Editing American Graffiti

{{Short description|1973 film by George Lucas}}
{{Distinguish|graffiti in the United States}}
{{Good article}}
{{Use American English|date=January 2025}}
{{Use mdy dates|date=January 2025}}
{{Infobox film
| name           = American Graffiti
| image          = American graffiti ver1.jpg
| caption        = Theatrical release poster by [[Mort Drucker]]
| director       = [[George Lucas]]
| producer       = [[Francis Ford Coppola]]
| writer         = {{plainlist|
* George Lucas
* [[Gloria Katz]]
* [[Willard Huyck]]
}}
| starring       = {{Plainlist|
* [[Richard Dreyfuss]]
* [[Ron Howard]]<!-- Credited as "Ronny Howard" -->
* [[Paul Le Mat]]
* [[Charles Martin Smith]]<!-- Credited as "Charlie Martin Smith" -->
* [[Candy Clark]]
* [[Mackenzie Phillips]]
* [[Cindy Williams]]
* [[Wolfman Jack]]
<!-- Per poster -->
}}
| cinematography = {{plainlist|
* [[Ron Eveslage]]
* [[Jan D'Alquen]]
* [[Haskell Wexler]] (visual consultant)
}}
| editing        = {{plainlist|
* [[Verna Fields]]
* [[Marcia Lucas]]
}}
| studio         = {{plainlist|
* [[Lucasfilm|Lucasfilm Ltd.]]
* [[American Zoetrope|The Coppola Company]]
}}
| distributor    = [[Universal Pictures]]
| released       = {{Film date|1973|8|2|[[Locarno Film Festival|Locarno]]|1973|8|11|United States}}
| runtime        = 112 minutes
| country        = United States
| language       = English
| budget         = $777,000<ref name="boxoffice"/>
| gross          = $140&nbsp;million<ref name="boxoffice">{{cite web |title=American Graffiti (1973) – Financial Information |url=https://www.the-numbers.com/movie/American-Graffiti#tab=summary |website=[[The Numbers (website)|The Numbers]] |access-date=January 30, 2012 |archive-date=February 18, 2015 |archive-url=https://web.archive.org/web/20150218045258/http://www.the-numbers.com/movie/American-Graffiti#tab=summary |url-status=live }}</ref>
}}

'''''American Graffiti''''' is a 1973 American [[Coming-of-age story|coming-of-age]] [[comedy drama|comedy-drama film]] directed by [[George Lucas]], produced by [[Francis Ford Coppola]], written by [[Willard Huyck]], [[Gloria Katz]] and Lucas, and starring [[Richard Dreyfuss]], [[Ron Howard]], [[Paul Le Mat]], [[Charles Martin Smith]], [[Candy Clark]], [[Mackenzie Phillips]], [[Cindy Williams]] and [[Wolfman Jack]]. [[Harrison Ford]] and [[Bo Hopkins]] also appear. Set in [[Modesto, California]], in 1962, the film is a study of the [[cruising (driving)|cruising]] and early [[rock and roll|rock 'n' roll]] cultures popular among Lucas' age group at that time. Through a series of [[vignette (literature)|vignettes]], it tells the story of a group of teenagers and their adventures throughout a night.

While Lucas was working on his first film, ''[[THX 1138]]'', Coppola asked him to write a coming-of-age film. The genesis of ''American Graffiti'' took place in Modesto in the early 1960s, during Lucas's teenage years. He was unsuccessful in pitching the concept to financiers and distributors but found favor at [[Universal Pictures]] after every other major film studio turned him down. Filming began in [[San Rafael, California]], but the production crew was denied permission to shoot beyond a second day. As a result, production was moved to [[Petaluma, California]].<ref>{{cite web |last1=Mabry |first1=Jennifer |date=August 9, 2023 |title='American Graffiti' at 50: An oral history of 'the quintessential hot rod movie' |url=https://www.latimes.com/entertainment-arts/movies/story/2023-08-09/american-graffiti-cast-ron-howard-mackenzie-phillips-charles-martin-smith-candy-clark |website=Los Angeles Times |access-date=June 18, 2024 |quote=Although "American Graffiti" is set in Modesto, in California's Central Valley, the film was shot in Petaluma...}}</ref><ref>{{cite web |last1=Roeper |first1=Richard |date=August 24, 2023 |title=50 years ago, 'American Graffiti' showed '70s audiences a simpler time |url=https://chicago.suntimes.com/movies-and-tv/2023/8/24/23843170/american-graffiti-anniversary-50-years-rerelease-george-lucas-harrison-ford-wolfman-jack |website=Chicago Sun-Times |access-date=June 18, 2024 |quote=Although the story is set in Modesto, the majority of filming actually took place in Petaluma, California.... Filming also took place in San Rafael (the city council withdrew permits after one day)...}}</ref> The film is the first movie to be produced by his [[Lucasfilm]] production banner.

''American Graffiti'' premiered on August 2, 1973, at the [[Locarno Film Festival|Locarno International Film Festival]] in Switzerland, and was released on August 11, 1973, in the United States. The film received widespread critical acclaim and was nominated for five [[Academy Awards]], including [[Academy Award for Best Picture|Best Picture]]. Produced on a $777,000 budget (equivalent to about ${{Format price|{{Inflation|US-GDP|777000|1973|r=-5}}}} in {{Inflation-year|US-GDP}}{{inflation-fn|US-GDP}} dollars), it has become one of the most profitable films ever. Since its release, ''American Graffiti'' has earned an estimated return well over $200&nbsp;million in box-office gross and home video sales, not including merchandising. In 1995, the film was selected for preservation in the [[National Film Registry]].

==Plot==
<!-- Per WP:FILMPLOT, plot summary should be 400-700 words. -->
On their last evening of [[summer vacation]] in 1962, high school graduates Curt Henderson and Steve Bolander meet their friends, confident [[drag-racing]] king John Milner and unpopular but well-meaning Terry "The Toad" Fields, at [[Mel's Drive-In]] in [[Modesto, California]]. Set to travel "[[Northeastern United States|Back East]]" with Steve in the morning to start college, Curt has second thoughts about leaving. Laurie, Steve's girlfriend and Curt's sister, is hurt when Steve suggests they see other people while he is away to "strengthen" their relationship.

En route to the high school [[sock hop]], Curt sees a beautiful blonde woman driving a white [[Ford Thunderbird]] who mouths "I love you", leading him to desperately search for her throughout the night. Leaving the dance, he is coerced into joining a group of [[greaser (subculture)|greasers]] called "the Pharaohs" in stealing coins from arcade machines and hooking a chain to a police car, ripping out its back axle. During a tense ride, the Pharaoh leader tells Curt that the blonde is a prostitute, which he does not believe.

Allowed to take care of Steve's car while he is at college, Terry cruises around the strip and picks up the rebellious Debbie. Telling her he is known as "Terry the Tiger", he spends the night trying to impress her, lying about the car and purchasing alcohol with no ID. The car is stolen while they share a romantic interlude and later, after the alcohol has made Terry violently sick, he attempts to steal it back. The thieves beat him up until John intervenes, and Terry eventually admits the truth to Debbie and reveals he rides a Vespa scooter; she suggests it is "almost a motorcycle" and says she had fun, agreeing to meet up with him again.

Seeking cruising company, John inadvertently picks up Carol, a precocious 12 year-old who manipulates him into driving her around all night. He lies to suspicious friends that she is a cousin he is stuck babysitting, and they have a series of petty arguments until another car's occupants harass her as she attempts to walk home alone, and John decides to protect her. The racer, Bob Falfa, wants to compete for John's drag-racing crown. During his night of challenging anyone he comes across, Bob picks up an emotional Laurie after a long-brewing argument with Steve.

Leaving the Pharaohs, Curt drives to the radio station to ask the omnipresent disc jockey "[[Wolfman Jack]]" to read a message on the air for the blonde. A station employee tells him the Wolfman does not work there and the shows are taped, claiming the Wolfman "is everywhere". He says the Wolfman would advise Curt to "get your ass in gear" and see the world but promises to have the Wolfman air the request. As Curt leaves, he realizes the employee is the Wolfman, who reads the message to the blonde asking her to call Curt at the Mel's Drive-In [[Payphone#United States|payphone]].

After taking Carol home, John is goaded by Bob into drag racing along Paradise Road outside the city with a crowd of spectators. Terry starts the race and John takes the lead but Bob's tire blows out, causing his car to swerve into a ditch and roll over before bursting into flames. Steve rushes to the wreck as Laurie and Bob crawl out before the car explodes. While John helps his rival to safety, Laurie begs Steve not to leave her and he assures her that he will stay with her in Modesto.

An exhausted Curt is awakened by the payphone and finally speaks to the mysterious blonde, who hints at the possibility of meeting that night but Curt replies that he is leaving town. In the morning at the airfield, he says goodbye to his parents and friends; after takeoff, he  sees the white Thunderbird driving along the road below, and gazes thoughtfully into the sky.

A postscript reveals the friends' fates, in 1964, John was killed by a drunk driver; in 1965, Terry was reported [[missing in action]] near [[An Lộc, Bình Phước|An Lộc]], South Vietnam; Steve is an insurance agent in Modesto and Curt is a writer living in Canada.

==Cast==
===Main credits===
<!--- [[WP:NOTDATABASE]] - cast and order per opening tombstone stand-alone credits, roles per closing credits scroll --->
{{Cast listing|
* [[Richard Dreyfuss]] as Curt Henderson
* [[Ron Howard]] as Steve Bolander (credited as Ronny Howard)
* [[Paul Le Mat]] as John Milner
* [[Charles Martin Smith]] as Terry "Toad" Fields (credited as Charlie Martin Smith)
* [[Candy Clark]] as Debbie
* [[Mackenzie Phillips]] as Carol
* [[Cindy Williams]] as Laurie Henderson
* [[Wolfman Jack]] as the Disc Jockey
* [[Bo Hopkins]] as Joe
* Beau Gentry as Ants <!--- not [[Beau Gentry]], which is a rock band. --->
* [[Harrison Ford]] as Bob Falfa
* [[Manuel Padilla Jr.]] as Carlos
* [[Flash Cadillac & the Continental Kids]] as Herby and the Heartbeats
}}

=== Notable ensemble ===
{{Cast listing|
* Jana Bellan as Budda
* [[Lynne Marie Stewart]] as Bobbie
* Deby Celiz as Wendy
* [[Kathleen Quinlan]] as Peg
* [[Scott Beach]] as Mr. Gordon
* [[Susan Richardson]] as Judy
* [[Kay Lenz]] as Jane (credited as Kay Ann Kemper)
* [[Joe Spano]] as Vic
* [[Debralee Scott]] as Falfa's Girl
* [[Del Close]] as man at bar
* [[Suzanne Somers]] as the blonde in the T-Bird
* [[Terry McGovern (actor)|Terry McGovern]] as Mr. Wolfe
}}

==Development==
===Inspiration===
During the production of ''[[THX 1138]]'' (1971), producer [[Francis Ford Coppola]] challenged co-writer/director [[George Lucas]] to write a script that would appeal to mainstream audiences.<ref name=first/> Lucas embraced the idea, using his early 1960s teenage experiences [[cruising (driving)|cruising]] in Modesto, California. "Cruising was gone, and I felt compelled to document the whole experience and what [[Baby boomers|my generation]] used as a way of meeting girls," Lucas explained.<ref name=first/> As he developed the story in his mind, Lucas included his fascination with Wolfman Jack. Lucas had considered doing a documentary about the Wolfman when he attended the [[USC School of Cinematic Arts]], but he ultimately dropped the idea.<ref name=Whatev>Baxter, pp. 70, 104, 148, 254</ref>

Adding in semiautobiographical connotations, Lucas set the story in his hometown of 1962 Modesto.<ref name=first/> The characters Curt Henderson, John Milner, and Terry "The Toad" Fields also represent different stages from his younger life. Curt is modeled after Lucas's personality during USC, while John is based on Lucas's teenaged [[street racing|street-racing]] and junior-college years, and [[hot rod]] enthusiasts he had known from the [[Kustom Kulture]] in Modesto. Terry represents Lucas's [[nerd]] years as a freshman in high school, specifically his "bad luck" with dating.<ref name=personal/> The filmmaker was also inspired by [[Federico Fellini]]'s ''[[I Vitelloni]]'' (1953).<ref name=York>Baxter, pp. 106–118</ref>

After the financial failure of ''THX 1138'', Lucas wanted the film to act as a release for a world-weary audience:<ref name=Sturhahn>Sturhahn, Larry (March 1974). "The Filming of ''American Graffiti''". ''Filmmakers Newsletter''.</ref>

{{blockquote|[''THX''] was about real things that were going on and the problems we're faced with. I realized after making ''THX'' that those problems are so real that most of us have to face those things every day, so we're in a constant state of frustration. That just makes us more depressed than we were before. So I made a film where, essentially, we can get rid of some of those frustrations, the feeling that everything seems futile.<ref name=Sturhahn/>}}

===United Artists===
After [[Warner Bros.]] abandoned Lucas's early version of ''[[Apocalypse Now]]'' (during the post-production of ''THX 1138''), the filmmaker decided to continue developing ''Another Quiet Night in Modesto'', eventually changing its title to ''American Graffiti''.<ref name="Whatev"/> To co-write a 15-page [[film treatment]], Lucas hired [[Willard Huyck]] and [[Gloria Katz]], who also added semiautobiographical material to the story.<ref name=DVD>(DVD) ''The Making of American Graffiti''. [[Universal Studios Home Entertainment]]. 1998.</ref> Lucas and his colleague [[Gary Kurtz]] began [[pitch (filmmaking)|pitching]] the ''American Graffiti'' treatment to various Hollywood studios and production companies in an attempt to secure the financing needed to expand it into a screenplay,<ref name=first/> but they were unsuccessful. The potential financiers were concerned that [[music licensing]] costs would cause the film to go way over budget. Along with ''[[Easy Rider]]'' (1969), ''American Graffiti'' was one of the first films to eschew a traditional [[film score]] and successfully rely instead on synchronizing a series of popular hit songs with individual scenes.<ref name=Kurtz>{{cite news |author=Ken Plume |url=http://movies.ign.com/articles/376/376873p1.html |title=An Interview with Gary Kurtz |work=[[IGN]] |date=November 11, 2002 |access-date=April 30, 2009 |archive-date=June 29, 2009 |archive-url=https://web.archive.org/web/20090629121040/http://movies.ign.com/articles/376/376873p1.html |url-status=live }}</ref>

''THX 1138'' was released in March 1971,<ref name=first>Hearn, pp. 10–11, 42–47</ref> and Lucas was offered opportunities to direct ''[[Lady Ice]]'', ''[[Tommy (1975 film)|Tommy]]'', or ''[[Hair (film)|Hair]]''. He turned down those offers, determined to pursue his own projects despite his urgent desire to find another film to direct.<ref name=pain/><ref name=sound/> During this time, Lucas conceived the idea for a [[space opera]] (as yet untitled) which later became the basis for his ''[[Star Wars]]'' franchise. At the [[1971 Cannes Film Festival]], ''THX'' was chosen for the [[Directors' Fortnight]] competition. There, Lucas met [[David Picker]], then president of [[United Artists]], who was intrigued by ''American Graffiti'' and Lucas's space opera. Picker decided to give Lucas $10,000 (equivalent to about ${{Format price|{{Inflation|US-GDP|10000|1971|r=-3}}}} in {{Inflation-year|US-GDP}}{{inflation-fn|US-GDP}} dollars) to develop ''Graffiti'' as a screenplay.<ref name=pain/>

Lucas planned to spend another five weeks in Europe and hoped that Huyck and Katz would agree to finish the screenplay by the time he returned, but they were about to start on their own film, ''[[Messiah of Evil]]'',<ref name=DVD/> so Lucas hired [[Richard Walter (screenwriter)|Richard Walter]], a colleague from the [[USC School of Cinematic Arts]] for the job. Walter was flattered, but initially tried to sell Lucas on a different screenplay called ''Barry and the Persuasions'', a story of [[East Coast of the United States|East Coast]] teenagers in the late 1950s. Lucas held firm—his was a story about [[West Coast of the United States|West Coast]] teenagers in the early 1960s. Walter was paid the $10,000, and he began to expand the Lucas/Huyck/Katz treatment into a screenplay.<ref name=pain/>

Lucas was dismayed when he returned to America in June 1971 and read Walter's script, which was written in the style and tone of an [[exploitation film]], similar to 1967's ''[[Hot Rods to Hell]]''. "It was overtly sexual and very fantasy-like, with [[chicken (game)|playing chicken]] and things that kids didn't really do," Lucas explained. "I wanted something that was more like the way I grew up."<ref>{{Cite news|url=http://www.achievement.org/autodoc/page/luc0int-1 |title=A Life Making Movies |author=<!--Not stated--> |work=Academy of Achievement |date=June 19, 1999 |access-date=April 22, 2008 |archive-url=https://web.archive.org/web/20080509145340/http://www.achievement.org/autodoc/page/luc0int-1 |archive-date=May 9, 2008 |url-status = dead}}</ref> Walter's script also had Steve and Laurie going to Nevada to get married without their parents' permission.<ref name=York/> Walter rewrote the screenplay, but Lucas nevertheless fired him due to their creative differences.<ref name=pain/>

After paying Walter, Lucas had exhausted his development fund from United Artists. He began writing a script, completing his first draft in just three weeks.<ref>{{Cite web |last=Echarri |first=Miquel |date=May 18, 2023 |title=Fires, alcohol and an out-of-control Harrison Ford: 50 years later, the making of 'American Graffiti' has not been forgotten |url=https://english.elpais.com/culture/2023-05-18/fires-alcohol-and-an-out-of-control-harrison-ford-50-years-later-the-making-of-american-graffiti-has-not-been-forgotten.html |access-date=May 21, 2023 |website=EL PAÍS English |language=}}</ref> Drawing upon his large collection of vintage records, Lucas wrote each scene with a particular song in mind as its musical backdrop.<ref name=pain>Hearn, pp. 52–53</ref> The cost of licensing the 75 songs Lucas wanted was one factor in United Artists' ultimate decision to reject the script; the studio also felt it was too experimental—"a musical montage with no characters". United Artists also passed on ''[[Star Wars (film)|Star Wars]]'', which Lucas shelved for the time being.<ref name=sound/>

===Universal Pictures===
Lucas spent the rest of 1971 and early 1972 trying to raise financing for the ''American Graffiti'' script.<ref name=sound>Hearn, pp. 54–55</ref> During this time, [[Metro-Goldwyn-Mayer]], [[Paramount Pictures]], [[20th Century Fox]], and [[Columbia Pictures]] all turned down the opportunity to co-finance and distribute the film.<ref name="drugs" /> Lucas, Huyck and Katz rewrote the second draft together, which, in addition to Modesto, was also set in [[Mill Valley, California|Mill Valley]] and Los Angeles. Lucas also intended to end ''American Graffiti'' showing a title card detailing the fate of the characters, including the death of Milner and the disappearance of Toad in Vietnam. Huyck and Katz found the ending depressing and were incredulous that Lucas planned to include only the male characters. Lucas argued that mentioning the girls meant adding another title card, which he felt would prolong the ending. Because of this, [[Pauline Kael]] later accused Lucas of [[chauvinism]].<ref name=drugs/>

Lucas and producer Gary Kurtz took the script to [[American International Pictures]], who expressed interest, but ultimately believed ''American Graffiti'' was not violent or sexual enough for the studio's standards.<ref name=accept>Baxter, pp. 120–123</ref> Lucas and Kurtz eventually found favor at [[Universal Pictures]], who allowed Lucas total [[artistic control]] and the right of [[final cut privilege]] on the condition that he make ''American Graffiti'' on a strict low budget.<ref name=sound/> This forced Lucas to drop the opening scene in which the Blonde Angel, Curt's image of the perfect woman, drives through an empty drive-in cinema in her Ford Thunderbird, her transparency revealing she does not exist.<ref name=change/>

Universal initially projected a $600,000 budget but added an additional $175,000 once producer Francis Ford Coppola signed on. This would allow the studio to advertise ''American Graffiti'' as "from the man who gave you ''[[The Godfather]]''". The proposition also gave Universal [[first-look deal]]s on Lucas's next two planned projects, ''Star Wars'' and ''[[Radioland Murders]]''.<ref name=accept/> As he continued to work on the script, Lucas encountered difficulties on the Steve and Laurie storyline. Lucas, Katz, and Huyck worked on the third draft together, specifically on the scenes featuring Steve and Laurie.<ref name=title/>

Production proceeded with virtually no input or interference from Universal since ''American Graffiti'' was a [[low-budget film]], and executive [[Ned Tanen]] had only modest expectations of its commercial success. However, Universal did object to the film's title, not knowing what "American Graffiti" meant;<ref name=title/> Lucas was dismayed when some executives assumed he was making an Italian movie about feet.<ref name=drugs/> The studio, therefore, submitted a long list of over 60 alternative titles, with their favorite being ''Another Slow Night in Modesto''<ref name=title/> and Coppola's ''Rock Around the Block''.<ref name=drugs/> They pushed hard to get Lucas to adopt any of the titles, but he was displeased with all the alternatives and persuaded Tanen to keep ''American Graffiti''.<ref name=title>Hearn, pp. 58–60</ref>

==Production==
===Casting===
The film's lengthy casting process was overseen by [[Fred Roos]], who worked with producer Francis Ford Coppola on ''The Godfather''.<ref name=DVD/> Because ''American Graffiti'''s main cast was for younger actors, the casting call and notices went through numerous high-school drama groups and community theaters in the [[San Francisco Bay Area]].<ref name=personal/> Among the actors was [[Mark Hamill]], the future [[Luke Skywalker]] in Lucas's ''Star Wars'' trilogy.<ref name=change/>

Over 100 unknown actors auditioned for Curt Henderson before Richard Dreyfuss was cast; George Lucas was impressed with Dreyfuss's thoughtful analysis of the role,<ref name=personal/> and as a result, offered the actor his choice of Curt or Terry "The Toad" Fields.<ref name=change/> Roos, a former casting director on ''[[The Andy Griffith Show]]'', suggested Ron Howard for Steve Bolander; Howard accepted the role to break out of the mold of his career as a child actor.<ref name=personal>Hearn, pp. 56–57</ref> Howard would later appear in the very similar role of [[Richie Cunningham]] on the ''[[Happy Days]]'' sitcom.<ref>{{cite book|url=https://books.google.com/books?id=cj5LfIhSaoIC&pg=PA184|title=Last Season of Innocence: The Teen Experience in the 1960s By Victor Brooks|quote=Happy Days began airing only a few months after Graffiti came out, and much of the plotline revolved around Howard's character, Richie Cunningham, who was almost an exact clone of Steve in the film.|isbn=9781442209176|last1=Brooks|first1=Victor|year=2012|access-date=January 21, 2015|archive-date=June 9, 2015|archive-url=https://web.archive.org/web/20150609084755/https://books.google.com/books?id=cj5LfIhSaoIC&pg=PA184|url-status=live| publisher=Rowman & Littlefield}}</ref> [[Bob Balaban]] turned down Terry out of fear of becoming typecast, a decision he later regretted. Charles Martin Smith, who, in his first year as a professional actor, had already appeared in two feature films, including 20th Century Fox's ''[[The Culpepper Cattle Co.]]'' and four TV episodes, was eventually cast in the role.<ref>{{Cite magazine|author=<!--Not stated--> |url=https://ew.com/article/2008/10/10/hardest-working-actors-showbiz/ |title=The Hardest Working Actors in Showbiz |magazine=[[Entertainment Weekly]] |date=October 17, 2008 |access-date=May 9, 2009 |archive-url=https://web.archive.org/web/20090425162334/http://www.ew.com/ew/article/0%2C%2C20232072%2C00.html |archive-date=April 25, 2009 |url-status = live}}</ref>

Although Cindy Williams was cast as Laurie Henderson and enjoyed working with both Lucas and Howard,<ref>{{Cite interview |url=https://www.youtube.com/watch?v=7aoyaaDcsCw |title=Cindy Williams on working with George Lucas on "American Graffiti" - EMMYTVLEGENDS.ORG|date=August 7, 2013|interviewer=Amy Harrington|publisher=
FoundationINTERVIEWS|publication-date=January 27, 2016|via=YouTube |access-date=August 3, 2019 |archive-date=February 24, 2020 |archive-url=https://web.archive.org/web/20200224155038/https://www.youtube.com/watch?v=7aoyaaDcsCw |url-status=live }}</ref> the actress hoped she would get the part of Debbie Dunham, which ended up going to Candy Clark.<ref name=DVD/> [[Mackenzie Phillips]], who portrays Carol, was only 12, and under California law, producer Gary Kurtz had to become her legal guardian for the duration of filming.<ref name=change>Baxter, pp. 124–128</ref> For Bob Falfa, Roos cast [[Harrison Ford]], who was then concentrating on a carpentry career. Ford agreed to take the role on the condition that he would not have to cut his hair lest he be offered other movie or TV roles set in the "present day" of the 1970s. The character has a flattop in the script, but a compromise was eventually reached whereby Ford wore a [[Stetson]] to cover his hair. Producer Coppola encouraged Lucas to cast Wolfman Jack as himself in a [[cameo appearance]]. "George Lucas and I went through thousands of Wolfman Jack phone calls that were taped with the public," Jack reflected. "The telephone calls [heard on the broadcasts] in the motion picture and on the soundtrack were actual calls with real people."<ref name=title/><ref>{{cite web | url=https://chicago.suntimes.com/movies-and-tv/2023/8/24/23843170/american-graffiti-anniversary-50-years-rerelease-george-lucas-harrison-ford-wolfman-jack | title=50 years ago, 'American Graffiti' showed '70s audiences a simpler time | date=August 24, 2023 }}</ref>

===Filming===
Although ''American Graffiti'' is set in 1962 Modesto, Lucas believed the city had changed too much in ten years and initially chose [[San Rafael, California|San Rafael]] as the primary shooting location.<ref name=change/> Filming began on June 26, 1972. However, Lucas soon became frustrated at the length of time it was taking to fix camera mounts to the cars.<ref name=Wex/> A key member of the production had also been arrested for growing marijuana,<ref name=drugs>Pollock, pp. 105–111</ref> and in addition to already running behind the [[shooting schedule]], the San Rafael City Council immediately became concerned about the disruption that filming caused for local businesses, so withdrew permission to shoot beyond a second day.<ref name=Wex/>

[[Petaluma, California|Petaluma]], a similarly small town about {{convert|20|mi}} north of San Rafael, was more cooperative, and ''American Graffiti'' moved there without the loss of a single day of shooting. Lucas convinced the San Rafael City Council to allow two further nights of filming for general cruising shots, which he used to evoke as much of the intended location as possible in the finished film. Shooting in Petaluma began June 28 and proceeded at a quick pace.<ref name=Wex/> Lucas mimicked the filmmaking style of [[B movie|B-movie]] producer [[Sam Katzman]] (''[[Rock Around the Clock (film)|Rock Around the Clock]]'', ''[[Your Cheatin' Heart (film)|Your Cheatin' Heart]]'', and the aforementioned ''[[Hot Rods to Hell]]'') in attempting to save money and authenticated low-budget filming methods.<ref name=change/>

In addition to Petaluma, other locations included [[Mel's Drive-In]] in San Francisco, [[Sonoma, California|Sonoma]], [[Richmond, California|Richmond]], [[Novato, California|Novato]], and the [[Buchanan Field Airport]] in [[Concord, California|Concord]].<ref name=San/> The freshman hop dance was filmed in the Gus Gymnasium, previously known as the Boys Gym, at [[Tamalpais High School]] in [[Mill Valley, California|Mill Valley]].<ref name=locations/>

More problems ensued during filming; Paul Le Mat was sent to the hospital after an allergic reaction to walnuts. Le Mat, Harrison Ford, and Bo Hopkins were claimed to be drunk most nights and every weekend, and had conducted climbing competitions to the top of the local [[Holiday Inn]] sign.<ref name=":0">Baxter, p. 129.</ref> One actor set fire to Lucas's motel room. Another night, Le Mat threw Richard Dreyfuss into a swimming pool, gashing Dreyfuss's forehead on the day before he was due to have his close-ups filmed. Dreyfuss also complained over the wardrobe that Lucas had chosen for the character. Ford was kicked out of his motel room at the Holiday Inn.<ref name=":0" /> In addition, two camera operators were nearly killed when filming the climactic race scene on Frates Road outside Petaluma.<ref>Baxter, pp. 129–130.</ref> [[Principal photography]] ended August 4, 1972.<ref name=San/>

The final scenes in the film, shot at Buchanan Field, feature a [[Douglas DC-7]]C airliner of Magic Carpet Airlines, which had previously been leased from owner Club America Incorporated by the rock band [[Grand Funk Railroad]] from March 1971 to June 1971.<ref name=locations>[http://www.americangraffiti.net/movie_locations.html American Graffiti Filming Locations (June – August 1972)] {{webarchive |url=https://web.archive.org/web/20101120203128/http://www.americangraffiti.net/movie_locations.html |date=November 20, 2010 }}</ref><ref>{{Cite web |url=http://www.air-and-space.com/Douglas%20DC-6%20and%20DC-7%20Tankers.htm |title=Douglas DC-6 and DC-7 Tankers |access-date=January 16, 2011 |archive-date=November 8, 2010 |archive-url=https://web.archive.org/web/20101108232049/http://air-and-space.com/Douglas%20DC-6%20and%20DC-7%20Tankers.htm |url-status=live }}</ref><ref>{{Cite web |url=http://www.impdb.org/index.php?title=American_Graffiti |title=American Graffiti |access-date=January 16, 2011 |archive-date=July 21, 2011 |archive-url=https://web.archive.org/web/20110721153212/http://www.impdb.org/index.php?title=American_Graffiti |url-status=live }}</ref>

===Cinematography===
Lucas considered covering duties as the sole cinematographer, but dropped the idea.<ref name=change/> Instead, he elected to shoot ''American Graffiti'' using two cinematographers (as he had done in ''THX 1138'') and no formal director of photography. Two cameras were used simultaneously in scenes involving conversations between actors in different cars, which resulted in significant production time savings.<ref name=Wex/> After [[CinemaScope]] proved to be too expensive,<ref name=change/> Lucas decided ''American Graffiti'' should have a documentary-like feel, so he shot the film using [[Techniscope]] cameras. He believed that Techniscope, an inexpensive way of shooting on [[35mm movie film|35 mm film]] and using only half of the film's frame, would give a perfect widescreen format resembling [[16 mm film|16 mm]]. Adding to the documentary feel was Lucas's openness for the cast to [[improvisation|improvise]] scenes. He also used [[goof]]s for the final cut, notably Charles Martin Smith's arriving on his scooter to meet Steve outside Mel's Drive-In.<ref name=Verna/> [[Jan D'Alquen and Ron Eveslage]] were hired as the cinematographers, but filming with Techniscope cameras brought lighting problems. As a result, Lucas commissioned help from friend [[Haskell Wexler]], who was credited as the "visual consultant".<ref name=Wex>Hearn, pp. 61–63</ref>

===Editing===
Lucas had wanted his then wife, [[Marcia Lucas|Marcia]], to edit ''American Graffiti'', but Universal executive Ned Tanen insisted on hiring [[Verna Fields]], who had just finished editing [[Steven Spielberg]]'s ''[[The Sugarland Express]]''.<ref>Baxter, pp. 132–135.</ref> Fields worked on the first [[rough cut]] of the film before she left to resume work on ''[[What's Up, Doc? (1972 film)|What's Up, Doc?]]''. After Fields's departure, Lucas struggled with editing the film's story structure. He had originally written the script so that the four (Curt, Steve, John, and Toad) storylines were always presented in the same sequence (an "ABCD" plot structure). The first cut of ''American Graffiti'' was three and a half hours long, and to whittle the film down to a more manageable two hours, many scenes had to be cut, shortened, or combined. As a result, the film's structure became increasingly loose and no longer adhered to Lucas's original "ABCD" presentation.<ref name=Verna/> Lucas completed his final cut of ''American Graffiti'', which ran 112 minutes, in December 1972.<ref name=Jesus/> [[Walter Murch]] assisted Lucas in post-production for [[audio mixing (film and television)|audio mixing]] and [[sound design]] purposes.<ref name=Verna>Hearn, pp. 64–66</ref> Murch suggested making Wolfman Jack's radio show the "backbone" of the film. "The Wolfman was an ethereal presence in the lives of young people," said producer Gary Kurtz, "and it was that quality we wanted and obtained in the picture."<ref name="Marcia">Baxter, pp. 129–135.</ref>

==Soundtrack==
{{Main|41 Original Hits from the Soundtrack of American Graffiti}}
The choice of music was crucial to the mood of each scene; it is [[diegetic music]] that the characters themselves can hear and therefore becomes an integral part of the action.<ref>{{Cite web |url=https://www.filmmusicnotes.com/diegetic-music-non-diegetic-music-and-source-scoring/ |title=Richards, Mark. 'Diegetic Music, Non-Diegetic Music, and "Source Scoring"' in ''Film Music Notes'', 21 April 2013 |date=May 4, 2013 |access-date=April 11, 2020 |archive-date=February 7, 2020 |archive-url=https://web.archive.org/web/20200207184004/http://www.filmmusicnotes.com/diegetic-music-non-diegetic-music-and-source-scoring/ |url-status=live }}</ref> George Lucas had to be realistic about the complexities of copyright clearances, though, and suggested a number of alternative tracks. Universal wanted Lucas and producer Gary Kurtz to hire an orchestra for [[sound-alike]]s. The studio eventually proposed a flat deal that offered every music publisher the same amount of money. This was acceptable to most of the companies representing Lucas's first choices, but not to [[RCA]]—with the consequence that [[Elvis Presley]] is conspicuously absent from the soundtrack.<ref name=sound/> Clearing the [[music licensing]] rights had cost approximately $90,000,<ref name=Marcia /> and as a result, no money was left for a traditional [[film score]]. "I used the absence of music, and sound effects, to create the drama," Lucas later explained.<ref name=Jesus/>

When it came to the ending credits, only the song's title, artist, and the record label was listed. However, the names of the composers and lyricists, as well as the publishing company and the copyright year, were completely left out. This resulted in several of the songwriters filing lawsuits against MCA for leaving their names out of the credits. A settlement was reached in which MCA paid the damages to the songwriters, as well as to the publishing companies.

A soundtrack album for the film, ''[[41 Original Hits from the Soundtrack of American Graffiti]]'', was issued by [[MCA Records]]. The album contains all the songs used in the film (with the exception of "Gee" by the Crows, which was subsequently included on a second soundtrack album), presented in the order in which they appeared in the film.

==Release==
Despite unanimous praise at a January 1973 [[test screening]] attended by Universal executive Ned Tanen, the studio told Lucas they wanted to re-edit his original cut of ''American Graffiti''.<ref name=Jesus>Hearn, pp. 67–69</ref> Producer Coppola sided with Lucas against Tanen and Universal, offering to "buy the film" from the studio and reimburse it for the $775,000 (equivalent to ${{Format price|{{Inflation|US-GDP|775000|1972|r=-5}}}} in {{Inflation-year|US-GDP}}){{Inflation-fn|US-GDP}} that it had cost to make it.<ref name=San/> 20th Century Fox and Paramount Pictures made similar offers to the studio.<ref name=Whatev/> Universal refused these offers and told Lucas they planned to have [[William Hornbeck]] re-edit the film.<ref name=France/>

When Coppola's ''[[The Godfather]]'' won the [[Academy Award for Best Picture]] in March 1973, Universal relented and agreed to cut only three scenes (amounting to a few minutes) from Lucas's cut. These include an encounter between Toad and a fast-talking car salesman, an argument between Steve and his former teacher Mr. Kroot at the sock hop, and an effort by Bob Falfa to serenade Laurie with "[[Some Enchanted Evening (song)|Some Enchanted Evening]]". The studio initially thought that the film was only fit for release as a television movie.<ref name=San/>

Various studio employees who had seen the film began talking it up, and its reputation grew through [[word of mouth]].<ref name=San/> The studio dropped the TV movie idea and began arranging for a [[limited release]] in selected theaters in Los Angeles and New York.<ref name=Kurtz/> Universal presidents [[Sidney Sheinberg]] and [[Lew Wasserman]] heard about the praise the film had been garnering in LA and New York, and the marketing department amped up its promotion strategy for it,<ref name=Kurtz/> investing an additional $500,000 (equivalent to ${{Format price|{{Inflation|US-GDP|500,000|1973|r=-5}}}} in {{Inflation-year|US-GDP}}){{Inflation-fn|US-GDP}} in marketing and promotion.<ref name=Whatev/> The film was released in the United States on August 11, 1973<ref name="boxoffice"/> to [[sleeper hit]] reception.<ref name=box/> The film had cost only $1.27&nbsp;million (equivalent to ${{Format price|{{Inflation|US-GDP|1,270,000|1972|r=-5}}}} in {{Inflation-year|US-GDP}}){{Inflation-fn|US-GDP}} to produce and market, but yielded worldwide box office gross revenues of more than $55&nbsp;million (equivalent to ${{Format price|{{Inflation|US|55,000,000|1973|r=-6}}}} in {{Inflation-year|US}}).{{Inflation-fn|US}}<ref name=radio/> It had only modest success outside the United States and Canada, but became a [[cult film]] in France.<ref name=France/>

Universal reissued ''Graffiti'' on May 26, 1978, with [[Dolby]] sound<ref>{{cite magazine|title=9 New Releases, Plus 'Graffiti,' On U Sked To July|magazine=[[Variety (magazine)|Variety]]|page=3|date=April 12, 1978}}</ref><ref>{{cite magazine|title=Holiday Ups L.A.; 'Friday' Boff $277,000, 'Graffiti' Smash 211G, 'Wednesday' Splashy $159,000|magazine=[[Variety (magazine)|Variety]]|page=8|date=May 31, 1978}}</ref> and earned an additional $63&nbsp;million (equivalent to ${{Format price|{{Inflation|US|63,000,000|1978|r=-6}}}} in {{Inflation-year|US}}),{{Inflation-fn|US}} which brought the total revenue for the two releases to $118&nbsp;million (equivalent to ${{Format price|{{Inflation|US|118,000,000|1978|r=-7}}}} in {{Inflation-year|US}}).<ref name=Whatev/>{{Inflation-fn|US}} The reissue included stereophonic sound<ref name=radio/> and a couple of minutes the studio had removed from Lucas's original cut.<ref name=":27">{{Cite web|last=Coate|first=Michael|date=August 1, 2013|title=Where Were You In '73? Remembering American Graffiti On Its 40th Anniversary|url=https://thedigitalbits.com/columns/history-legacy--showmanship/where-were-you-in-73-american-graffiti-40th|access-date=December 27, 2021|website=The Digital Bits|language=en-gb}}</ref> All [[home video]] releases also included these scenes.<ref name=San/> Also, the date of John Milner's death was changed from June 1964 to December 1964 to fit the narrative structure of the upcoming sequel, ''More American Graffiti''. At the end of its theatrical run, ''American Graffiti'' had one of the greatest profit-to-cost ratios of a motion picture ever.<ref name=Whatev/>

Producer Francis Ford Coppola regretted having not financed the film himself. Lucas recalled, "He would have made $30&nbsp;million (equivalent to ${{Format price|{{Inflation|US|30,000,000|1973|r=-7}}}} in {{Inflation-year|US}}){{Inflation-fn|US}} on the deal. He never got over it and he still kicks himself."<ref name="France">Pollock, pp. 120–128</ref> It was the 13th-highest-grossing film of all time in 1977<ref name="box">{{Cite web|url=https://www.boxofficemojo.com/movies/?id=americangraffiti.htm |title=American Graffiti |work=[[Box Office Mojo]] |access-date=May 3, 2009| archive-url= https://web.archive.org/web/20090416224124/http://www.boxofficemojo.com/movies/?id=americangraffiti.htm| archive-date= April 16, 2009 |url-status = live}}</ref> and, adjusted for inflation, is currently the 43rd highest.<ref>{{cite web | url = https://www.boxofficemojo.com/alltime/adjusted.htm | title = Domestic Grosses Adjusted For Inflation | work = [[Box Office Mojo]] | access-date = May 3, 2009| archive-url= https://web.archive.org/web/20090504000735/http://www.boxofficemojo.com/alltime/adjusted.htm| archive-date= May 4, 2009 |url-status = live}}</ref> By the 1990s, ''American Graffiti'' had earned more than $200&nbsp;million (equivalent to ${{Format price|{{Inflation|US|200,000,000|1990|r=-7}}}} in {{Inflation-year|US}}){{Inflation-fn|US}} in box-office gross and home video sales.<ref name="Whatev" /> In December 1997, ''[[Variety (magazine)|Variety]]'' reported that the film had earned an additional $55.13&nbsp;million in rental revenue (equivalent to ${{Format price|{{Inflation|US|55,130,000|1997|r=-6}}}} in {{Inflation-year|US}}).{{Inflation-fn|US}}<ref>{{cite news | author = Staff | url = https://variety.com/1997/digital/features/rental-champs-rate-of-return-1116680329/ | title = Rental champs: Rate of return | date = December 16, 1997 | work = [[Variety (magazine)|Variety]] | access-date = May 3, 2009| archive-url= https://web.archive.org/web/20120122111704/http://www.variety.com/article/VR1116680329| archive-date=January 22, 2012|url-status = live}}</ref>

[[Universal Pictures Home Entertainment|Universal Studios]] first released the film on DVD in September 1998,<ref>{{cite book | title = American Graffiti (1973) |isbn = 078322737X}}</ref> and once more as a [[double feature]] with ''[[More American Graffiti]]'' (1979) in January 2004.<ref>{{cite web | url = https://www.amazon.com/dp/B0000VD128 | title = American Graffiti / More American Graffiti (Drive-In Double Feature) (1979) | work = [[Amazon.com]] | date = January 20, 2004 | access-date = May 3, 2009 | archive-date = April 10, 2016 | archive-url = https://web.archive.org/web/20160410021256/http://www.amazon.com/dp/B0000VD128 | url-status = live }}</ref> The 1978 version of the film was used, with an additional digital change to the sky in the opening title sequence.<ref name=":27" /> Additionally, the 1998 DVD and VHS releases were both [[THX]] certified as well.<ref>{{cite news |last=Halperin |first=Frank |url=https://www.newspapers.com/article/courier-post-a-silver-anniversary/108367049/ |title=A silver anniversary
|archive-url=https://web.archive.org/web/20240829170518/https://www.newspapers.com/article/courier-post-a-silver-anniversary/108367049/ |date=November 6, 1998 |access-date=August 29, 2024 |archive-date=August 29, 2024 |page=79 |publisher=[[Courier-Post]] |via=[[Newspapers.com]] |url-status=live}} {{Open access}}</ref> Universal released the film on [[Blu-ray]] with a new digitally remastered picture supervised by George Lucas on May 31, 2011.<ref>{{cite web | url = http://www.highdefdigest.com/news/show/Universal/Disc_Announcements/American_Graffiti_Blu-ray_Detailed/6837 | title = 'American Graffiti' Blu-ray Detailed | work = High-Def Digest | access-date = May 5, 2011 | archive-date = May 8, 2011 | archive-url = https://web.archive.org/web/20110508134819/http://www.highdefdigest.com/news/show/Universal/Disc_Announcements/American_Graffiti_Blu-ray_Detailed/6837 | url-status = live }}</ref><ref>{{cite web | url = https://www.amazon.com/dp/B001AQMBDM | title = American Graffiti (Special Edition) [Blu-ray] (1973) | work = [[Amazon.com]] | access-date = May 5, 2011 | archive-date = April 10, 2016 | archive-url = https://web.archive.org/web/20160410021311/http://www.amazon.com/dp/B001AQMBDM | url-status = live }}</ref> In celebration of its 50th anniversary, a [[4K resolution|4K]] restoration of the film updated with a brand new [[5.1 surround sound|5.1 sound mix]] was re-released domestically on August 27 and 30 before a [[Ultra HD Blu-ray]] release on November 7, 2023.<ref>{{cite web |title=Watch American Graffiti in 4K Ultra HD and with Fathom Events |url=https://www.lucasfilm.com/news/american-graffiti-4k/ |website=Lucasfilm |access-date=March 16, 2024 |date=August 3, 2023}}</ref>

==Reception==
''American Graffiti'' received widespread critical acclaim.  [[Roger Ebert]] gave the film a full four stars and praised it for being "not only a great movie, but a brilliant work of historical fiction; no sociological treatise could duplicate the movie's success in remembering exactly how it was to be alive at that cultural instant".<ref>{{cite news | author = Roger Ebert | url = https://www.rogerebert.com/reviews/american-graffiti-1973 | title = American Graffiti | work = [[Chicago Sun-Times]] | date = August 11, 1973 | access-date = May 5, 2009 | author-link = Roger Ebert | archive-date = June 2, 2013 | archive-url = https://web.archive.org/web/20130602163730/http://www.rogerebert.com/reviews/american-graffiti-1973 | url-status = live }}</ref> [[Gene Siskel]] awarded three-and-a-half stars out of four, writing that although the film suffered from an "overkill" of nostalgia, particularly with regards to a soundtrack so overstuffed that it amounted to "one of those golden-oldie TV blurbs," it was still "well-made, does achieve moments of genuine emotion, and does provide a sock (hop) full of memories."<ref>[[Gene Siskel|Siskel, Gene]] (August 24, 1973). "'Graffiti'—How many golden oldies can you handle?" ''[[Chicago Tribune]]''. Section 2, p. 1.</ref>

[[Vincent Canby]] of ''[[The New York Times]]'' wrote, "''American Graffiti'' is such a funny, accurate movie, so controlled and efficient in its narrative, that it stands to be overpraised to the point where seeing it will be an anticlimax."<ref>[[Vincent Canby|Canby, Vincent]] (September 16, 1973). "'Heavy Traffic' and 'American Graffiti'-Two of the Best". ''[[The New York Times]]''. Section 2, p. 1, 3.</ref> A.D. Murphy from ''[[Variety (magazine)|Variety]]'' felt ''American Graffiti'' was a vivid "recall of teenage attitudes and morals, told with outstanding empathy and compassion through an exceptionally talented cast of unknown actors".<ref>{{cite news | author = A.D. Murphy | url = https://www.variety.com/review/VE1117796736 | title = American Graffiti | work = [[Variety (magazine)|Variety]] | date = June 20, 1973 | access-date = May 5, 2009| archive-url= https://web.archive.org/web/20110622105750/http://www.variety.com/review/VE1117796736/| archive-date=June 22, 2011|url-status = live}}</ref> [[Charles Champlin]] of ''[[The New York Times]]'' called it a "masterfully executed and profoundly affecting movie".<ref>[[Charles Champlin|Champlin, Charles]] (July 29, 1973). "A New Generation Looks-Back in 'Graffiti'". ''[[Los Angeles Times]]''. Calendar, p. 1.</ref> [[Jay Cocks]] of ''[[Time (magazine)|Time]]'' magazine wrote that ''American Graffiti'' "reveals a new and welcome depth of feeling. Few films have shown quite so well the eagerness, the sadness, the ambitions and small defeats of a generation of young Americans."<ref>{{cite magazine|author=Jay Cocks |url=http://www.time.com/time/magazine/article/0,9171,907741,00.html |title=Fabulous '50s |magazine=[[Time (magazine)|Time]] |date=August 20, 1973 |access-date=May 5, 2009 |archive-url=https://web.archive.org/web/20090615040138/http://www.time.com/time/magazine/article/0%2C9171%2C907741%2C00.html |archive-date=June 15, 2009 |url-status = dead|author-link=Jay Cocks }}</ref> [[Pauline Kael]] of ''[[The New Yorker]]'' was less enthused, writing that the film "fails to be anything more than a warm, nice, draggy comedy, because there's nothing to back up the style. The images aren't as visually striking as they would be if only there were a mind behind them; the movie has no resonance except from the jukebox sound and the eerie, nocturnal jukebox look." She also noted with disdain that the epilogue did not bother to mention the fates of any of the women characters.<ref>[[Pauline Kael|Kael, Pauline]] (October 29, 1973). "The Current Cinema". ''[[The New Yorker]]''. 154–155.</ref> [[Dave Kehr]], writing in the ''[[Chicago Reader]]'', called the film a brilliant work of popular art that redefined nostalgia as a marketable commodity, while establishing a new narrative style.<ref>{{cite news | author = Dave Kehr | author-link = Dave Kehr | url = http://onfilm.chicagoreader.com/movies/capsules/284_AMERICAN_GRAFFITI | title = American Graffiti | work = [[Chicago Reader]] | access-date = May 5, 2009 | archive-date = October 14, 2008 | archive-url = https://web.archive.org/web/20081014082808/http://onfilm.chicagoreader.com/movies/capsules/284_AMERICAN_GRAFFITI | url-status = live }}</ref>

Based on {{RT data|count}} reviews collected by [[Rotten Tomatoes]], {{RT data|score}} of the critics enjoyed the film with an average score of {{RT data|average}}. The consensus reads: "One of the most influential of all teen films, ''American Graffiti'' is a funny, nostalgic, and bittersweet look at a group of recent high school grads' last days of innocence."<ref>{{cite web|url=https://www.rottentomatoes.com/m/american_graffiti|title=American Graffiti|website=[[Rotten Tomatoes]]|publisher=[[Fandango Media|Fandango]]|access-date={{RT data|access date}}|archive-url=https://web.archive.org/web/20200604175432/https://www.rottentomatoes.com/m/american_graffiti|archive-date=June 4, 2020|url-status=live}}{{RT data|edit}}</ref> [[Metacritic]] calculated a score of 97 out of 100, indicating "universal acclaim".<ref>{{Citation|title=American Graffiti|url=https://www.metacritic.com/movie/american-graffiti|access-date=July 6, 2021}}</ref>

===Themes===
''American Graffiti'' depicts multiple characters going through a [[coming of age]], such as the decisions to attend college or reside in a small town.<ref name=DVD/> The 1962 setting represents nearing an end of an era in American society and pop culture. The early 1960s musical backdrop also links between the early years of rock 'n' roll in the mid- to late 1950s (i.e., [[Bill Haley & His Comets]], [[Elvis Presley]], and [[Buddy Holly]]), and mid-1960s, beginning with the January 1964 arrival of [[The Beatles]] and the following [[British Invasion]], which [[Don McLean]]'s "[[American Pie (song)|American Pie]]" and the early 1970s revival of 1950s acts and oldies paralleled during the conception and filming.

The setting is two months before the [[Cuban Missile Crisis]], and before the outbreak of the [[Vietnam War]] and the [[John F. Kennedy assassination]]<ref name="DVD" /> and before the peak years of the [[counterculture of the 1960s|counterculture movement]]. ''American Graffiti'' evokes mankind's relationship with machines, notably the elaborate number of [[hot rod]]s—having been called a "classic-car flick", representative of the motor car's importance to American culture at the time it was made.<ref>{{cite news|last=Badger|first=Emily|title=What the Steamship and the Landline Can Tell Us About the Decline of the Private Car|url=http://www.theatlanticcities.com/technology/2013/03/what-steamship-and-landline-can-tell-us-about-decline-private-car/4930/|access-date=April 4, 2013|newspaper=[[The Atlantic Cities]]|archive-date=April 3, 2013|archive-url=https://web.archive.org/web/20130403020739/http://www.theatlanticcities.com/technology/2013/03/what-steamship-and-landline-can-tell-us-about-decline-private-car/4930/|url-status=live}}</ref> Another theme is teenagers' obsession with radio, especially with the inclusion of Wolfman Jack and his mysterious and mythological faceless (to most) voice.

===Accolades===
{| class="wikitable plainrowheaders"
|-
! Award
! Category
! Nominee(s)
! Result
|-
| rowspan="5"| [[46th Academy Awards|Academy Awards]]<ref name="Oscars1974">{{Cite web|url=http://www.oscars.org/oscars/ceremonies/1974 |title=The 46th Academy Awards (1974) Nominees and Winners |access-date=December 31, 2011 |work=oscars.org |url-status=live |archive-url=https://web.archive.org/web/20150315090403/http://www.oscars.org/oscars/ceremonies/1974 |archive-date=March 15, 2015}}</ref>
| [[Academy Award for Best Picture|Best Picture]]
| [[Francis Ford Coppola]] and [[Gary Kurtz]]
| {{nom}}
|-
| [[Academy Award for Best Director|Best Director]]
| [[George Lucas]]
| {{nom}}
|-
| [[Academy Award for Best Supporting Actress|Best Supporting Actress]]
| [[Candy Clark]]
| {{nom}}
|-
| [[Academy Award for Best Original Screenplay|Best Story and Screenplay Based on Factual Material or Material Not Previously Produced or Published]]
| George Lucas, [[Gloria Katz]], and Willard Huyck
| {{nom}}
|-
| [[Academy Award for Best Film Editing|Best Film Editing]]
| [[Verna Fields]] and [[Marcia Lucas]]
| {{nom}}
|-
| [[28th British Academy Film Awards|British Academy Film Awards]]<ref>{{cite web |url=http://awards.bafta.org/award/1975/film |title=BAFTA Awards: Film in 1975 |website=[[BAFTA]] |year=1975 |access-date=June 3, 2021 |ref={{harvid|BAFTA|1975}}}}</ref>
| [[BAFTA Award for Best Actress in a Supporting Role|Best Actress in a Supporting Role]]
| [[Cindy Williams]]
| {{nom}}
|-
| [[26th Directors Guild of America Awards|Directors Guild of America Awards]]<ref>{{cite web |url=https://www.dga.org/Awards/History/1970s/1973.aspx?value=1973 |title=26th DGA Awards |website=[[Directors Guild of America Awards]] |access-date=July 5, 2021}}</ref>
| [[Directors Guild of America Award for Outstanding Directing – Feature Film|Outstanding Directorial Achievement in Motion Pictures]]
| George Lucas
| {{nom}}
|-
| rowspan="4"| [[31st Golden Globe Awards|Golden Globe Awards]]<ref>{{cite web|url=https://www.goldenglobes.com/film/american-graffiti |title=American Graffiti – Golden Globes |website=[[HFPA]] |access-date=June 3, 2021 |ref={{harvid|HFPA|1974}}}}</ref>
| colspan="2"| [[Golden Globe Award for Best Motion Picture – Musical or Comedy|Best Motion Picture – Musical or Comedy]]
| {{won}}
|-
| [[Golden Globe Award for Best Actor – Motion Picture Musical or Comedy|Best Actor in a Motion Picture – Musical or Comedy]]
| [[Richard Dreyfuss]]
| {{nom}}
|-
| [[Golden Globe Award for Best Director|Best Director – Motion Picture]]
| George Lucas
| {{nom}}
|-
| [[Golden Globe Award for New Star of the Year – Actor|Most Promising Newcomer – Male]]
| [[Paul Le Mat]]
| {{won}}
|-
| Kansas City Film Critics Circle Awards<ref>{{cite web |url=https://kcfcc.org/kcfcc-award-winners-1970-79/ |title=KCFCC Award Winners – 1970-79 |website=kcfcc.org |date=December 14, 2013 |access-date=May 15, 2021}}</ref>
| colspan="2"| Best Film
| {{won}}
|-
| [[Locarno Film Festival|Locarno International Film Festival]]
| Bronze Leopard
| rowspan="2"| George Lucas
| {{won}}
|-
| [[Nastro d'Argento]]
| Best Foreign Director
| {{nom}}
|-
| [[National Film Preservation Board]]
| colspan="2"| [[National Film Registry]]
| {{won|Inducted}}
|-
| rowspan="2"| [[1973 National Society of Film Critics Awards|National Society of Film Critics Awards]]<ref>{{cite news|url=https://nationalsocietyoffilmcritics.com/about-2/ |title=Past Awards |website=[[National Society of Film Critics]] |date=December 19, 2009 |access-date=July 5, 2021}}</ref>
| [[National Society of Film Critics Award for Best Supporting Actress|Best Supporting Actress]]
| Cindy Williams
| {{draw|5th Place}}
|-
| [[National Society of Film Critics Award for Best Screenplay|Best Screenplay]]
| George Lucas, Gloria Katz, and Willard Huyck
| {{won}}
|-
| rowspan="2"| [[1973 New York Film Critics Circle Awards|New York Film Critics Circle Awards]]<ref>{{cite web|url=https://www.nyfcc.com/awards/?awardyear=1973 |title=1973 New York Film Critics Circle Awards |website=[[New York Film Critics Circle]] |access-date=June 3, 2021}}</ref>
| colspan="2"| [[New York Film Critics Circle Award for Best Film|Best Film]]
| {{Runner-up}}
|-
| [[New York Film Critics Circle Award for Best Screenplay|Best Screenplay]]
| George Lucas, Gloria Katz, and Willard Huyck
| {{won}}
|-
| Online Film & Television Association Awards<ref>{{cite web |url=http://www.oftaawards.com/film-hall-of-fame/film-hall-of-fame-productions/ |title=Film Hall of Fame Inductees: Productions |website=Online Film & Television Association |access-date=August 15, 2021}}</ref>
| colspan="2"| Hall of Fame – Motion Picture
| {{won|Honored}}
|-
| [[26th Writers Guild of America Awards|Writers Guild of America Awards]]<ref>{{cite web|url=https://awards.wga.org/awards/nominees-winners/1995-1949|title=Awards Winners|work=wga.org|publisher=Writers Guild of America|access-date=November 24, 2023}}</ref>{{Failed verification|date=November 2023}}
| [[Writers Guild of America Award for Best Original Screenplay|Best Comedy – Written Directly for the Screen]]
| George Lucas, Gloria Katz, and Willard Huyck
| {{nom}}
|}

The film is recognized by [[American Film Institute]] in these lists:
* 1998: [[AFI's 100 Years...100 Movies]] – #77<ref>{{cite web |title=AFI's 100 Years...100 Movies |url=http://www.afi.com/Docs/100Years/movies100.pdf |publisher=[[American Film Institute]] |access-date=August 6, 2016 |archive-date=April 12, 2019 |archive-url=https://web.archive.org/web/20190412113202/http://www.afi.com/Docs/100Years/movies100.pdf |url-status=live }}</ref>
* 2000: [[AFI's 100 Years...100 Laughs]] – #43<ref>{{cite web |title=AFI's 100 Years...100 Laughs |url=http://www.afi.com/Docs/100Years/laughs100.pdf |publisher=[[American Film Institute]] |access-date=August 6, 2016 |archive-date=March 16, 2013 |archive-url=https://web.archive.org/web/20130316140859/http://afi.com/Docs/100Years/laughs100.pdf |url-status=live }}</ref>
* 2007: [[AFI's 100 Years...100 Movies (10th Anniversary Edition)]] – #62<ref>{{cite web |title=AFI's 100 Years...100 Movies (10th Anniversary Edition) |url=http://www.afi.com/Docs/100Years/100Movies.pdf |publisher=[[American Film Institute]] |access-date=August 6, 2016 |archive-date=June 6, 2013 |archive-url=https://web.archive.org/web/20130606072909/http://www.afi.com/Docs/100Years/100Movies.pdf |url-status=live }}</ref>

==Legacy==
[[File:Yellow car, Universal Studios Singapore - 20120914.jpg|thumb|250px|alt=Front view of a vintage yellow car with a THX 138 plaque.|John Milner's deuce coupe replica at [[Universal Studios Singapore]].]]
Internet reviewer MaryAnn Johanson acknowledged that ''American Graffiti'' rekindled public and entertainment interest in the 1950s and early 1960s, and influenced other films such as ''[[The Lords of Flatbush]]'' (1974) and ''[[Cooley High]]'' (1975) and the TV series ''[[Happy Days]]''.<ref>{{cite news | author = MaryAnn Johanson | url = http://www.flickfilosopher.com/afi100/afi100movies/americangraffiti.shtml | title = Boy Meets World | work = The Flick Filosopher | date = June 16, 1999 | access-date = May 8, 2009| archive-url= https://web.archive.org/web/20090616000653/http://www.flickfilosopher.com/afi100/afi100movies/americangraffiti.shtml| archive-date= June 16, 2009 |url-status = live}}</ref> Alongside other films from the [[New Hollywood]] era, ''American Graffiti'' is often cited for helping give birth to the [[blockbuster (entertainment)|summer blockbuster]].<ref>{{cite magazine | author = Staff | url = https://ew.com/article/1991/05/24/evolution-summer-blockbuster/ | title = The Evolution of the Summer Blockbuster | magazine = [[Entertainment Weekly]] | date = May 24, 1991 | access-date = February 26, 2008 | archive-date = April 21, 2009 | archive-url = https://web.archive.org/web/20090421182715/http://www.ew.com/ew/article/0,,314422,00.html | url-status = live }}</ref> The film's box-office success made George Lucas an instant millionaire. He gave an amount of the film's profits to [[Haskell Wexler]] for his visual consulting help during filming, and to Wolfman Jack for "inspiration". Lucas's net worth was now $4&nbsp;million, and he set aside a $300,000 independent fund for his long-cherished space opera project, which would eventually become the basis for ''[[Star Wars (film)|Star Wars]]'' (1977).<ref name=San>Hearn, pp. 70–75</ref>

The financial success of ''Graffiti'' also gave Lucas opportunities to establish more elaborate development for [[Lucasfilm]], [[Skywalker Sound]], and [[Industrial Light & Magic]].<ref name=radio/> Based on the success of the 1978 [[reissue]], Universal began production for the sequel ''[[More American Graffiti]]'' (1979).<ref name=Whatev/> Lucas and writers Willard Huyck and Gloria Katz later collaborated on [[Howard the Duck (film)|''Howard the Duck'']] (1986) and ''[[Radioland Murders]]'' (1994). They were both released by Universal Pictures, for which Lucas acted as executive producer. ''Radioland Murders'' features characters intended to be Curt and Laurie Henderson's parents, Roger and Penny Henderson.<ref name=radio>Hearn, pp. 79–86, 122</ref> In 1995, ''American Graffiti'' was deemed culturally, historically, or aesthetically significant by the United States [[Library of Congress]] and selected for preservation in the [[National Film Registry]].<ref>{{cite web | url = https://www.loc.gov/film/nfrchron.html | title = National Film Registry: 1989–2007 | work = [[National Film Registry]] | access-date = May 9, 2008| archive-url= https://web.archive.org/web/20080501155016/http://www.loc.gov/film/nfrchron.html| archive-date= May 1, 2008 |url-status = live}}</ref> In 1997 the city of [[Modesto, California]] (where the film largely takes place), honored Lucas with a statue dedication of ''American Graffiti'' at George Lucas Plaza.<ref name=first/> Furthermore, the city has an [[Modesto American Graffiti Festival|annual classic car festival]] in honor of its graffiti culture heritage.

Director [[David Fincher]] credited ''American Graffiti'' as a visual influence for ''[[Fight Club (film)|Fight Club]]'' (1999).<ref>{{cite magazine | author = Staff | url = https://ew.com/article/1999/08/13/fight-club/ | title = Movie Preview: Oct. 15 | magazine = [[Entertainment Weekly]] | date = August 13, 1999 | access-date = February 26, 2008 | archive-date = June 15, 2009 | archive-url = https://web.archive.org/web/20090615224435/http://www.ew.com/ew/article/0,,87198,00.html | url-status = live }}</ref> Lucas's ''[[Star Wars: Episode II – Attack of the Clones]]'' (2002) features references to the film. The yellow [[airspeeder]] that [[Anakin Skywalker]] and [[Obi-Wan Kenobi]] use to pursue bounty hunter [[Zam Wesell]] is based on John Milner's yellow [[Ford Model B (1932)#Deuce coupe|deuce coupe]],<ref>{{cite web|work=StarWars.com |title=Anakin Skywalker's Airspeeder |url=https://www.starwars.com/databank/vehicle/anakinsspeeder/?id=bts |access-date=January 19, 2008 |url-status = dead|archive-url=https://web.archive.org/web/20041206033313/http://www.starwars.com/databank/vehicle/anakinsspeeder/?id=bts |archive-date=December 6, 2004 }}</ref> while Dex's Diner is reminiscent of [[Mel's Drive-In]].<ref>{{cite web|work=StarWars.com |title=Dex's Diner |url=https://www.starwars.com/databank/location/dexsdiner/?id=bts |access-date=January 19, 2008 |url-status = dead|archive-url=https://web.archive.org/web/20071013080944/http://starwars.com/databank/location/dexsdiner/?id=bts |archive-date=October 13, 2007 }}</ref> [[Adam Savage]] and [[Jamie Hyneman]] conducted the "rear axle" experiment on the January 11, 2004, episode of ''[[MythBusters]]''.<ref>"Explosive Decompression/Frog Giggin'/Rear Axle". [[Adam Savage]], [[Jamie Hyneman]]. ''[[MythBusters]]''. January 11, 2004. No. 13, season 1.</ref>

Given the popularity of the film's cars with [[custom car|customizers]] and [[hot rod]]ders in the years since its release, their fate immediately after the film is surprising. All were offered for sale in San Francisco newspaper ads; only the [[Chevrolet Impala#First generation (1958)|'58 Impala]] (driven by Ron Howard) attracted a buyer, selling for only a few hundred dollars. The yellow deuce coupe and the Pharaohs' red Mercury went unsold, despite the coupe being priced as low as $1500.<ref>''Rod and Custom'' Magazine, 12/91, pp. 11–12.</ref> The registration plate on Milner's yellow deuce coupe is THX&nbsp;138 on a yellow, California license plate, slightly altered, reflecting Lucas's earlier science-fiction film (''THX 1138'').

==See also==
* [[1960s in the United States]]
* [[List of American films of 1973]]
* [[Modesto American Graffiti Festival]]
* ''[[Grease (film)|Grease]]''
* ''[[Happy Days]]''
* [[United States in the 1950s]]

==References==
{{Reflist}}

==Bibliography==
* {{cite book | author = John Baxter | title = Mythmaker: The Life and Work of George Lucas | publisher = Spike Books | year = 1999 | isbn = 0-380-97833-4 | location = New York City | author-link = John Baxter (author) | url-access = registration | url = https://archive.org/details/mythmakerlifewor00baxt }}
* {{cite book | author = Marcus Hearn | title = The Cinema of George Lucas | publisher =[[ABRAMS Books]] | year = 2005 | isbn = 0-8109-4968-7 | location = New York City}}
* {{cite book | author = Dale Pollock | title = Skywalking: The Life and Films of George Lucas | publisher = [[Da Capo Press]] | year = 1999 | isbn = 0-306-80904-4 | location = New York City}}

==External links==
{{sister project links|d=Q375855|c=Category:American Graffiti|n=no|b=no|v=no|voy=no|m=no|mw=no|wikt=no|s=no|species=no|display=''American Graffiti''}}
* {{Official website}}
* {{IMDb title}}
* [https://www.allmovie.com/movie/american-graffiti-am1080 ''American Graffiti'' at AllMovie]
* {{Mojo title}}
* {{Rotten-tomatoes}}
* {{AFI film}}
* {{TCMDb title}}
* [http://www.filmsite.org/amerg.html ''American Graffiti'' Filmsite.org]
* [http://www.americangraffiti.net The City of Petaluma's salute to ''American Graffiti'']
* {{cite magazine|author=<!--Not stated--> |url=http://www.time.com/time/magazine/article/0,9171,914964,00.html |title=Star Wars: The Year's Best Movie |magazine=[[Time (magazine)|Time]] |date=May 30, 1977 |access-date=November 16, 2010 |archive-url=https://web.archive.org/web/20101114085956/http://www.time.com/time/magazine/article/0%2C9171%2C914964%2C00.html |archive-date=November 14, 2010 |url-status = dead}}
* {{cite book |last=Eagan |first=Daniel |chapter=American Graffiti |chapter-url=https://books.google.com/books?id=deq3xI8OmCkC&pg=PA693 |title=America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry |publisher=[[A & C Black]] |year=2010 |pages=693–694 |isbn=978-0826-42977-3}}

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