt isn’t simply a nostalgic movie, it’s a nostalgic movie about nostalgia. Lucas could have set the film in 1959, when Steve, Curt, and John were still in high school and still cruising night after endless night. Instead, Graffiti begins right as the fun is about to end, and gives its characters just enough self-awareness to recognize that this is last call at the party. George Lucas isn’t the only one mourning for this magical lost era; the characters onscreen mourn right along with him.
The A.V. Club - 10/10 by Keith PhippsA funny, touching, nearly cliché-free, and thoroughly considered evocation of a time, place, and state of mind. Released just 11 years after the events it depicts (it usually takes about 20 years for nostalgia to set in), the film both captures the enormous societal changes between the early '60s and early '70s and winningly dramatizes the lives of its characters.
Chicago Reader - 10/10 by Dave KehrA brilliant work of popular art, it redefined nostalgia as a marketable commodity and established a new narrative style, with locale replacing plot, that has since been imitated to the point of ineffectiveness.
Austin Chronicle - 10/10 by Marjorie BaumgartenTeen tales don’t get much better than this.
Solzy at the Movies - 10/10 by Danielle Solzman... the music-filled picture still holds up nearly a half-century later.
The New York Times - 10/10 by Roger GreenspunAmerican Graffiti exists not so much in its individual stories as in its orchestration of many stories, its sense of time and place. Although it is full of the material of fashionable nostalgia, it never exploits nostalgia. In its feeling for movement and music and the vitality of the night—and even in its vision in white—it is oddly closer to some early Fellini than to the recent American past of, say, The Last Picture Show or Summer of '42.

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