American Graffiti was George Lucas’ second film and already he was headed for unbelievable cinematic success. (His follow-up to this well-received and popular coming-of-age film would be Star Wars.) American Graffiti is an authentic and nostalgic slice of Americana, brilliantly following the events of the final night of recently graduated high school kids who must decide whether or not to leave for college in the morning. A truly prodigious soundtrack enlivens every scene as this diverse group lives life to the fullest, cruising around town during their final night.

A group of recent high school graduates including best friends Curt (Richard Dreyfuss) and Steve (Ron Howard) cruise around 1962 Los Angeles looking for mischief and excitement during their last night before heading off to college. Racing, dancing, vandalizing, and nonstop music permeate their every action as the night wears away and minds become confused about leaving behind the fun.

The story is simple and incomplex, as are the characters, but it is the huge nostalgia factor and genuine representation of the 60s that makes American Graffiti so memorable. From the carefree life of cruising the streets looking for girls and prompting others to street races to the attendance of school dances and hanging with gangs, American Graffiti perfectly captures the seemingly insouciant attitude of typical 60s kids who would eventually have to make a decision about furthering their education and leaving a small town. The town, despite its numerous attractions and endless source of immature entertainment is the nemesis for Curt and Steve who must tear themselves away to pursue bigger and better things. Los Angeles is their Neverland, and they must weigh leaving and risking growing up.

Perhaps the most influential aspect of the film is its soundtrack. Daring to narrate the film with music, Lucas compiled an amazing list of tunes from the time and blasted them throughout the entire length of the film. Radio announcer Wolfman Jack keeps the music flowing, transitioning from one scene to the next with melodic aplomb and keeping an upbeat tone to all of the events in the film, particularly enhancing the humor and fun of popular pranks and crazy youthful misadventures. The best sampling of an era’s music, American Graffiti is driven by the buoyant soundtrack.

Richard Dreyfuss and Ron Howard are picture-perfect as the two lead characters who want to stay young and have fun forever. Demonstrating through a wild night of nonstop mischievousness, the duo embodies the coveted themes of being cool, defying authority and impressing the ladies. Curt and Steve end up exactly opposite of how their characters start out, evidenced by famous cinematic moments including Curt getting stuck with the Pharaoh's Gang and vandalizing a cop car, to Steve’s confused outlook on farfetched true love. A huge supporting cast of actors including Candy Clark, Cindy Williams, Paul Le Mat, Mackenzie Phillips and Harrison Ford as the cocky Bob Falfa, bring great authenticity to the picture, with their credible attitudes, clothing, dancing, cars and language.

An unfulfilling epilogue is perhaps the only downfall to the film as it counteracts the tone and predominant message of proceeding with life. It seems the characters were never meant for great success, but that's hardly relevant, especially considering that we only know them for one night and for two hours of screen time. In fact, Howard’s relationship with his girlfriend, which is the only epilogue that would have been comforting to know, is curiously absent.

The American Pie of the 70s, in which the principal interest is to preserve the immature, and risqué debacles of youth, American Graffiti instantly captured the hearts of American audiences and was nominated for five Academy Awards including Best Picture. A nonstop fun-filled ride of nostalgia and classic rock music, the film has also been honored twice on AFI’s Top 100 American movies list. Guaranteed to remain an integral part of cinema history, American Graffiti will probably always be more easily appreciated by audiences who experienced firsthand the blithe adventures of the 60s.

- Mike Massie