There isn’t any going back.
On May 22nd, in my previous blog post, I explored "National Lampoon's Animal House" and its surprising moral undertones hidden within its comedic structure. In hindsight, I may have been overly critical of the comedy. However, I felt it was important to express my concerns about the film's amoral characters and the troubling fact that many Americans relate to these so-called 'protagonists.' In a similar – though less critical – vein, today I will discuss George Lucas' film, "American Graffiti," which is set in the same timeframe as "Animal House" and explores similar themes, potentially even influencing National Lampoon's production.
Debuting in 1973, "American Graffiti" captivated a generation that blossomed during a charmed period of American history. Enveloped within the confines of a single night, the film unfolds with an ethereal quality akin to a vivid dream. The narratives of the movie's four central characters, namely Steve, Curtis, John, and Terry, seamlessly intertwine, akin to multiple cyclical wave functions, their paths generally intersecting by chance. These interconnected narratives serve as a poignant testament to the boys' impending departure from the cherished realm of their youth. At this juncture, they are faced with a pivotal choice: remain rooted in the past or embark on a transformative journey into the wider world. But who are these characters venturing into the unknown?
At first glance, Steve's character appears to be the most eager among the group to embark on a new journey. From the film's outset, he and Curtis make plans to leave the small, presumably Californian, town they grew up in. Steve's yearning to escape his past and explore greener pastures is so intense that he proposes an open relationship with his girlfriend, Laurie, as he prepares for college. However, as the film unfolds, we begin to discern that Steve's eagerness is better characterized as impulsive immaturity, fueled by a desire to break free from the monotonous and predictable. Rather than seeking certainty in his relationship, he yearns to indulge in casual encounters during his college years. Eventually, he comes to the realization that he failed to comprehend the value of what he already possessed.
Johnny emerges as one of the most enigmatic figures within the narrative. As a street racer, he possesses a modified car and indulges in the perilous world of drag racing. He thrives on the edge, frequently attracting trouble from the authorities, and gravitates towards a life filled with exhilaration. Throughout the majority of the film, he forms a bond with a younger girl who, from my perspective, symbolizes Johnny's youthful essence, brimming with untapped potential. This child-like companion challenges his cunning, dismantles his ego, demands humility, and compels him to navigate uncharted predicaments. In the realm of symbolism, both Erich Neumann and Jung associate the child with the notion of expanding horizons, fresh possibilities, and even serendipitous fortune. Miraculously, albeit transiently, Johnny finds himself immersed in precisely such a realm.
Terry, the film's most tragic figure, also serves as a source of comedic relief. He embodies the portrayal of a less privileged character, lacking a car and relying on Steve's loaned vehicle. With his glasses and nerdy appearance, he epitomizes the stereotypical image of a social outcast. However, upon acquiring Steve's car, Terry undergoes a transformation, albeit seemingly superficial. He adopts the facade of a tough, masculine persona, yet lacks the substance to support it. Nevertheless, his journey unexpectedly leads him to encounter Debbie, a representation of the anima archetype as identified by Jung. As Terry confronts this feminine presence, he finds himself thrust into a realm of chaos. Desperate to please her, he struggles to meet the standards she sets for him. Once again, he finds himself unable to truly embody the character he has projected because it does not align with his true nature. Venturing beyond his familiar boundaries, he encounters the archetypal feminine, which disrupts his life's equilibrium. In the end, after a night of misfortunes, including the loss of Steve's car, physical confrontation, and the discomfort of excessive drinking, Terry manages to earn a kiss from the girl, even if she only pities him.
Lastly, the film introduces us to its potential central character: Curtis. Unlike Steve, Curtis resists the inevitability of growing up. He clings to cherished memories of his youth and yearns to remain in the familiar confines of the small town he has called home all his life, surrounded by his friends, in pursuit of a fleeting and captivating beauty. Remarkably, the cinematography of "American Graffiti" commences and concludes its cyclical narrative with Curtis at its core. Curtis emerges as the most symbolically significant among the four protagonists in many ways. Throughout the night, he traverses various scenes, exploring the diverse social strata within the town. His ultimate quest revolves around embracing the world's beauty, longing to seize its resplendence for himself. During his nocturnal odyssey, he engages in spirited dances with his friends, shares a passionate kiss with a girl, encounters the "Pharaohs" – a gang – and embarks on a quest to find the film's choral figure: Wolfman Jack. However, when Curtis finally locates "Wolfman" – hoping to give him a message to pursue the elusive "dazzling beauty" he seeks – he realizes the disc jockey is merely playing a recording. This realization punctures the illusion of Curtis' eternal youth, as the DJ exposes the truth about Wolfman. Nonetheless, the DJ accepts Curtis' note and allows him to depart, but not before imparting some valuable advice: be sure to explore the vast and beautiful world. As Curtis leaves, he gazes back and discovers that the DJ himself is Wolfman, and is willing to play his message for the beauty he’s longing for. For now, Curtis' dream remains alive, as he contemplates the potential of attaining the long-desired Beauty he yearns for.
The film reaches its climax with a dramatic drag race between Bob Falfa, portrayed by Harrison Ford, and Johnny. As this pivotal scene unfolds, the early morning sunlight begins to illuminate the surroundings. It signifies the conclusion of the boys' eventful night together as a unified group. John and Bob accelerate down a stretch of road, with John clearly taking the lead. However, in a sudden turn of events, Bob's car veers off the road and crashes into a ditch, with Steve's girlfriend still inside.
Laurie, who genuinely loves him, challenges Steve's reluctance to embrace maturity in the film. During the dance they attend, she reminds him of their past mistakes and the initial connection they shared. Later, as they find a moment alone in the fields inside Laurie's car, she shares a thought-provoking line:
"It doesn't make sense to leave home to look for home; to give up a life to find a new life; to give up old friends to find new friends."
This quote reflects a recurring theme within the film, highlighting the clash between the teenagers' desire to remain rooted, build a community, and live life together as a group, and the external pressures they face from society, their own ambitions, or their pursuit for a better future. However, Steve's zest for life and his love for Laurie become entangled in the inescapable truth that the process of growing up involves not just physical maturation but also the acquisition of wisdom. Frustrated with Steve's immature behavior, Laurie reaches her breaking point and decides to kick him out of her car.
At this juncture, it becomes evident that both Steve and Laurie are adrift. As Steve returns to the diner, he finds himself disinterested in pursuing other girls, despite their interest in him. On the other hand, Laurie, upon witnessing Steve with a diner waitress, harbors a desire to inflict the same pain upon him that he has caused her. Fueled by these emotions, she embarks on a quest to locate Bob. Once she finds Bob, she spends the remainder of the night driving around with him. In a comical scene, it becomes apparent that her intention is not to be with Bob, as he proves to be a terrible singer and clearly not her preferred type.
However, as the drag race between Bob and Johnny unfolds, it becomes apparent that Laurie is still inside Bob's car. Earlier in the film, a well-executed act of foreshadowing occurs when Johnny, accompanied by the young girl he picked up, discusses the perils of street racing and its potential consequences. He recounts the tragic stories of individuals who lost their lives due to reckless driving, showcasing the profound influence of the film's central symbol: The Car.
Throughout the film, the car serves a multitude of purposes: it functions as a means of transportation, a space for various activities such as dining, relaxation, socializing, exploration, romantic encounters, and self-discovery. The car is not just a static object but a symbol of being and becoming. Its significance extends beyond its practicality. It represents the transformative nature of the world experienced by these young teenagers. As the world advances and evolves, remaining stagnant becomes detrimental to their well-being. Just like standing in the middle of a busy road would be unwise, resisting change and staying in one place can lead to undesirable outcomes. In this context, the car embodies not only the pivotal moment in the lives of these teens but also the cultural landscape of the 60s. Similar to the present, the 60s was a time of profound political, cultural, legal, and spiritual transformations. It was an era characterized by violence, revolution, exploration, innovation, and both personal growth and destruction. The characters—John, Steve, Terry, and Curtis—are thrust into this moment, caught off guard by the challenges it presents. While their inherent desire to remain and nurture a sense of community reflects noble intentions, the question arises: is it feasible to resist the inexorable tides of change?
As Bob's car careens off the road, it plummets into a ditch, leaving the audience uncertain about the fate of Laurie and Bob. Steve hurries towards the overturned vehicle, where he finds Laurie and Bob emerging from the wreckage, disoriented but alive. Amidst the chaos, Steve rushes to embrace Laurie, passionately declaring his love for her and expressing his desire to stay by her side. However, as the flames from the vehicle intensify, a mere second later, it erupts into a powerful explosion. This dramatic event serves as a reminder that all things must inevitably reach their end. The boys cannot stay young forever.
Despite Terry's sycophantic congratulations, Johnny displays evident dissatisfaction with his victory. The reasons behind his discontent remain elusive. Perhaps he yearns for defeat, seeking the establishment of limits that have eluded him throughout his life. Alternatively, he may be searching for an end. The true motives behind Johnny's apparent desire for an outcome different from his triumph remain shrouded in ambiguity.
Nevertheless, after witnessing the race, Curtis departs, returning to the old diner. There, he eagerly awaits a call from the elusive beauty he has been longing for, who he hopes has received his message from Wolfman. To his delight, she reaches out and arranges a meeting later in the evening. Among all the characters in the film, Curtis experiences the most profound transformation and maturation as the story unfolds. He conquers his fear of the unknown, confronts the malevolent presence of the pharaohs, acknowledges the fleeting nature of the world he has clung to, and recognizes that his purpose extends beyond the captivating beauty that has captivated him. Her radiance cannot confine him. He must inform the woman he had sought before that he is unable to meet with her. Curtis is moving forward, embarking on a journey to the East, soaring towards new horizons.
Prior to his departure, Curtis bids farewell to Johnny, Terry, and Steve, marking a bittersweet moment that inevitably occurs in every person's journey. In the film's conclusion, we learn that Johnny tragically falls victim to a drunk driver, Terry goes missing near An Lộc while serving in action, and Steve transitions into a career as an insurance agent, presumably settling down with Laurie. As for Curtis, he continues his quest for beauty as a writer in Canada. The tight-knit group of friends, whose world once seemed vast yet intimately connected within the confines of their Californian town, has now dispersed, leaving behind a sense of dissolution.
The themes explored in "American Graffiti" and "National Lampoon's Animal House" bear striking similarities as they both delve into the journey of men transitioning into adulthood. However, a key distinction lies in the portrayal of maturity. In the case of the latter, the anticipated moment of maturity never materializes. Instead, the characters perpetuate their juvenile behavior, resorting to impudent violence as a means to assert themselves. On the other hand, "American Graffiti" presents maturing as an inescapable reality. The characters are faced with a choice: either embrace adulthood or face the consequences, possibly even death. One could argue that "American Graffiti" offers a more authentic depiction of life in early 1960s America, while "National Lampoon's Animal House" captures the hidden desires of a generation that felt betrayed by the very country it was meant to support. Both films, in their own way, reflect a nation undergoing significant character development and transformation.
"American Graffiti" delves into the profound identity crisis experienced by a nation's youth. It presents a captivating realm of enchantment and wonder. Still, that magical realm the film’s youths grow up in imposes expectations that surpass their preparedness. These young individuals are thrust into a gauntlet but they are also coddled. The magical youth they experience stands in stark contrast to the harsh reality outside their American bubble, inevitably leading to a sense of disorientation. On the other hand, "National Lampoon's Animal House" emerges as a response to this crisis of identity and developmental conflict. The amorality, cynicism, and vulgarity displayed by the characters can be interpreted as a coping mechanism for the cultural dissolution that permeated the 1960s. Amidst a period characterized by the loss of friends, the erosion of traditions, and the distortion of truth, it is unsurprising that the allure of embracing mischief grew increasingly appealing. Bluto's all-consuming and debased nature can be understood as an attempt to shield oneself from the mental and physical anguish caused by the erosion of some deep-rooted values. His heart had been shattered. Within "American Graffiti," we catch a fleeting glimpse of both the illusory and tangible world that fell victim to a revolution promising what it could not deliver, emerging from a void created by the unfulfilled promises of a preceding generation, leaving a generation yearning to reshape their reality into something unattainable.
"American Graffiti" casts its gaze upon a bygone world that lay in ruins, depicting it with honesty, while also acknowledging that – as a mere memory – it exists as a dazzling illusion of a beauty that has long faded away; it remains a wondrous marvel that shall be held no more.
