Lucas doesn’t disappoint, for a guy who is famous for his location shots, he is just driving in one car, a good old car.
George Lucas is a formidable filmmaker. Especially the randomness of his vision. The singularity that cannot be unmasked in the traffic of the ideas bombarded by him over his career. And as one does, as any filmmaker would do, he dives in on genre with utmost honesty and no bars holding him back. This film that reminds me of Richard Linklater’s Dazed And Confused and Everybody Wants Some is a testimonial to what I think was the start off for the coming-of-genre. At least, in a more successful way. And even though it might not have set a trend for the other filmmakers, the unique elements driving this one long adventurous night is not the elements but their elaborative narrative structure.
For instance if looked at the type of the film he has made, the sketch scenes are the bane of its existence. Good or bad, that is what we will get, have and deserve for consenting on driving along with these eccentric fellows. But as mentioned it is not enacted elaborative nature of the sketch but the meticulous branches it embraces. Those deep character peaks that broadens you mind and widens the theme giving the opportunity to let the makers gloat and enjoy what they have earned.
And it has to be earned. Celebration doesn’t come through its dutiful or necessary obligations but a well earned prophecy that it had already proclaimed in all its conscious behavior. Now drunk and completely full, the film has to just fire the repercussions that these characters had been inadvertently causing both to them and the environment they find palpable. The result is George Lucas’s American Graffiti smartly and ambitiously pulling off a long sitcom special show or a finale, with a warm, sensible and a happy ending, just as the Saturday family matinee shows used to, in those days.