Themes & Symbols Pt. 1

American Graffiti co-writers, Gloria Katz & George Lucas.

Many great filmmakers tend to revisit certain themes in their work and George Lucas is no exception.  In his first three films Lucas has been very consistent in his themes and obsessions. THX-1138, American Graffiti, and Star Wars all share a certain continuity in ideas that are explored.  With these posts I've  attempted to extract and examine the themes and literary devices used in Lucas' second and best feature film.

YOU CAN’T STAY 17 FOREVER

Although change can be a scary concept, one can't hold on to history.  Things change and life goes on.  This point is illustrated in various ways throughout the film.  For example, when Curt strolls down the empty school halls and tries the combination on his old locker he can't get into it; time has passed, and he can no longer be part of his old high school days.

Young filmmaker, George Lucas

The concept of moving forward and not living in the past is a major theme in Graffiti.  Nobody knows this better than Lucas, himself.  In 1987 George Lucas told Rolling Stone magazine, "I got to do what I wanted to do by not being frightened away by the future and the unknown, and I figured that was a good message to get across." Lucas stresses that life is a constant transition, and one has to accept that fact.  Clinging to the past only leads to spiritual stagnation and other problems.  In a 1974 interview Lucas illustrated this point, "You know, the brittle bow breaks.  The willow bends with the wind and stays on the tree.  You try to fight it, like John did, and you lose.  You're not going to remain 18 forever."

A SIMPLE MOVIE WITH NOT SO SIMPLE METAPHORS

The use of cars in Graffiti works as a metaphor on several levels. The cars can be viewed as transporting the characters through change but also as limiting them.  For instance, when the nerdish, Toad inherits his buddy’s elegant '58 Impala for the night he becomes much cooler.  Just having a vehicle to drive up and down the circuit increases his chances with the opposite sex. On the other hand, John cruising in his little deuce coupe can be seen as a metaphor for stagnation.  John is a 22-year-old teenager who notices that the cruising strip is "really shrinking." He has the sensation that things are changing around him and out of fear he desperately tries to cling to his adolescence; he is driving in circles and going nowhere.

Is Milner just spinning his wheels?

George Lucas has described cruising as a teenage mating ritual, where interaction takes place between the opposite sex. Through car windows young people communicate acknowledgements and flirtations. Some film scholars have identified cruising and particularly the car itself, in Graffiti as representing protection from a larger society.  Writer Emanuel Levy is a good example of this viewpoint. In his book "Cinema of Outsiders," Levy notes that in Graffiti, the car window is a convenient shield to the outside world.   

Lobby card of '55 Chevy & '32 Coupe dragging the main. (click for larger pic)

"As the film's real star, the car provides emotional security and physical protection, serving as a metaphor for American Society in the 60s, as complacent, naive, and isolationist in foreign policy," says Levy.  Although this viewpoint about cars and foreign policy seems to stretch the metaphorical element a bit thin, it is certainly worth considering.  After all, compared to the impending buildup of American troops in Vietnam only a few years later, the United State's, involvement in other country's affairs was of no big concern to most-especially teenagers.  Therefore, people tend to think of the '50s as a time of innocence.

And, She'll Have Fun, Fun, Fun...

 

Lucas has said that he invented the blonde girl in the T-Bird as a metaphor for the ideal that is always just out of reach. In Graffiti, Curt chases the mysterious blonde all evening while she eludes

The ideal is always just out of reach

 him.  Nobody really seems to know who she is and each person thinks she's somebody else. She is like a dream
 in a white dress and a white car.  Some film scholars have pointed out the similarities between the blonde in the T-Bird and the green light at the end of a pier in The Great Gatsby.  In the story Gatsby sees the green light as hope for a relationship with Daisy. Both the blonde in Graffiti and the green light in Gatsby are recognized as representing all of the protagonist's wants and desires which includes the elusive American Dream.  Once Curt sees the blonde he is pulled into an emotion doomed to frustration and a desire impossible to satisfy. He becomes passionately committed to the unattainable.  At the end of Graffiti, Curt realizes the futility of  the pursuit.  In the post script we learn after college he migrated to Canada to avoid being drafted into the Vietnam War.  Once there he probably chose to chase another dream: writing THE GREAT AMERICAN NOVEL.

FASCINATION WITH CARS

There are close ties between Lucas' teenage car obsession and his filmmaking. This can be seen in his earliest work such as the1966 USC student film, 1:42:08: A Man and His Car.  The wordless film depicts a race car driver, (Daytona designer, Pete Brock,) trying to qualify for a race in a Lotus at Riverside.  He finishes the lap in 1 minute 42.08 seconds.   Lucas was very pleased with his 5 minute, student film.  "It was interesting to me because I was interested in cars and the visual impact of a person going against the clock," he recalls. Lucas made a more abstract experimental film (also from 1966), exploring the reflections of traffic on the glistening surface of a car at night. This theme of man and machine would reappear later.  Lucas' first three features have some motor powered form of transportation that is crucial to the story..

                           RADIO IS FANTASY!

The Emperor, Bob Hudson.

In the past Lucas has said he found people's familiarity with technology particularly radio, to be intriguing.  In 1973 he told Seventeen magazine, "Radio creates a fantasy that doesn’t exist at all except in your own mind." He first explored this theme in his 1967 USC student film, The Emperor. The B&W, 24 minute, film is an opus to  Bob Hudson a very talented veteran southern California disc jockey.  The film, in a jokey manner, comments on the background and popularity of the sarcastic DJ at KFWB and the idea that radio is a fantasy.  The film is filled with a cool rock soundtrack of early sixties classics. Many people who've viewed this film find it to be Lucas' most enjoyable student effort. Although Hudson is featured in the 16-mm student project, the DJ was not Lucas' first choice for the part.  In Dale Pollock's book, Skywalking, Lucas told the author,  "I had always been interested in the phenomenon of radio and originally wanted to do the film with Wolfman Jack, but I didn't know where he was. I was amused by the fact that people have a relationship with a deejay that they've never seen but to whom they feel very close because they're with him everyday.  For a lot of kids, he's the only friend they've got."

Fortunately, by 1972 the DJ had begun broadcasting a live 7-Midnight nightly show on the Los Angeles radio station, KDAY.   Bob Smith aka Wolfman Jack was no longer the mysterious, elusive personality broadcasting from Mexico that he had once worked hard to foster.  Locating him was easy. The  co-writers of Graffiti, who lived several blocks from the station, approached him and he immediately agreed to be in Lucas' new film.  With Wolfman acting as a Greek Chorus, seemingly commenting on all the action. Lucas was able to make the kind of movie that he really wanted to make.  With his gravely voice, Wolfman Jack blasts rock 'n' roll tunes, makes prank phone calls (some staged, others real), takes requests, and creates a whole pre-recorded fantasy world that is aired from some undisclosed location. Although every kid in the film has their own idea or fantasy of what they imagine the Wolfman to look like, each feels that they know him personally.
He is their friend, father figure, and guardian angel all rolled into one.

 Just like the omnipotent, OMM in THX-1138 and Obi-Wan Kenobi in Star Wars; Wolfman Jack in Graffiti is a God-like figure to the kids who listen to him every night. 

End of Part 1
PART II
PART III 

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NOTES

• Artifacts from the Future: The Making of THX: 1138. Prod. Dir. and Ed., Gary Leva.  Supplementary to THX: 1138 Director’s Cut. DVD. (1970, 1998).  Warner Brothers. 
• Baxter, John. (1999). Mythmaker: The Life and Work of George Lucas. New York.  Avon Books.
• Greenspan, Roger. (Aug 13, 1973).  American Graffiti. New York Times.
• Levy, Emanual. (1999). Cinema of Outsiders. New York. New York University Press. 
• Pollock, Dale. (1983,1999).  Skywalking: The Life and Films of George Lucas.  Updated Edition. New York, DeCapo Press.

THEMES & SYMBOLS: PT II

On a promotional tour, Cindy Williams poses with Milner's coupe. 1973.

If one word could sum up the theme in Graffiti it would be "change." Although often passed off as a simple nostalgia flick, there are several distinctions between Graffiti and other films and TV shows that recall the 1950s. One key difference is that Graffiti is not about the 50s - its about the end of the 50s, the end of an era. The knowledge of change and time passing is expressed throughout the film in very clever and inventive ways.

The story is set in 1962, at a time when the country had a president that most young people admired. Social values were clear and easily defined and although the country wasn't without it's problems, most believed somehow democracy in the free world could solve just about anything Yet, the attitudes of young people were starting to change.  U.S. involvement in South-East Asia began to escalate and the civil rights movement was starting to take hold

College students do the twist on a Fort Lauderdale beach. March 20, 1962.

Civil rights leader Malcom X

The eleven years that followed 1962 were overwhelming. In June of 1963 NAACP's Field Director Medgar Evars was murdered.  Five months later, President Kennedy was also murdered. His successor, Lyndon Johnson was practically forced from office, due to his escalation of American troops in Vietnam.  In 1973, the same year American Graffiti was released, the Watergate political scandal hearings were held and televised almost daily which would eventually lead to President Richard Nixon resigning the following year.  He was the only president to do so while in office.

Other aspects of this eleven-year span are just as dark.  A favorite American politician, Robert Kennedy was murdered while running for president in 1968.  Another politician, George Wallace was shot and crippled while campaigning in 1972. And two of the countries strongest and most influential civil rights leaders, Malcolm X and Martin Luther King, Jr. were shot and killed.

All these things contributed to the erosion of optimism in the free world.  In his book "The Day Before Yesterday," historian, Michael Elliot has pointed out that the single factor that contributed most to American's lack of faith in the government was the politics of the Vietnam War and later, Watergate.  The lies and corruption that came from the White House worked to create a general cynicism in Americans in 1973 when Graffiti was first released, and that cynicism still lingers today.

The Vietnam War lead many Americans to lose faith in the government.

Using 1962 as a year of transition George Lucas beautifully parallels this cultural change with the lives of the teenagers in the film.  By the very nature of the characters being teenagers there is certain innocence to them.  They are perhaps aware of the world around them but other things are more important to them like kissing girls, cruising, and listening to the radio.

The two main characters, Steve and Curt are making decisions about what they want to do in life. They are prepared to go to college on the east coast by leaving their small hometown, their families, and everything they know behind.  They want to leave but they are also afraid to leave.  Each is ambivalent; having feelings of sadness about letting go of the safety of their familiar world but also exhilarated at the sense of new possibilities.  They're on the brink of change, just as American culture was in 1962. The film ends with one of them breaking away, and leaving behind his sheltered, insulated hometown. He is, in a sense, leaving behind an old era and moving forward towards a new age on the horizon.

With “Graffiti,” the young film auteur presented the issue of growing up, moving out, and taking responsibility in an accessible manner that influenced a generation of filmmakers. It clearly inspired countless films but what about the film that inspired Lucas to make “Graffiti?”  Making a film that explores this “breaking away” trauma with a group of friends is an idea that was clearly inspired by Fellini’s, “I Vitelloni.”  We'll stop here for now.  To learn more about the film that inspired American Graffiti continue on to Part III.

END OF PART II

Go To PART III

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NOTES

• Artifacts from the Future: The Making of THX: 1138. Prod. Dir. and Ed., Gary Leva.  Supplementary to THX: 1138 Director’s Cut. DVD. (1970, 1998).  Warner Brothers. 
• Baxter, John. (1999). Mythmaker: The Life and Work of George Lucas. New York.  Avon Books.
• Greenspan, Roger. (Aug 13, 1973).  American Graffiti. New York Times.
• Levy, Emanual. (1999). Cinema of Outsiders. New York. New York University Press. 
• Margolis,  Jon.  (1999). The Last Innocent Year: America in 1964 – The Beginning of the “Sixties.”  New York.  William Morrow and Company, Inc. 
• Pollock, Dale. (1983,1999).  Skywalking: The Life and Films of George Lucas.  Updated Edition. New York, DeCapo Press.

Themes & Symbols Pt. III : I VITELLONI (1953)

Movie poster for Federico Fellini's 1953 film, I VITELLONI

The storyline for AMERICAN GRAFFITI was inspired by a movie that Lucas admired very much. A devotee of post-war European films, Lucas has said Italian filmmaker, Federico Fellini's, I VITELLONI (1953) directly influenced him. "I’d always liked the idea of Fellini’s film, I Vitelloni, which is the same issue, about growing up, and taking responsibility, moving out of the house, and that whole trauma. It was one of the themes in my first film, THX-1138 and I wanted to expand on it." Lucas' second feature film is strikingly similar in its structure in both the beginning and end and in its general theme. The film, (originally titled "The Young and the Passionate" in the US), begins as the summer season is coming to a close and Fausto is planning to move away from the limited confines of his small hometown for someplace far away. He tries to persuade his reluctant buddy, Moraldo to leave with him. The film ends with the roles reversed. Fausto decides to stay in town to be close to his girlfriend (who is pregnant) while Moraldo, on the other hand, chooses to abandon his hometown for greener pastures. The theme of ambivalence about leaving the safe confines of one's hometown runs throughout the film.

The word vitelloni translates to "big veals" or "overgrown calves," a reference to the group's continuing dependence upon their parents even though they’re grown.

THE STORY

Although it has a loose structure and is strangely narrated, compared to Fellini’s later work such as "8 ½" and "La Dolce Vita," the story line is fairly comprehensible.

Fausto's father admonishes  his son's  immaturity.

The semi-autobiographical masterpiece follows the adventures of a group of five young adult “vitelloni,” or slackers living in a small coastal town.  The "vitelloni's" biggest ambitions are playing pool and finding their next sexual conquest.  All of them still live at home with their parents, but instead of working a job, going to school, or learning a trade, they choose to stay out all night, and generally just hang out. The friends are clinging hopelessly to their adolescents while they struggle to come to terms with adult responsibilities.   They may have dreams, but the only way for any of the guys to fulfill their dreams is to leave their hometown.   But none seem too motivated. They are desperate to get out yet terrified to leave.

     THE CHARACTERS

The film  begins by introducing each character one by one as the camera pans around the group.  Filmmaker Martin Scorsese put this technique to good use many years later in  GOODFELLAS.  Fausto (Franco Fabrizi), described in voiceover narration as the "spiritual leader" of the group, although "skirt chaser" would be a more adequate description; Leopoldo (Leopoldo Trieste) labels himself a playwright yet has never got around to having his work finished or produced; Alberto (Alberto Sordi), an immature "mama's boy," who lives off of his sister's financial support, yet expects her to honor him as the head of the family; Riccardo, (played by Fellini's real life brother, Riccardo), is a musician and the least memorable character whose only purpose in the film appears to be providing the gang with transportation via his car. And, finally, there's the complex Moraldo (Franco Interlenghi), the intellectual of the group, who is aware of the insular and limited nature of their lives, and the only one frustrated enough to do something about it.  He is the consciousness of the film

THE DIRECTOR'S SURROGATE

The feeling of wanting to reach one’s potential but being scared to pursue it is a theme that runs through both "Vitelloni" and "Graffiti."  Everyone has choices to make and with those choices comes uncertainty and doubt. There is a character in both films whom, although

On the set: Fellini (left) discusses the script with Jean Brochard (right)

fearful, confronts his fears and pursues his ambitions by the end of the story.  He is the sensitive intellectual - a dreamer of the bunch, and is pursuing a professional career as a writer. This character serves as an autobiographical surrogate for the director.  In Vitelloni the character is Moraldo and in Graffiti he is Curt.  Federico Fellini grew up in the small seaside town of Rimini.  In order to follow his bliss he had to abandon the safe comforts of his hometown and the companionship of his friends for the metropolis of Rome in Italy.  Similarly, George Lucas made the choice to leave his small hometown of Modesto CA in order to pursue his dreams as a filmmaker at the University of Southern California in Los Angles. 

                       The men are trapped in a claustrophobic world of family and                            relationships that leads to their inevitable stagnation.

OPPOSITES ATTRACT

Despite the many parallels between the two films there are some notable distinctions. For example, the supporting characters in each film are dissimilar and demonstrate opposing personalities. Whereas, "Graffiti," is filled with a group of likable friends, it becomes difficult to find affection for the freeloading drifters in "I Vitteloni."  The group are as pathetic as they are laughable.  Hot Rodder, John Milner seems like someone you'd want to hang out with, or emulate, but if you saw immature, Vitteloni character, Alberto coming you'd probably move to the other side of the road.

Another contrast is the stark black & white of Fellini's film with the saturated color of American Graffiti.  The two movies couldn't be more visually different.  In "Vitteloni," black and white works to emphasize the drab, dull isolated seaside town and the harsh realities of growing up where nothing is glorified.  On the other hand, the bright saturated primary colors in American Graffiti practically jump out at the viewer as flashing neon and reflecting car chrome help create a teenage fantasy.

THE START OF SOMETHING BIG

Each director beautifully portrayed the pivotal juncture in their lives with poignancy, and humor which in turn marked another pivotal point in their career.  The popularity of the film allowed the director to make the film that would shoot them into international standing. Fellini's next feature was the classic, LA STRADA, while Lucas followed his second feature with STAR WARS.  Legendary filmmaker, Martin Scorsese has summarized the theme of I Vitelloni , by reflectively saying, "[The film] captures the bittersweet emotions of a moment that eventually comes for everyone.  The moment you can either grow up or stay a child forever."  This analysis could just as easily apply to American Graffiti.

   By the end of the film Moraldo, in the middle of the night,  finds the courage to leave his hometown in search of a better life.
 

As we close the third part of THEMES & SYMBOLS, I'll summarize the content by noting that George Lucas at 28 years old created a masterful cinematic work with American Graffiti.  From a loose, autobiographical perspective, he recreated and documented the car cruising culture of his teenage years.  Within the film, themes and motifs were utilized that were first evident in his student films at USC, his first feature, THX-1138 and later re-examined in Star Wars.  The fact that Lucas has been able to re-visit and explore similar themes in vastly different contexts is a testament to the consistency and quality of his work.

- FIN -

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NOTES:

• American film Institute. George Lucas Interview.  Excerpt on You Tube. Posted 10/30/2009. Retrieved 2/01/2014. https://www.youtube.com/watch?v=WvmFpj2Bgyc
• I Vitellnoi  DVD. (1953, 2005). Criterion.
• My Voyage to Italy. Dir. Martin Scorsese. DVD. (2003). Dist. Buena Vista Home Entertainment.
• Vitelloni, I - Film (Movie) Plot and Review - Publications.   http://www.filmreference.com/Films-Vi-Wi/I-Vitelloni.html#ixzz19U0CVqI7.  Retrieved 12/26/2010. 
• Wiegand, Christopher. (2003).  Frederico Fellini: the complete films.  Cologne, Germany. Taschen Books.