Tuesday, August 5, 2014
Drunk on Foolish Pleasures: A Few Things I Noticed Watching American Graffiti for the 100th or 101st Time
I was surprised when young Adam told me he had never before seen American Graffiti. We recently met up at the Portage, one of Chicago’s rep theaters, to catch a special screening. After calling attention to where we were seated in the theater, dancing around Adam, blowing an imaginary horn and shouting, “Virgin! Virgin! American Graffiti virgin!” I settled down to watch the film.
I have seen American Graffiti boatloads of times; I saw the original release in a theater when I was eleven. But I had never seen the film like this. There were enormous speakers stacked up on the stage from some concert the night before, blocking our view of the screen. The soundtrack had a loud buzz that made the dialogue nearly impossible to decipher for the first twenty minutes. The picture looked odd and the color palate was off—Paul LeMat’s car looked pink.
“My name is JB, and I’m a cineholic.”
WARNING: The following contains massive spoilers for American Graffiti.
As I am wont to do at these classic screenings, I began to excessively ruminate on aspects of the film that I have not previously noticed. To wit:
1) The madras shirt that Richard Dreyfuss wears through the entire film is the exact color and pattern of a pair of shorts I have been looking to buy for the last two summers.
3) Dreyfuss’s meandering journey in the film to eventually confront Wolfman Jack very much resembles Martin Sheen’s journey in Coppola’s Apocalypse Now to confront Marlon Brando, six years later. Aha! The corpulent Wolfman Jack even slightly resembles Brando’s Kurtz, but with more hair. The other difference is that Wolfman Jack offers Dreyfuss popsicles; Brando offers Sheen Dennis Hopper’s severed head.
5) The strange, low-budget nature of the ending made we wonder if it were all a dream. We fade in to the airport, but we see no airport or terminal, just a couple of random propeller planes on the tarmac. The only people we see are the people there to see Kurt off: no ground crew or pilot, just the single stewardess who shoves Kurt through the door. Inside the plane, we see no other passengers. Could Lucas have meant for this now-iconic ending to be the dream of a character who never really goes “back east” to college? And did I just blow your mind? Final bit of evidence: the side of the plane reads “Magic Carpet Airlines.” Aha!
6) By the way, in my dream-ending version, a drunk driver does not kill Paul LeMat, and Charles Martin Smith does not die in Vietnam. Most importantly, Richard Dreyfuss definitely does NOT go on to star in a film that everyone would say “reminds them so much”… of ME:
Mr. Holland’s Fucking Opus.