The Incomparable

348: He's Way Better Than Fonzie

 

  you [TS]

  the incomparable number 348 April 2017 [TS]

  welcome back everybody to the [TS]

  incomparable i am your host Jason Snell [TS]

  we are convening another edition of old [TS]

  movie club Oh movie club these movies [TS]

  are so old they're from kids sit down [TS]

  they're from the 1970s Wow is that [TS]

  before light bulbs yes old time they had [TS]

  to settle are a very large fire had to [TS]

  be set in order to project the film well [TS]

  I was it was a long long time ago in [TS]

  this edition we're going to be talking [TS]

  about two coming of age movies from the [TS]

  70s one set in the 70s and one set in [TS]

  the sixth early 60s feels like the 50s [TS]

  but it's the early 60s although by the [TS]

  time it's over it feels like the 80s hmm [TS]

  interesting we'll get there joining us [TS]

  to talk about this first off the person [TS]

  who selected the films as he usually [TS]

  does an old movie club mr. Philip [TS]

  Michaels I Phil you know I i would like [TS]

  to point out the the the most recent of [TS]

  these movies Breaking Away is thirty [TS]

  eight damn years old and if when I was [TS]

  eighteen watching a 38 year old movie it [TS]

  would have been made in 1950 so you know [TS]

  where we're all old old time marches on [TS]

  oh I know yeah the seven the 70 is a [TS]

  decade and in which I believe all of us [TS]

  were born far away now yes yes in short [TS]

  i'm closer to death and birth good night [TS]

  everyone hey this has been old movie [TS]

  also joining us on the on the old movie [TS]

  highway Lisa Schmeisser hello hi there [TS]

  I'm pondering my mortality no wishing I [TS]

  work well you know whose fault that is [TS]

  it's Steve Lutz it's always my fault [TS]

  yeah i was gonna blame Phil actually but [TS]

  I'm happy let's blame Steve just because [TS]

  there would you like to roll some balls [TS]

  and also yeah on this old movie club I [TS]

  believe perhaps his first time in our [TS]

  old movie club its John siracusa despite [TS]

  the math the math in quotes that I just [TS]

  heard I would like to file a formal [TS]

  protest against this being an old movie [TS]

  club these movies can't pasa [TS]

  we be all I another counter fresh and [TS]

  modern and I watched him a million times [TS]

  when I was a kid and I'm practically [TS]

  still a kid so someone's doing something [TS]

  wrong you're a child at heart you're the [TS]

  guy that's iffy for Team old membership [TS]

  as I recall yeah you keep trying to get [TS]

  in and we keep rejecting you because [TS]

  you're not quite old enough all right [TS]

  Phil I guess we should start [TS]

  chronologically right so 1973 American [TS]

  Graffiti American Graffiti clearly [TS]

  George Lucas's best work oh oh no I i [TS]

  well we can talk about that later but it [TS]

  is it should talk about that now we're [TS]

  talking about America okay sure yeah I I [TS]

  will show my s certainly George Lucas's [TS]

  most personal work because it is it is [TS]

  basically him doing a movie about uh hit [TS]

  his teenage years in modesto yeah about [TS]

  him if if the wiki stories are to be [TS]

  believed well basically every one of [TS]

  these characters is supposedly him at [TS]

  some stages young life although I find [TS]

  that highly obstacle sydenham to know I [TS]

  actually think that's a fairly accurate [TS]

  thing and that that I think helps [TS]

  explain why the ron howard and and [TS]

  richard dreyfuss characters are vaguely [TS]

  distinguishable but it basically it is [TS]

  the the last night before the [TS]

  aforementioned Richard Dreyfuss and [TS]

  Andrade Howard are going to go off to [TS]

  college and they are going to spend it [TS]

  the way apparently you spent nights in [TS]

  the early 1960s in modesto screws enfora [TS]

  yeah you you cruise around town it's [TS]

  actually san rafael that they're driving [TS]

  around san rafael in petaluma both towns [TS]

  that I recognized them we could pick out [TS]

  the different locations and those since [TS]

  I live not far away from both of those [TS]

  locations it's you could you could see [TS]

  it but I grew up not too far from [TS]

  Modesto and when I when I was a kid they [TS]

  was cruising was still a thing he has [TS]

  nothing else to do just drive your car [TS]

  around that's a lot cruising in my town [TS]

  of course they did it was Sandra that's [TS]

  what may be dated cooler that's what [TS]

  made a cooler than it was outlawed and [TS]

  you would do it anyway now Jason as a [TS]

  comment that's made early on by by the [TS]

  John character the the holomap yes the [TS]

  fellow who [TS]

  never grown up and is stuck as the as [TS]

  the number one racer and he's kind of [TS]

  locked into this this state of being for [TS]

  the remainder of his short life as it [TS]

  turns out but his comment early on is [TS]

  that things are already starting to fade [TS]

  in terms of the cruising scene and I'm [TS]

  curious when you came up was the [TS]

  cruising scene just limping along was [TS]

  there like one car driving back and [TS]

  forth in front of the dairy queen during [TS]

  Jason's rookie season on the cruising [TS]

  I'm occurs in circuit no in fact I have [TS]

  to say um by the time I was a teenager [TS]

  cruising was not a thing but when my [TS]

  brother who was born in 1964 when he was [TS]

  a teenager so let's say the very early [TS]

  80s it was still hanging on but by the [TS]

  mid to late 80s it was gone hmm that's [TS]

  my cruising knowledge for you there Oh [TS]

  in Tidewater Virginia where I I first [TS]

  became a teenager cruising was actually [TS]

  still a thing in the 80s but to be fair [TS]

  the joke about Newport News and I was [TS]

  growing up was set your clock back 60 [TS]

  years perhaps it was just breaking onto [TS]

  the city but yeah it was it was what I [TS]

  liked about this movie in part was how [TS]

  effortlessly it captures this year [TS]

  pointlessness of your teenagers Friday [TS]

  night especially especially if it does [TS]

  revolve around cruisin like I kept I [TS]

  kept looking over at fill-ins saying I [TS]

  can't relate directly to these [TS]

  experiences but it is hitting all sorts [TS]

  of emotional chords I thought I had [TS]

  successfully repressed if 1980s George [TS]

  child of the 1980s George Lucas is [TS]

  making this movie it's it's hanging out [TS]

  in the mall probably it's going to the [TS]

  the hot dog on a stick and there's a [TS]

  love Zeppelin soundtrack behind it [TS]

  because you know get the net out with [TS]

  something that happened on every rock [TS]

  radio station at nine o'clock at night [TS]

  where you'd be sitting here listening to [TS]

  music that was already much older than [TS]

  you were and wondering why where's our [TS]

  music and yeah so to continue [TS]

  introducing the characters we've we've [TS]

  met John Paula Matt who's the s who's [TS]

  the fastest driver in the valley and [TS]

  drag races and a bit of a cautionary [TS]

  tale to because as steve says to kurt [TS]

  early on you want to end up like John [TS]

  yeah stuck in the town forever and then [TS]

  of course a toad who is I guess it still [TS]

  a high school student and and still [TS]

  hanging out with these guys and and [TS]

  really something of a [TS]

  a nerd linger something of a point [TS]

  Dexter it's charles martin smith [TS]

  accredited as charlie martin smith to [TS]

  make him cool you stole teenager you [TS]

  know on howard were both the only [TS]

  teenagers on set and his mom probably [TS]

  still called him charlie so you know [TS]

  that's right he does know how to rock a [TS]

  pink sailor suit though so that's some [TS]

  this is the way to think of charles [TS]

  martin smith in this in this is i wrote [TS]

  down he's playing the rick moranis part [TS]

  it's yeah pretty much yes ten years [TS]

  earlier the first time i saw rick [TS]

  moranis i was horribly confused for my [TS]

  money he gets the best lines in the [TS]

  picture as well we're introduced to him [TS]

  actually um he rides in on his scooter [TS]

  and crashes in mediating machine yeah [TS]

  and and that that was not in the script [TS]

  that was charles martin smith [TS]

  legitimately crashing into into things [TS]

  and they decided i'll leave it in [TS]

  Charlie okay all right we'll take it and [TS]

  as fortuitous that they did because that [TS]

  sets the tone for him peering like if he [TS]

  hit if he had successfully landed that [TS]

  Vespa it would be harder to sell him as [TS]

  the bumbling hapless nerd that he is the [TS]

  whole way through I mean this is a guy [TS]

  who loses everything all night long he [TS]

  finds whole new ways to lose right we [TS]

  follow the adventures of the this group [TS]

  of four friends as they circle the same [TS]

  real estate in modesto from from dusk [TS]

  till dawn so we've got John and we've [TS]

  got charlie martin smith as Terry the [TS]

  toad and and we we haven't we haven't [TS]

  that we have two other fellow I heard [TS]

  yes Kurt who is Richard Dreyfuss yeah uh [TS]

  who who has a bit of the cold feet about [TS]

  going off to college and we have Ronnie [TS]

  Howard as Steve who just just wants to [TS]

  get out of town who apparently cannot [TS]

  wait to get out yeah and is so and is so [TS]

  eager to get out of town he he tells his [TS]

  girlfriend who is Curt's sister played [TS]

  by Cindy Williams who you'll recognize [TS]

  as Shirley of TVs Laverne and Shirley [TS]

  Telles are basically fair we're gonna [TS]

  see other people but we're still going [TS]

  steady okay and an arrangement that she [TS]

  is not entirely sold off I think this [TS]

  might be a relevant point to point out [TS]

  that this is a film that launched to ABC [TS]

  sitcoms right [TS]

  because it's hard not to look at the [TS]

  success of this movie and say this is [TS]

  why happy days featuring Ron Howard was [TS]

  created and Laverne and Shirley [TS]

  featuring Cindy Williams they're both [TS]

  guess said in the 50s aww it comes on [TS]

  ABC I know that the Happy Days pilot was [TS]

  actually shot before American Graffiti [TS]

  but with the success of this film [TS]

  basically ABC said 50s nostalgia is the [TS]

  bee's knees baby and these shows were [TS]

  created with these to activate happy [TS]

  days was American Graffiti and love [TS]

  American style uh having a beautiful [TS]

  baby together and calling it Fonzarelli [TS]

  so that was um yeah and then the [TS]

  audience cheers is the baby crowns and [TS]

  is horrifying no the baby was delivered [TS]

  right over a shark though strange how [TS]

  that happen shot across the room and ran [TS]

  into a jukebox that had been broken yes [TS]

  yeah suddenly started playing a little [TS]

  Bailey Bill Haley in the Comets put a [TS]

  glove on the little bottle and waved [TS]

  goodbye as it goes down the conveyor [TS]

  belt we lameos schlemazel so now we [TS]

  enter a critical point in the recapping [TS]

  of American Graffiti in that the movie [TS]

  jumps around from from scene to scene as [TS]

  these four friends spent absolutely no [TS]

  time together on their final night [TS]

  together yes without spoiling a lot one [TS]

  of the things that you brought up and I [TS]

  apologize we're now skipping through [TS]

  this podcast like yeah we totally skip [TS]

  the movie just like American Graffiti [TS]

  we're skipping around to the better yeah [TS]

  but one of the one of the things that [TS]

  Phil brought up when you're watching [TS]

  Breaking Away as he said I cannot for [TS]

  the life of me figure out why these guys [TS]

  all remained friends and i replied well [TS]

  it was it was it's it's a friendship of [TS]

  geographical convenience because these [TS]

  guys have probably all known each other [TS]

  since they were kindergartners right and [TS]

  they're their parents are probably [TS]

  intertwined in some ways there's always [TS]

  been pressure to hang out you know [TS]

  suddenly go we're having a BBQ blitz on [TS]

  so the hill you'll see Stevie or what [TS]

  have you and you know aside from the [TS]

  circumstances that they shared there's [TS]

  not a whole lot to bond them and so when [TS]

  I was watching American Graffiti right [TS]

  feel it did make sense that they were [TS]

  just kind of splintering off and doing [TS]

  their own thing because as far as they [TS]

  were concerned two of their number were [TS]

  already headed out of the valley and [TS]

  therefore they were automatically taking [TS]

  them cell [TS]

  off that we have something in common [TS]

  list by virtue of leaving they were [TS]

  declaring themselves outsiders the whole [TS]

  tone of this movie I mean this is the [TS]

  end of the summer this is the last [TS]

  hurrah the friends are going off to [TS]

  school you it is about like a last you [TS]

  know everything is ending so them them [TS]

  splitting apart and going their own [TS]

  separate ways on the night is you know [TS]

  that's what they're going to do anyway [TS]

  we've been having fun all summer long [TS]

  and now it's over I find it really [TS]

  interesting that Steve for all of his [TS]

  valedictory ax Brava Brava about getting [TS]

  out of there spends the most time [TS]

  retracing his high school steps over and [TS]

  over again like between the sock hop and [TS]

  his inadvertent discovery that when you [TS]

  tell a girl you're gonna see other [TS]

  people she's gonna she's going to take [TS]

  that information and run with it um you [TS]

  know he talked a big game about getting [TS]

  out but I kind of feel like his end like [TS]

  the ending of his movie was was pretty [TS]

  much pretty well to help Telegraph by [TS]

  the end of Act one so so let me leap in [TS]

  there and here's how we will tell the [TS]

  tale I will I'll sort of summarize the [TS]

  stories of the four characters in the [TS]

  order that I find them interesting I [TS]

  like two quick issues that I have before [TS]

  we go good yeah go ahead Steve first of [TS]

  all and this is just a personal problem [TS]

  I suspect but as with every film i have [TS]

  ever seen with richard dreyfuss in it [TS]

  something about him just makes me want [TS]

  to punch him i'm not sure what it is in [TS]

  this movie he's particularly bad because [TS]

  he's being wishy-washy and i like it [TS]

  does is it i don't know if i'm gonna go [TS]

  to college and i just don't give a rat's [TS]

  ass if he goes or not but there's just [TS]

  something about the way he carries [TS]

  himself that just it's it's hard for me [TS]

  to enjoy anything that he's in and this [TS]

  one is particularly bad the second the [TS]

  second is that one of the main bhi plots [TS]

  of this thing that the Terry the toad B [TS]

  plot is contingent on Steve deciding [TS]

  he's going to let toad have his car [TS]

  while he's away yeah watch it he's not [TS]

  giving it to him who does that oh yeah [TS]

  we opened his his his first act as a car [TS]

  washer is to take off in it and rifle [TS]

  way and Steve seems okay with it he's [TS]

  got his mind on other things yeah i [TS]

  think it's it's steve fancies himself is [TS]

  this benevolent and now little man i [TS]

  give this watch to you [TS]

  curious I'm on to bigger and better [TS]

  pastures I kept this car this cold hard [TS]

  lump of Detroit steel I am the king of [TS]

  Modesto high or wherever and now i'm [TS]

  going to hand it on to you and this will [TS]

  make you as cool as I was it's Riley [TS]

  Allard I think that I I think that part [TS]

  of it was i'm giving you the car because [TS]

  i've grown too big for this town I've [TS]

  grown too big for this relationship I've [TS]

  grown too big for the scene totally damn [TS]

  I don't know beggars belief to me that [TS]

  anybody would will his car to the nerdy [TS]

  friend it's more like you can you can [TS]

  you know just check on it but it's going [TS]

  to be up on blocks and with a tarp on it [TS]

  and don't touch it just just make sure [TS]

  it's still there but in cities like now [TS]

  drive it around to do whatever and have [TS]

  fun Terry the toad proceeds to do so I [TS]

  have a casual relationship with [TS]

  insurances all right yeah it's I feel [TS]

  like the whole reason that Steve is [TS]

  different from kurt i think is that [TS]

  steve has this fantasy in his head of [TS]

  how it's going to work out like he's [TS]

  going to leave in a a love teary [TS]

  goodbyes they'll town will recognize [TS]

  that their lesser without him and and [TS]

  he's off like he's got this whole [TS]

  fantasy in his head about everything [TS]

  will freeze in amber the minute he [TS]

  leaves because he can't conceive of life [TS]

  in that town going on without it like [TS]

  that's just the way he's wired whereas [TS]

  Kurt is terrified that if he leaves and [TS]

  things change without him it proves that [TS]

  he didn't matter at all and you know I [TS]

  think I think that's I think the [TS]

  fundamental differences is that Steve [TS]

  never really planned to leave Steve [TS]

  always just wanted to show the town he [TS]

  was better than they were this episode [TS]

  of the incomparable is brought to you by [TS]

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  it's got a lot of things in it including [TS]

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  not reminded I forget I lose track [TS]

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  incomparable thank you same box for [TS]

  making email sane and for sponsoring the [TS]

  incomparable i'm also going to throw in [TS]

  a defense of richard dreyfuss here who [TS]

  i'm not good luck with it I know I know [TS]

  I'm not going to convince you I I don't [TS]

  have the same the Richard Dreyfuss that [TS]

  let's face it lots of Americans have um [TS]

  1970s Richard Dreyfuss was really really [TS]

  went on a bit of a winning streak and [TS]

  this was sort of the the beginning of [TS]

  that because in a four year period he [TS]

  did this he did the apprenticeship of [TS]

  duddy kravitz he did jaws he did close [TS]

  encounters of the third kind and then he [TS]

  he capped that off with the goodbye girl [TS]

  for which he won an Oscar so that's [TS]

  that's that's a nice little run of [TS]

  movies there where Richard Dreyfuss [TS]

  could do no wrong even if some people [TS]

  might have wanted to punch him even in [TS]

  Jaws which I dearly love is a film that [TS]

  there's something about him that just [TS]

  makes me want to slug him just haul off [TS]

  and pop him one that's like such a great [TS]

  part of the character in Jaws though the [TS]

  idea that yeah that's definitely [TS]

  punchable outside because he is so [TS]

  condescending to ya you're gonna shine [TS]

  yes was no boating accident yes yeah it [TS]

  works in Jaws here here it kind of takes [TS]

  away from my enjoyment but that's my [TS]

  care hmm alright but um okay so the four [TS]

  plots the aforementioned toad getting [TS]

  the car and going up yeah the Ulysses [TS]

  like journey of self-discovery [TS]

  he tries to pick up a girl now that he [TS]

  has a car at his disposal and actually [TS]

  succeeds because he manages to meet [TS]

  Debbie who is played by a bouffant 'add [TS]

  candy clark uh in one of my favorite [TS]

  performances in the movie um bit of an [TS]

  odd duck yeah she I just love the [TS]

  perfect perfect foil or kind of Mentor [TS]

  figure really for toad though yeah right [TS]

  she gives toad and education well the [TS]

  fact that she is so weird makes it okay [TS]

  that toad is clearly punching above his [TS]

  weight class when he manages to get her [TS]

  in the car it's not hard to do for dough [TS]

  yeah but you you looking go okay she's [TS]

  she's baddie so obviously you wouldn't [TS]

  she would get in the car with with it [TS]

  with toad and they they go on an [TS]

  adventure that includes toad trying to [TS]

  buy liquor largely unsuccessfully until [TS]

  he's helped out by a helpful um [TS]

  convenience store robber yes uh toad [TS]

  drinking too much liquor toad getting [TS]

  the car stolen from him toad discovering [TS]

  the car towed getting beat up by the [TS]

  people who have stolen the car until [TS]

  he's saved by a Palo mad yeah his [TS]

  fortuitous arrival who in honor since [TS]

  John syracuse's on the podcast the deus [TS]

  ex machina no that's rated where he [TS]

  swoops in and saves um uh saves a toad [TS]

  so amazingly car graphite boy yes watch [TS]

  out John Woo I like the fight because it [TS]

  shows exactly how dumb and pointless and [TS]

  confusing these things tend to be well I [TS]

  would have but that's fine but I don't [TS]

  think they could have done better making [TS]

  it look like maybe one or two as punches [TS]

  landed mmm they would kind of look like [TS]

  they were like like a wrestling worthy [TS]

  you know siblings wrestling in their [TS]

  pajamas look more real than that funny [TS]

  but I think I think that is a byproduct [TS]

  of we we have X amount of dollars to to [TS]

  make this movie and we're not doing [TS]

  reshoots so they didn't have the thought [TS]

  technology of quick cuts so it's like [TS]

  well you know this is how long you hold [TS]

  shots and if you people are fumbling [TS]

  against each other is there's no way to [TS]

  fix that it's not like we can make a cut [TS]

  every two seconds or every one second [TS]

  they didn't know you know John Lucas's [TS]

  original script had them fighting from [TS]

  separate couches [TS]

  so I really enjoy the toad storyline I [TS]

  just it is um both very funny very [TS]

  heartwarming very cringe-inducing and um [TS]

  I I think he is one of the more [TS]

  identifiable characters in the movie [TS]

  because who among us doesn't feel like [TS]

  toad where we're trying to to blend in [TS]

  and and look cool and we know deep down [TS]

  in our hearts we can sit in that [TS]

  beautiful car and and no one's going to [TS]

  to be fooled well yep what is his arc [TS]

  though like he ends but we're gonna skip [TS]

  to the end of the night but at the end [TS]

  of the night he ends like he's [TS]

  dishevelled his glasses are broken he's [TS]

  gotten beaten up he's sitting on the [TS]

  curb talking to Debbie and and she's [TS]

  like well you know maybe you can call me [TS]

  like we had actually had a good time she [TS]

  describes her you know we had a good [TS]

  time because here's what we did maybe [TS]

  that was fun for her to watch all those [TS]

  things happen to him like a sort of an [TS]

  observer but toes gotta be saying that's [TS]

  your idea of a good time like why would [TS]

  I sign up for that again why am I ever [TS]

  gonna give you a call is like the idea I [TS]

  feel like you just described his arc as [TS]

  he's had that moment of realization [TS]

  trees like this is bull and you know [TS]

  he's gonna take that observation it's [TS]

  going to make him feel better about [TS]

  being left out of the social flow for [TS]

  the next 12 months but is he gonna call [TS]

  her but she's like maybe you can call me [TS]

  sometime you seem like you never get it [TS]

  well yeah my sense is his arc is all [TS]

  that happened but I've got a girl now I [TS]

  don't know that's a good match that's [TS]

  one of my meta problems with this whole [TS]

  movie is that kind of the the lesson [TS]

  there are various lessons of the but [TS]

  like the ideal that everyone is [TS]

  character seems to be shooting for is an [TS]

  ideal that doesn't really sound that [TS]

  appealing it seems like you need a [TS]

  follow-up movie for them to all learn [TS]

  that the ideal that they were all [TS]

  shooting course it was also a lie but [TS]

  that's not this movie well there's more [TS]

  American Graffiti come out either no it [TS]

  really isn't but John what you just [TS]

  articulated the idea that this ideal [TS]

  that you're shooting for is really it [TS]

  falls short of what you could do or it [TS]

  doesn't quite meet up with the hype I [TS]

  feel like that's also one of the points [TS]

  which is that these guys have invested [TS]

  so much emotional capital [TS]

  into this this whole scene and who they [TS]

  are and how they interact with people [TS]

  and is it really worth it and some of [TS]

  them are like oh no it's not whereas [TS]

  some yeah and I think that's one of [TS]

  those pivotal things you learn in [TS]

  adolescence to is is you have your own [TS]

  moment where you look around and you [TS]

  realize I have been prioritizing [TS]

  something completely wrong and wow the [TS]

  scales have fallen from my eyes you know [TS]

  I again I one of the reasons I had like [TS]

  a full body cringe in this entire movie [TS]

  is because he kept nailing all of the [TS]

  notes that go into being like 16 17 18 [TS]

  years old and beginning to try to [TS]

  imagine or articulate the life that [TS]

  you're going to have passed high school [TS]

  and passed these people that you've been [TS]

  thrown with wholly by accident or [TS]

  circumstance for the entirety of your [TS]

  life yeah I do get that I get like [TS]

  pervasive sadness over this whole movie [TS]

  of like of a thing coming to an end like [TS]

  it yeah this movie knows that everything [TS]

  you see here has to come to an end it's [TS]

  that I think I'm staking taking it a [TS]

  step further insight not only is [TS]

  everything this movie have to come to an [TS]

  end but the even if it didn't or even [TS]

  when it was happening was also very [TS]

  horrible and I mean well get to the [TS]

  ending ending where they have the gut [TS]

  punch of the faces over the sky as the [TS]

  the final ending of the movie i guess [TS]

  that's their way of fast forwarding is [TS]

  sake and by the way these kids still [TS]

  don't know what the hell's and starve [TS]

  them take a look at this yeah yeah I [TS]

  love that up along it's crap sandwich [TS]

  all around yeah enjoy hope you like the [TS]

  movie welcome to the 70s I think the [TS]

  reason Phil demanded that I be in this [TS]

  podcast is um we watched an epilogue and [TS]

  I turned to him and I said you know the [TS]

  first time I watched this movie I [TS]

  watched with my parents when I was like [TS]

  12 or 13 years old and we got to the [TS]

  epilogue and I remember like I remember [TS]

  feeling so shocked and so betrayed by [TS]

  the fact that two of these characters [TS]

  like then died off screen oh and one of [TS]

  them never goes back to the hometown in [TS]

  the one of them stays and I was upset [TS]

  that they killed the characters and then [TS]

  what upset me further was realizing that [TS]

  again I was like these guys didn't [TS]

  matter to each other they had lives that [TS]

  I said they just didn't matter they had [TS]

  lives that moved on my parents yeah this [TS]

  is what happens after high school is the [TS]

  people that you spend all this time with [TS]

  it doesn't matter what they do because [TS]

  their lives are not your lives and you [TS]

  have to you have to learn how to you [TS]

  have to learn how to [TS]

  move past that and so I think when I saw [TS]

  American Graffiti in a really pivotal [TS]

  age where it's like yeah you don't know [TS]

  what's going to happen and you don't [TS]

  know and and no one's life is going to [TS]

  affect you like your own life choices to [TS]

  you that was that was crystallized for [TS]

  me watching that movie in that epilogue [TS]

  they also tell you don't get into cars [TS]

  with strange men the other big lesson of [TS]

  the movie is if you're walking down the [TS]

  street to be fair no no one ever asked [TS]

  me so is never initiated don't be like [TS]

  me all right sure thank you for that [TS]

  segue John because that leads me to the [TS]

  next plot point which is John's Paula [TS]

  Matt's story line whereas he is driving [TS]

  around trying to cruise for girls he [TS]

  runs into a car full of giggly girls and [TS]

  says hey why don't you want to ride with [TS]

  me well you doesn't matter which one [TS]

  yeah you can go with the this girl's [TS]

  sister oga sister Carol Judy's sister [TS]

  Carol Judy's sister Carol is 12 yeah [TS]

  yeah yes Mackenzie Phillips was 12 when [TS]

  she filmed all that mm-hmm and um [TS]

  realizes he has been had spends much of [TS]

  the rest of the movie just fuming about [TS]

  the the evening that he's been dealt I [TS]

  love that though I love her oh you know [TS]

  it's a it's such a very um sweet [TS]

  interaction between those two where he [TS]

  becomes a little bit of her Protectorate [TS]

  what I what I like about this um segment [TS]

  is it I haven't really studied George [TS]

  Lucas I get the assumption that he [TS]

  really likes westerns cuz the paula mack [TS]

  storyline he it's it's the it's the [TS]

  gunslinger it's Shane he is the [TS]

  protector and he and he drives around [TS]

  town and then and everyone says oh [TS]

  there's a guy gunning for you and he [TS]

  said yeah yeah I know and I I just [TS]

  really like the the interactions between [TS]

  him and and Mackenzie Phillips which I [TS]

  think are delightful well he's set up to [TS]

  at the beginning like one of these [TS]

  things is not like the other like he is [TS]

  teased way too cool for the other guys [TS]

  it's kind of amazing that they speak [TS]

  he's got his fancy car and all of that [TS]

  and so his story gets to be different [TS]

  from the other stories where he's got he [TS]

  gets saddled with this 12 year old girl [TS]

  and he can't find her sister and what I [TS]

  love about that is that that my [TS]

  expectation for this character is [TS]

  completely undermined by the fact that [TS]

  he doesn't dump around the side of the [TS]

  road he talks to her and he's annoyed [TS]

  about it but he like he talks to her he [TS]

  takes care of her they have a rapport [TS]

  and yeah you know it's going in that [TS]

  direction but it's fun because that is [TS]

  not what I expected when I you know when [TS]

  you first see him he's super cool so of [TS]

  course hoodlum yes he runs afoul of the [TS]

  cops he's a troublemaker he pulls down [TS]

  Terry the toads pants right in front of [TS]

  the girl at the drive is yeah but a [TS]

  rogue but he has an affection for the [TS]

  younger ones he's like the older brother [TS]

  like why is he even talking to that me [TS]

  so much older than they are he was out [TS]

  of high school long before they were out [TS]

  of high school because he never left [TS]

  high school yeah all right all right all [TS]

  right now his talk about not wanting to [TS]

  go to the sock hop he's he's the one [TS]

  that's the most stunted in terms of this [TS]

  progression but but he is hanging out [TS]

  with them so i think his glory days were [TS]

  in high school and the reason he hangs [TS]

  out with these younger people is because [TS]

  they're still going to regard him as [TS]

  having some patina of success or cool [TS]

  whereas people his own age or look right [TS]

  through them yeah because they recognize [TS]

  that you know they recognize that he's [TS]

  on the fast track to nowhere he's not [TS]

  getting the Moose Lodge well that's why [TS]

  he loves Terry to Terry the toad who [TS]

  because there's that big boosterism at [TS]

  the end where you know he's recognizing [TS]

  you know why he was gonna beat me and [TS]

  I'm getting old Terry's like no no [TS]

  you're still the greatest been number [TS]

  one always your number-one for another [TS]

  year anyway always have a height man [TS]

  yeah although I want to point out with [TS]

  the Paula Matt character is um the guys [TS]

  I knew who were like this used to just [TS]

  put girls into two different categories [TS]

  which were these are the girls I want to [TS]

  have things to do with and these are the [TS]

  girls that I I don't for whatever reason [TS]

  I don't find them attractive they're too [TS]

  young whatever and so while I think it's [TS]

  great that Paula mods character is the [TS]

  protector and so on and so forth it's [TS]

  also broadcasting pretty clearly that [TS]

  he's he's put her in a bucket where [TS]

  she's untouchable or what have you it [TS]

  does again reemphasize the cheese is [TS]

  well years old yes that's a sensible is [TS]

  not even for some people though I mean [TS]

  of that is a good bucket to put the [TS]

  twelfth year old yeah but he's not [TS]

  making comments like oh [TS]

  see you way too girl it's not like I [TS]

  don't know if anything ever suffered [TS]

  through the movie beautiful girls um but [TS]

  there's a really creepy plotline in [TS]

  there in which a teenage Natalie Portman [TS]

  is repeatedly flinging herself at [TS]

  timothy hutton and he basically [TS]

  intimates that were not for the fact [TS]

  that there's like a decade to half age [TS]

  difference between them and society [TS]

  friends and that sort of thing he you [TS]

  know oh you know if only you were older [TS]

  we get along like a house on fire or [TS]

  whatever and like that doesn't happen [TS]

  here it's sweet that's the thing I kind [TS]

  of find unexpected about it it does [TS]

  remind me the thing that it may even be [TS]

  a touchdown for them is James Franco in [TS]

  freaks and geeks has his sort of soft [TS]

  spot for the for the load for the geeks [TS]

  for the you know Lindsay's younger [TS]

  brother and his friends he's Carlos [TS]

  right with the dungeons and dragons oh [TS]

  yeah exactly it reminds me of that a [TS]

  little bit where where this is a nice [TS]

  fun story where you got the totally [TS]

  toughest nails cool guy and and and it's [TS]

  revealed he's a decent human being [TS]

  underneath that's his dark secret is [TS]

  that is that he's not gonna leave her on [TS]

  the side of the road and that in fact [TS]

  they had this conversation he treats her [TS]

  he doesn't treat her creepily she [TS]

  doesn't she you know she it's yeah i [TS]

  loved it I thought it was great it's [TS]

  only undercuts slightly by these sort of [TS]

  sexual politics of the time being played [TS]

  for laughs in terms of one of her first [TS]

  things is to be like holding over his [TS]

  head oh there's a cop I'll scream all [TS]

  scream than being raped yeah I had that [TS]

  went his way to get her out of the car [TS]

  to be like okay now I have to pretend [TS]

  I'm coming on to you which it still [TS]

  works in the context like look this is [TS]

  this is the only way to show this kid [TS]

  that she's not ready for what she thinks [TS]

  she's ready for and yet the way he I [TS]

  don't know if he was supposed to be as [TS]

  awkward or it's some really bad script [TS]

  writing like I can't imagine that you [TS]

  have to show him trying to come on to [TS]

  her and the lines that he has to say and [TS]

  how he says them it's it's the worst [TS]

  ever anyway like I don't can you really [TS]

  be that much of a nice guy and do that [TS]

  Bluff like I don't that's that's [TS]

  borderline creepy but all of it within [TS]

  the context of the movie fits because [TS]

  like this is the whole mechanic this is [TS]

  you know predator and prey cruising [TS]

  around in your cars and this is the [TS]

  mechanic that everyone has accepted they [TS]

  were all participating in this game to [TS]

  no end that any of them can discern [TS]

  and so it can be used as a plot device [TS]

  in this in this story arc but it was [TS]

  those are too awkward them I'm gonna [TS]

  chalk it up to bad script writing mainly [TS]

  because this is a script that also [TS]

  features the exchange I can get tough [TS]

  with you too you know hard guy it's just [TS]

  it's hard to tell what was supposed to [TS]

  be you know yeah want on what was just [TS]

  unintentional yeah it's not some of it [TS]

  might be bad screenwriting and some of [TS]

  it might be I'm writing dialogue the [TS]

  teenagers would say so I feel like a [TS]

  teenager could could do a fake come on [TS]

  better than he did that mean it may be [TS]

  the point was his heart wasn't supposed [TS]

  to be in and he couldn't believe he was [TS]

  doing it and he's leaning in on her and [TS]

  she's getting good no didn't like that [TS]

  well maybe he's you know partly hoping [TS]

  that she's not into it but as a whole [TS]

  put the whole idea that he's trying to [TS]

  get her out of the car or tell him tell [TS]

  me where your house is and this is this [TS]

  is what I'm gonna do to make it but I [TS]

  mean he's he keeps a very clear distance [TS]

  away from her for you know for his own [TS]

  reasons and also because you know [TS]

  there's the possibility that maybe she's [TS]

  like oh I'm curious about this I'll give [TS]

  it a go so yeah it does make sense [TS]

  within that context it was certainly [TS]

  that the highlight of the arc i think [TS]

  was them like a shaven creaming the the [TS]

  neighboring car and let his hair out of [TS]

  the tires i'm running around that was [TS]

  nicely shot and that was i concurred [TS]

  that was fun although that is one heck [TS]

  of a big can of shaving cream get a lot [TS]

  of mileage out of that do you know it [TS]

  goes a long way because that one's been [TS]

  used already she still has it with her [TS]

  from the previous car shaving cream [TS]

  incident in Eisenhower's America men [TS]

  wanted big fans of shaving cream jam and [TS]

  she covers that entire damn car with [TS]

  that one can that's already been used [TS]

  once it's crazy so they will go quickly [TS]

  through the Ron Howard Steve plotline [TS]

  because we've already really hit the [TS]

  highlights in a way kind of the most [TS]

  poignant cuz he is he thinks one thing [TS]

  and no he learns and one another you are [TS]

  you you think you were X but you were [TS]

  actually why yes so the movie begins [TS]

  with him telling Cindy Williams will see [TS]

  other people Cindy Williamson okay after [TS]

  being initially put off by it Ron Howard [TS]

  going look what no usually supposed to [TS]

  react like that you were supposed to [TS]

  collapse weeping and accept it and yes [TS]

  yeah and and move on and they they have [TS]

  a fight they get separated [TS]

  uh he during all this process realizes [TS]

  that maybe he's not so eager to get out [TS]

  of this this one-horse town as much as [TS]

  he thought he would and it all coalesces [TS]

  into the plot where again all four [TS]

  characters sort of come together which [TS]

  will we'll get to in a moment the the [TS]

  scene that I really like in the the Ron [TS]

  Howard story is is at the sock hop when [TS]

  they're doing the the hunt the [TS]

  unfortunately named snowball dance um [TS]

  and actually the best performance there [TS]

  is Cindy Williams because she um you [TS]

  just see her go from just fury to [TS]

  sadness in in about the time it takes [TS]

  Paul am at to to drive down the streets [TS]

  of Petaluma it's just a really a really [TS]

  great scene that conveys a lot of [TS]

  emotion and a lot of depth and and and [TS]

  for that I kind of uh like that bit of [TS]

  the plot line though the Ron Howard [TS]

  character really doesn't press a lot of [TS]

  buttons for me unfortunately no I mean [TS]

  either and I knew kids like him oh sure [TS]

  he's there I mean he's there doing I [TS]

  think what the what this requires which [TS]

  is he's the wide-eyed you know he's call [TS]

  it gonna be the college boy and all of [TS]

  that I don't know I mean that also the [TS]

  this is the end of summer but there's a [TS]

  sock hop so I guess that maybe the high [TS]

  schools already started and so that [TS]

  they've got an event at the at the gym [TS]

  yeah it's like it's like the orientation [TS]

  and it's hard to say not to see that as [TS]

  a kind of a weed a scene with a lot of [TS]

  yet with an American Bandstand kind of [TS]

  dancing and things like that and so it's [TS]

  it's it's in there that's by the way [TS]

  speaking of locations that's the that's [TS]

  the gym at the high school my daughter [TS]

  goes to 0 I thought I saw that Khris was [TS]

  like oh that's reducing so yeah and [TS]

  kathleen quinlan who is in this as [TS]

  credit as Kathy because everybody hadn't [TS]

  got their stage names front right yet [TS]

  she did she's peg in this and she's so [TS]

  she's City Williams friend um oh she's [TS]

  great and and she was she had just [TS]

  graduated from that high school when she [TS]

  was in this movie with the scene set [TS]

  that she's in at the high school gym [TS]

  it's just what a weird experience to [TS]

  graduate from high school and [TS]

  and then being a feature film in your [TS]

  gym it's totally crazy she is such a [TS]

  wonderful silver of discord oh yeah yeah [TS]

  Skyrim scenes are all good in this movie [TS]

  when their kids were talking to each [TS]

  other in the bathrooms even like the [TS]

  boys making fun of the the zip makeup [TS]

  and then showing it Cherry Bomb you're [TS]

  right man through the one in there cuz [TS]

  this the thing that happens and the [TS]

  girls saying you know that you forget it [TS]

  this guy's leaving you gotta forget [TS]

  about them what do you have to see him [TS]

  forever like just the snare rank talk [TS]

  among once the de genders are separated [TS]

  in in their bathroom environments all [TS]

  while looking in the mirrors that was [TS]

  all good yep know if you go to the [TS]

  bathroom as a girl in high school you [TS]

  you develop like five best friends as [TS]

  you talk over the sink truth sir [TS]

  exchanged insights are plumbed it's it's [TS]

  it's beautiful come to think of it and [TS]

  that's one of the few see well that's [TS]

  actually my biggest complaint about [TS]

  american graffiti is is perhaps that is [TS]

  really and again it's a product of the [TS]

  filmmaker because george lucas has never [TS]

  been known to be particularly and and [TS]

  empathetic towards lots of different [TS]

  points of view but it's a story in which [TS]

  the women aren't really people most of [TS]

  the time yeah and right but tivity to be [TS]

  fair the men aren't always people still [TS]

  you have but still you have for you have [TS]

  four characters whose stories are [TS]

  treated as important true and in every [TS]

  one of those stories a woman can nudge [TS]

  the action along or she can be the [TS]

  reward at the end of the action or what [TS]

  have you but the scene where the women [TS]

  are talking in the bathroom is literally [TS]

  the only time in the movie where like [TS]

  they're acknowledged as human beings [TS]

  that are actually the stars of their own [TS]

  stories and have their own motivations [TS]

  and aspirations separate of how they [TS]

  interact with these these turkeys and [TS]

  chinos yeah and and so that's one of the [TS]

  reasons i like it so much is because it [TS]

  actually treats the women as people and [TS]

  that doesn't happen in a whole lot of [TS]

  the other seems i do like that Cindy [TS]

  Williams right because in the script it [TS]

  Ron Howard basically says how we're [TS]

  gonna see other people right and she's [TS]

  like um right I mean I like that I like [TS]

  that she is acting of her own [TS]

  self-interest and her own best interest [TS]

  through this movie because I feel like [TS]

  you know she could have been written [TS]

  another way where she was like oh sure [TS]

  whatever you say Steve I didn't I felt [TS]

  like that scene she was she it seemed [TS]

  like she was had been so conditioned her [TS]

  entire life [TS]

  be agreeable the one presented with [TS]

  something that was disagreeable it's [TS]

  almost like she couldn't physically [TS]

  disagree in the moment but merely had to [TS]

  go all right I guess this is the thing [TS]

  we're doing I must remain agreeable and [TS]

  only later as the movie progresses like [TS]

  wait a second that yes yeah culminating [TS]

  in the scene where they're dancing and [TS]

  she's pissed off of them and the [TS]

  spotlight is on them oh this is like it [TS]

  like it took her like three scenes to [TS]

  figure out like wait wait a second what [TS]

  do you even you know and then she's like [TS]

  really had it by the time she's in the [TS]

  car with Harrison Ford obviously mm-hmm [TS]

  I also feel like again part of the the [TS]

  way Steve is written is he's obviously [TS]

  he's obviously been the town's golden [TS]

  boy like you know adults like him and he [TS]

  was probably God's person Senor soup [TS]

  relatives and teachers went easy on him [TS]

  and there was always this presumption [TS]

  that Steve deserved to succeed and when [TS]

  you are the girlfriend of the Golden Boy [TS]

  you are from like you that's one of the [TS]

  trade-offs you make as well you know of [TS]

  course why wouldn't you go along with [TS]

  him he's obviously right he's set up and [TS]

  then she realizes it no actually he's a [TS]

  turkey I hate it when Richie and Shirley [TS]

  fight though it isn't sad yeah I don't [TS]

  know how he got his on TV I mean I you [TS]

  know the chronology is backwards but [TS]

  like he does not have a lot of charisma [TS]

  in this movie I feel like of all the [TS]

  people in this may I think Richard [TS]

  Dreyfuss has more charisma than run time [TS]

  in this movie well and not to not to [TS]

  delve into happy days um uh huh [TS]

  backstory but really it was kind of [TS]

  conceived that Anson Williams would be [TS]

  as like a co-lead in that series along [TS]

  with Richie Cunningham and then everyone [TS]

  gravitated towards Fonzarelli yeah which [TS]

  it who is I would say when I saw John [TS]

  the first time in this I always like oh [TS]

  he's a he's he's he's the Fonzie right [TS]

  here than Fonzie like I i I'd also heard [TS]

  the connection between the show and [TS]

  happy days and I watched happy days you [TS]

  know my whole childhood and this movie [TS]

  could not be farther than happy days in [TS]

  every at like the setting is the same [TS]

  but in terms of tone and Carol shortened [TS]

  and treatment it's like nothing from [TS]

  this movie made it into a b days except [TS]

  for the outfits yeah although Richie is [TS]

  Jimmy's boring as Steve and that's what [TS]

  I was going to say is that Ron Howard's [TS]

  not that interesting and happy days too [TS]

  that's why Swansea became the star but [TS]

  but he works as a straight man for [TS]

  Fonzie to be like it's because it's a [TS]

  stupid comedy thing it's got to be like [TS]

  you know he's he's your boring [TS]

  protagonist who things happen to and [TS]

  gets advised by the Alpha characters it [TS]

  works in a sitcom thing problem with [TS]

  Steve and Kurt both for me is there [TS]

  clearly the two that we're supposed to [TS]

  be relating the most to because health [TS]

  John and Terry are they're both [TS]

  caricature there on the outliers there's [TS]

  getting around that and they're [TS]

  interesting because of that because [TS]

  because he does play a little with the [TS]

  expectations on John and Terry's is kind [TS]

  of funny but I think Lucas does a lot of [TS]

  assuming here that we're just going to [TS]

  see the inherent interestingness in [TS]

  Steven Kurt because he does because [TS]

  they're sort of him yes but there's just [TS]

  nothing there so unless you're George [TS]

  Lucas or somebody who grew up exactly [TS]

  like George Lucas or one of these two [TS]

  clowns that were supposed to relate to [TS]

  you just can't well I like so I mean I [TS]

  was going to bring up that because we [TS]

  probably should talk about Richard [TS]

  Dreyfuss is Kurt in his story I think I [TS]

  think what's interesting about that from [TS]

  my perspective is he seems he's he's [TS]

  this kind of wishy-washy guy right the [TS]

  first time we see him he's like I'm [TS]

  probably not going to go i don't know [TS]

  and all that but so so he served meant [TS]

  to be frustrating and infuriating and [TS]

  then he has a wacky like a series of [TS]

  wacky adventures like the wacky [TS]

  adventure plot I saved him from last [TS]

  because the of all the plot lines it's [TS]

  the it felt the most contrived to me [TS]

  where he falls in with the local gang of [TS]

  toughs yeah feroz i gotta say i love [TS]

  parts of the pharaohs and and Kurt plot [TS]

  and I think it actually goes well with [TS]

  with the with the toad plot too because [TS]

  these are the a sequence of unlikely [TS]

  events that keep happening and you it's [TS]

  a long boy I it was a long night you [TS]

  know it's one of those kind of stories [TS]

  where this happened and this happened [TS]

  and I kind of like movies like this this [TS]

  is one of the reasons I like after hours [TS]

  with Griffin Dunne it's similarly like a [TS]

  series of ridiculous event someone has [TS]

  to like that movie it is well I I you [TS]

  know back when with Griffin Dunne was a [TS]

  movie star for the 90 minute runtime of [TS]

  that movie and then that was again um I [TS]

  think there is a genre of you know what [TS]

  happens [TS]

  at 4am I'm crazy night man exactly right [TS]

  well that's and that's what happens here [TS]

  and and i think i think the moment that [TS]

  that it turned the corner for me is [TS]

  there's that scene where they're they're [TS]

  gonna go in and rob the restaurant [TS]

  that's got the the the pinball machines [TS]

  yeah yeah this whole place is for fun [TS]

  and and they and and they know him they [TS]

  know Kurt he's the golden boy he's there [TS]

  the guy dr. scholarship yeah yeah fine [TS]

  mousse someday and I think I think [TS]

  that's funny because it's like what's [TS]

  gonna happen now and he and he you know [TS]

  he talks to them while the other guys [TS]

  steal the money from the pinball machine [TS]

  and then they go and and then and then [TS]

  tie the chain to the car of a cop and [TS]

  tear the cop car part in the any [TS]

  big-budget action sequence of the film [TS]

  which is one of them yes and what one of [TS]

  one of the three anyway there are others [TS]

  i like i like the welders there's a car [TS]

  race as a car race at the end there's [TS]

  the slap fight and that's about it we [TS]

  haven't mentioned the the the the most [TS]

  compelling part of the Richard Dreyfuss [TS]

  storyline which is he sees Suzanne [TS]

  Somers yelling and is just and and she [TS]

  mouths I love you Adam and he is smitten [TS]

  and needs to find out who and his night [TS]

  is basically I need to find out who this [TS]

  girl is because the game is cruising for [TS]

  women and the ultimate winning of the [TS]

  game is cruising for the special woman [TS]

  who will cure everything the magic [TS]

  blonde well I used compelling there were [TS]

  air quotes I'm sorry those didn't okay [TS]

  good good over the transom but I thought [TS]

  I was gonna have to know life is called [TS]

  the movie seemed mostly in on that like [TS]

  that it was saying look look at this guy [TS]

  he's in such dire straits that yes for [TS]

  anything to hang on to and he sees the [TS]

  imaginary woman Chevy Chase ferrari [TS]

  Christie Brinkley style and this like [TS]

  this is his lifeline and we we are [TS]

  laughing at him and realizing this is [TS]

  not going to save him but by the end of [TS]

  the movie he's looking longingly at the [TS]

  plane window at a white car and I hope [TS]

  he's realizing that that was not the [TS]

  wait but it's almost as if like I know [TS]

  you're still out there pretty brown lady [TS]

  I'm flying wet I don't I don't [TS]

  understand it the movie was [TS]

  the same page as me about the but the [TS]

  futility of tying your hopes to nabbing [TS]

  the just the right prey animal in [TS]

  cruising as a solution to your life's [TS]

  problems I was gonna say I think she's [TS]

  imaginary oh yeah absolutely is Christie [TS]

  Brinkley was real though right and I [TS]

  guess yes yes Griswold works in the land [TS]

  of reality um I think when he's my I [TS]

  think when he's flying away and he sees [TS]

  her driving down the road that's one of [TS]

  those moments where he realizes that ok [TS]

  did the the town that I thought I grew [TS]

  up and in the life that I thought I had [TS]

  there that's not entirely real either [TS]

  and that woman that fantasy of who she [TS]

  has belongs to his fantasy of who he was [TS]

  in that town and and I think that's what [TS]

  that's supposed to symbolize is you know [TS]

  it's it's basically like one it's [TS]

  basically two steps before a bunch of [TS]

  jet goes Jedi watching Darth Darth [TS]

  Vader's helmet burn with the evil ha no [TS]

  no Lisa you you were telling me [TS]

  originally they were gonna do like a [TS]

  thing in the opening where Chris at [TS]

  Suzanne Somers like appears and so on [TS]

  and and transparent so the idea is that [TS]

  you see that she's always a phantom and [TS]

  a hallucination realm dog that would [TS]

  have been terrible than having to rather [TS]

  than having today I I feel like it's [TS]

  obvious from the movie both because [TS]

  everybody has like a myth about her [TS]

  she's a kept woman she's a prostitute [TS]

  yeah I like my different stories about [TS]

  her because it says like a small town [TS]

  like oh I know you're talking about no [TS]

  no she's she's the wife of this old [TS]

  person oh she's a prostitute she's like [TS]

  everyone knows who he's talking about [TS]

  even though it's not yeah well they all [TS]

  have this same fantasy yeah and then [TS]

  there's the phone call that happens [TS]

  where it's just incredibly vague and [TS]

  what's really notable about that phone [TS]

  call is she doesn't say a word about [TS]

  herself she doesn't mention her name she [TS]

  doesn't say anything it's all she's [TS]

  basically a mirror reflecting his desire [TS]

  back at him and I think he finally gets [TS]

  that or he's like okay hey this is this [TS]

  is clearly not going to work because [TS]

  you're just echoing you failed the [TS]

  Turing test some great so you're gonna [TS]

  said since the phone woke him from sleep [TS]

  he never actually woke up oh yes that [TS]

  seems pretty clearly telegraphed at [TS]

  least to me what I do like about his [TS]

  quest and she is I think meant to be an [TS]

  impossible dream and write what I do [TS]

  like about his quest honestly the thing [TS]

  I like about it the most is it leads him [TS]

  out [TS]

  to the radio station and go and and the [TS]

  radio station so on the outskirts of [TS]

  town and I've been I've been in that [TS]

  radio station basically like I know [TS]

  that's what it is in the valley like you [TS]

  just go out of stretch of road and [TS]

  there's a transmitter and there's and [TS]

  and wolfman jack is there and wolfman [TS]

  jack this this movie spend a huge [TS]

  percentage of its budget on music like [TS]

  $80,000 of the budget is music there's [TS]

  no score wisely the score is classic [TS]

  hits from the 50s and early 60s it sits [TS]

  right up to 62 where it's set and [TS]

  wolfman jack is the DJ and then he [TS]

  appears at the end of the movie when [TS]

  Richard Dreyfuss goes and talks to him [TS]

  and he makes the request to out to the [TS]

  blonde in the t-bird and what I wanted [TS]

  to say is I love the I love the [TS]

  soundtrack I love the way it's it's done [TS]

  where it's mostly ambient it's just like [TS]

  the music is playing and then [TS]

  everybody's tuned to the same radio and [TS]

  and it is there is nothing more [TS]

  evocative of a hot summer night then [TS]

  everybody driving around with their [TS]

  windows rolled down and the radio coming [TS]

  and especially if everybody's listening [TS]

  to the same radio station and it's just [TS]

  everywhere and then you add that it's [TS]

  the period music to set that tone it's [TS]

  brilliant it's my favorite thing about [TS]

  this movie is and every so often the [TS]

  lyrics match up to what's going on [TS]

  on-screen yes I was about to say quite a [TS]

  lot of the time it does because that [TS]

  there's a lot of really good musical [TS]

  jokes at toad's except the music is [TS]

  mixed kind of like a Scorsese movie [TS]

  though where it's like it's not afraid [TS]

  to put the music out front sort of in [TS]

  the mix where the music is actually more [TS]

  dominant than the dialogue where it just [TS]

  overwhelmed because that is that it is [TS]

  the point of the scene it's like [TS]

  basically a music video and also there [TS]

  are some lines of dialogue and disperse [TS]

  with it so again getting what you're [TS]

  saying Jason were like the music [TS]

  permeates and pervades everything to the [TS]

  point where the conversation you're [TS]

  having with the car realistically is [TS]

  very often difficult to hear over the [TS]

  sound of the music and all the other [TS]

  things that are going on and I [TS]

  definitely got that feel I mean I don't [TS]

  know when one was mean streets was mean [TS]

  streets before this this was a 73 at the [TS]

  same time actually yeah but anyway [TS]

  square sees would do it even more later [TS]

  of like I literally putting the [TS]

  loud you know pop music soundtrack out [TS]

  in front of everything else including a [TS]

  dialogue which definitely changes the [TS]

  feel of the movie and I mean and and it [TS]

  gives gives a feel for place in time in [TS]

  a way that even just like the outfits in [TS]

  the cars doesn't that's right i had to [TS]

  look up the beach boys track because i [TS]

  like surely that wasn't in 1962 and I [TS]

  was like yeah it absolutely was it was [TS]

  the song of the summer that year George [TS]

  Lucas knew I mean they this was a this [TS]

  was and this was the trade-off right [TS]

  we're not going to have a score but wit [TS]

  but that the radio hits are going to be [TS]

  the score and it works so well it is so [TS]

  good yeah I'm ambivalent about most of [TS]

  the the Richard Dreyfuss storyline but I [TS]

  do love that scene with Wolfman Jack [TS]

  because that that is the it's all a [TS]

  facade kid yeah it's all have a popsicle [TS]

  chemical not know what wolfman jack [TS]

  looked like back then cuz I know what he [TS]

  looks like when I was a kid you saw the [TS]

  Hollywood Squares he had the Saturday [TS]

  morning cartoon yeah after American [TS]

  Graffiti he became you know he was big [TS]

  but you know in this scenario where he [TS]

  has two Scooby squad saw did you guys [TS]

  follow DJ's was that only something cuz [TS]

  my girlfriends and I used to have [TS]

  favorite djs because you know again when [TS]

  you're a teenager music is the the pulse [TS]

  of every social interaction and my [TS]

  girlfriends and I could name all of the [TS]

  different djs in all the different [TS]

  stations and you know we didn't know [TS]

  what they look like though we just knew [TS]

  them by their voices we could even [TS]

  rattle off whatever details they had or [TS]

  whatever quirks and this was still back [TS]

  when you could call the DJ and you have [TS]

  a reasonable expectation of having to [TS]

  pick up the phone and talk to you yeah [TS]

  and so I think for these teenagers they [TS]

  probably had this idea that Wolfman Jack [TS]

  was one thing and then Kurt sees that [TS]

  he's actually just died in a Hawaiian [TS]

  shirt the guy an obstacle sure has to [TS]

  talk to teenagers all night while eating [TS]

  melting popsicles and he realizes that [TS]

  oh my god oh my god this is my life has [TS]

  been built on a lie my life isn't built [TS]

  on a lie I'm gonna get on that plane god [TS]

  damn it oh yeah because I tell you the [TS]

  first time I saw a DJ and personal like [TS]

  this guy sounds so much cooler when I [TS]

  don't know what he looks like yeah yeah [TS]

  the wolfman was a bit of an institution [TS]

  it interestingly he does mention at one [TS]

  point he calls out the address of a [TS]

  little stall on [TS]

  Street in Chula Vista California which [TS]

  is where he actually broadcast from not [TS]

  somewhere outside of Modesto yes I [TS]

  thought it was interesting that they [TS]

  left that in my understanding is [TS]

  actually that the that a lot of his [TS]

  interactions and including all the phone [TS]

  calls were from the off air tapes of [TS]

  Wolfman Jack shows those were real not [TS]

  although there's apparently one where he [TS]

  where George Lucas and Joe well of [TS]

  course not is the guy in the pizza place [TS]

  ooh I don't know what you're talking [TS]

  about yeah so whatever happened to [TS]

  George Lucas yeah I don't know they went [TS]

  on to make little art films there's a [TS]

  fair amount of the of the later Lucas [TS]

  floating around in this primordial stew [TS]

  here like there's a there's a line very [TS]

  early on where John is talking to Steve [TS]

  and and Lori about going to the hop and [TS]

  he says you two just got out your ass [TS]

  out of there even then Lucas couldn't be [TS]

  bothered with the second take it's not [TS]

  obviously a shank line could very easily [TS]

  have been redone it's like now that [TS]

  seems pretty good let's go with that yep [TS]

  i will say in Lucas's defense again as [TS]

  it was with Terry crashing his his [TS]

  scooter that a lot of it was if this is [TS]

  going to look like an authentic teen [TS]

  movie let's have them be stumbly and and [TS]

  bad with the dialogue and and and and [TS]

  choke on their lines so that it it [TS]

  sounds like actual 17 and 18 year olds [TS]

  talking his one good idea in this movie [TS]

  that he shot a chronological wasn't oh [TS]

  yeah his claim to fame directorial ii [TS]

  speaking he had one good idea once in [TS]

  his life and was used to good effect so [TS]

  it might be end of the movie everybody [TS]

  looked tired because they were tired we [TS]

  should talk about the the ending of the [TS]

  movie just because we've we've kind of [TS]

  danced around it and also we've been had [TS]

  a like an hour time to move on after we [TS]

  talked about the ending where they all [TS]

  come back together is all night long a [TS]

  young racer has been looking for the [TS]

  Paula Matt character it's played by [TS]

  Harrison Ford who refused to cut his [TS]

  hair for the movie which is why he wears [TS]

  that ridiculous cowboy yeah I like that [TS]

  cowboy hat the reason i like is it shows [TS]

  this is a guy who's hanging on to what [TS]

  his conception of cool was back when he [TS]

  was a teenager so he's Bob falfa [TS]

  it's also telling that an almost named [TS]

  every every scene he appears and he has [TS]

  a different girl in the car because he's [TS]

  just unpleasant to be her Oh Bob's alpha [TS]

  mm-hmm and so he and John Milner finally [TS]

  have their big race in Road in petaluma [TS]

  that I've drove driven down many times [TS]

  and uh Cindy Williams is sitting in the [TS]

  car with Bob falfa because she's trying [TS]

  to get back at at poor Ronnie Howard [TS]

  toad gets to start the race which is you [TS]

  know the highlight of toads life up [TS]

  until the point that he got to hang out [TS]

  with candy clark for the evening there's [TS]

  a race Bob thatha's clearly beating John [TS]

  Milner and then Bob falfa spins out has [TS]

  a crash that's when if Steve hadn't [TS]

  decided that he was staying in modesto [TS]

  that's when he realizes that he is and [TS]

  Paula Matt realizes oh god I'm not a kid [TS]

  anymore I'm I'm mortal and no way John [TS]

  you're the best ever over the okay toad [TS]

  will take them all eventually agrees [TS]

  it's like you know what you're right i [TS]

  will be the best forever the very next [TS]

  scene is just Richard Dreyfuss getting [TS]

  on that plane flying off to his big [TS]

  fancy college back east Ronnie Howard [TS]

  seen behind saying hey I'll be there in [TS]

  a year no you won't know and you you [TS]

  failed the small town test but here this [TS]

  small town test you have an F yeah I [TS]

  feel like when they do the little [TS]

  capsule descriptions at the end and it [TS]

  turns out that toad is dead and uh John [TS]

  is dead that as far as Lucas is [TS]

  concerned steve is also as good as dead [TS]

  because he stayed in modesto ain't got [TS]

  the granite us so he's also dead so [TS]

  everyone's dead he's a writer he's ok [TS]

  he's a writer yeah yeah he's a writer [TS]

  the ultimate the ultimate life victory [TS]

  you know he made I'm wondering if the [TS]

  whole point to him being in Canada's [TS]

  he's a draft dodger that's what my yeah [TS]

  exactly that's not your instil because [TS]

  I'm like oh cannon on my dad like know [TS]

  that he dodged the draft like oh yeah [TS]

  thank you know I'm better and I had not [TS]

  considered that yeah he could have saved [TS]

  his friend toad but nope he was writing [TS]

  yes last time I saw this movie was many [TS]

  years ago [TS]

  when I'm watching it again like I [TS]

  remembered most of the movie in broad [TS]

  strokes but when they're doing the car [TS]

  race scene for a moment I said I'll wait [TS]

  a second is this where Cindy William [TS]

  dies like I meant the whole thing of [TS]

  like oh you got to be careful she does [TS]

  she doesn't want to be in the car you [TS]

  got to get out of the car you know like [TS]

  I knew the car was gonna crash because I [TS]

  remember that I know he's gonna win the [TS]

  race because of a congress like did they [TS]

  kill her is that is at the end like if [TS]

  this movie was a little bit deeper into [TS]

  the 70s and was directed by someone [TS]

  other than George Lucas she would have [TS]

  died in that thing like that would have [TS]

  been really close if it would have been [TS]

  Martin Scorsese she would have been [TS]

  wearing a red dress like it's time her [TS]

  you know that their relationship they [TS]

  couldn't get it together and like you [TS]

  want to seize other people and they're [TS]

  just going in different directions and [TS]

  she just was goes into a car with a [TS]

  stranger and it's a bad choice and she [TS]

  wants out but then she wants to get back [TS]

  at him and she's in the car just you [TS]

  know you get what are you doing in that [TS]

  car sir john tells her to get out the [TS]

  car she says just be quiet and then she [TS]

  dies in a car wreck i met honestly that [TS]

  wreck with like no seat belts in that [TS]

  high of a car they're not walking away [TS]

  from that instead she gets up and she's [TS]

  so spunky she's hitting Ron Howard two [TS]

  seconds later so yeah I mean I'm glad [TS]

  she didn't but it would have been even [TS]

  more 70s movie and a very different [TS]

  movie if she had died in that car [TS]

  because that really would have taught [TS]

  Steve you know like you've made some bad [TS]

  choices yeah this is pretty early 70s [TS]

  things didn't really get gritty and [TS]

  nasty for a few more years yeah this was [TS]

  one of the first movies to do that [TS]

  epilogue were at post and here's what [TS]

  happened to all those characters we [TS]

  haven't with two hours which animal [TS]

  house kind of took the piss out of five [TS]

  years late I love I love both as that [TS]

  belongs so much without senator [TS]

  blutarsky and wife and that's when you [TS]

  have to end the epilogue at the end of [TS]

  year the movie Vietnam is hanging over [TS]

  this movie so you kind of almost have to [TS]

  say because because this is the question [TS]

  you're watching a movie set 10 years in [TS]

  the past these are a bunch of high [TS]

  school kids Vietnam is happening what [TS]

  you know what's going to happen and so [TS]

  you kind of have to say yeah he went off [TS]

  and died in Vietnam and and and so I [TS]

  feel like it almost requires that you [TS]

  address that and so there it is you know [TS]

  he didn't make it back and you know this [TS]

  guy stayed in town sells insurance or [TS]

  whatever and then this guy went to [TS]

  Canada and as a writer and [TS]

  III yeah yeah I wanted to say before we [TS]

  move on that I did watch this movie [TS]

  thinking what would George Lucas have [TS]

  been as a filmmaker if he hadn't made [TS]

  Star Wars or if he had or if Star Wars [TS]

  had not succeeded because I feel like he [TS]

  might have had a very interesting and [TS]

  very different career trajectory based [TS]

  on this film because I think this is a [TS]

  really well made film it's got some [TS]

  issues but I think it's really well-made [TS]

  and evocative and given the budget and [TS]

  then you know and then he made Star Wars [TS]

  which is a huge hit and is a great movie [TS]

  but I do i do wonder cuz and that's the [TS]

  shame of it is that you know that guy [TS]

  never made another movie right after [TS]

  Star Wars he never he never got the [TS]

  chance to make another movie because by [TS]

  the time he was directing movies again [TS]

  it wasn't the same guy it wasn't the guy [TS]

  who made our American Graffiti it was [TS]

  the builder of an empire and it's a [TS]

  little bit it's a little bit of a shame [TS]

  i think because i would have been [TS]

  interested to see him take a more 70s [TS]

  cinema path instead of you know what [TS]

  ended up happening which was that he [TS]

  became star wars incorporated i would [TS]

  have liked to have seen the modesto [TS]

  trilogy yeah of your of your 70s [TS]

  directors your Martin Scorsese's your [TS]

  Francis Ford Coppola 'he's you can even [TS]

  include brian de palma in that group and [TS]

  Spielberg George Lucas's career path [TS]

  kind of became the least interesting [TS]

  right of those in that like you say it [TS]

  became George Lucas industry as words we [TS]

  got to move some Kenner action figures [TS]

  guys oh and he obviously made a decision [TS]

  to lean into the business side to not [TS]

  even direct the second and third films [TS]

  to do all of that he could have [TS]

  potentially made a different decision [TS]

  love with the visual effects too because [TS]

  it seems like a lot of his death was [TS]

  driven by it doesn't look like the [TS]

  pictures in my head and it became less [TS]

  about what is the story I'm telling him [TS]

  more about how is the story being [TS]

  presented visually it's like that dude [TS]

  in Boston who got so into the technology [TS]

  in the engineering that he dropped out [TS]

  of the band to just do recording [TS]

  technology fault you know you know you [TS]

  get some people who get sidetracked by [TS]

  by it doesn't match what's in my head [TS]

  and they [TS]

  they put there was a narrative thread [TS]

  because we can give George a lot of crap [TS]

  for what he did later in his career but [TS]

  yes you know this is a good movie and [TS]

  star wars is a really great movie and [TS]

  and then it was so [TS]

  and then it was so [TS]

  successful that we never saw this young [TS]

  filmmaker make up what would the next [TS]

  one have been we'll we'll never know [TS]

  arguably this is the movie where he was [TS]

  most moderated by the influence of [TS]

  others who were shoring up his [TS]

  weaknesses you know I mean yes you're [TS]

  like so like this this is this is a [TS]

  rookie type of thing every when he's [TS]

  left completely on his own you get THX [TS]

  1138 or you know the prequels and in [TS]

  between their varying degrees of [TS]

  moderation and writing help and ability [TS]

  to say no to him that allowed the good [TS]

  things I mean that's that's arguably [TS]

  what what a Hollywood production machine [TS]

  is supposed to do it take talent and [TS]

  allowed their good aspects that come [TS]

  through in the places where they lack [TS]

  fill those gaps I agree this is a movie [TS]

  that's that's put together and very [TS]

  interestingly particularly as you [TS]

  already called out Jason the way the [TS]

  soundtrack works is very cool I also [TS]

  want to call out the scene where Kurt is [TS]

  cabling the police car and there's an [TS]

  approaching train which he uses kind of [TS]

  his building music it's almost like you [TS]

  know his heart beating as he got caught [TS]

  and the and as just as he's about to [TS]

  cable the car that the train skids to a [TS]

  halt and you hear that brake squeal and [TS]

  it goes very quiet and it's just a [TS]

  beautifully shot wonderfully tense scene [TS]

  in the middle of this otherwise almost [TS]

  tension free movie and it's very cool [TS]

  and I I do tend to give Lucas a lot of [TS]

  crap but that's that is a sign of where [TS]

  he had some definite genius this movie [TS]

  looks good too like no visual effects [TS]

  but you know that the change in quality [TS]

  of the light as the night progresses and [TS]

  comes morning works beautifully and is [TS]

  we've pretty well throughout the movie [TS]

  even though they're jumping around from [TS]

  location to location the night scenes [TS]

  with the streetlights and the cars and [TS]

  shiny chrome yeah the setting is perfect [TS]

  this setting is just straight-up perfect [TS]

  i will say that i had not seen this [TS]

  movie before although i'd seen bits and [TS]

  pieces of it many many times over the [TS]

  years is the first time i sat down and [TS]

  watched it end to end and while I i I'm [TS]

  glad I watched it and I enjoyed the [TS]

  experience this is a slow movie it's [TS]

  deliberately paced yes it is but it's [TS]

  it's you know it's I know this this is a [TS]

  fond remembrance of a bygone time right [TS]

  and it's it's it's lucas is a nostalgia [TS]

  trip and it's the nostalgia trip of [TS]

  everybody who [TS]

  grew up in that era and lived this but I [TS]

  didn't and so the fact that we have to [TS]

  linger on every moment of the sock hop [TS]

  or Kurt strolling endlessly down the [TS]

  halls of the high school and playing [TS]

  with the lockers and stuff it just gets [TS]

  it gets pretty tedious for me you didn't [TS]

  say yeah the overwhelming feeling of [TS]

  heartbreak keeping you attached to the [TS]

  movie like I didn't I think Lisa did to [TS]

  like just that just that the entire [TS]

  movie like I was surprised by my [TS]

  reaction too because I had seen it many [TS]

  many times in the past but not for many [TS]

  years and seeing it maybe I'm older and [TS]

  and more mushy now but like just just [TS]

  the heartbreak that pervades the movie [TS]

  because as an older person you know that [TS]

  this is all you know yeah tell me turn [TS]

  it I I think it's a mistake to dismiss [TS]

  this totally as a nostalgia thing that [TS]

  was a big thing in the 70s there was a [TS]

  big let's make movies about the 1950s [TS]

  and early 1960s like this and grease and [TS]

  animal house and but III think this one [TS]

  is better than those because that [TS]

  there's actually a timeless poignancy to [TS]

  it about what you lose as you get older [TS]

  that that um Lucas briefly tapped into [TS]

  um yeah well it briefly is the thing I [TS]

  for me that I appreciate no because the [TS]

  that's touched upon that's definitely [TS]

  there but it is couched in so much of [TS]

  the you know oh it's we gotta throw in a [TS]

  cherry bomb and does it make up and [TS]

  literally everything that happened in [TS]

  the early 60s has to be compressed into [TS]

  this one night and there's just so much [TS]

  of it it just completely dilutes the the [TS]

  poignancy of it for me and it's not [TS]

  helped by the fact that I find both uh [TS]

  Steven Curt stories totally uninspiring [TS]

  yeah they're the least compelling yes [TS]

  and I also not super pleased about the [TS]

  image in my head i have now of George [TS]

  Lucas rolling around in margarine which [TS]

  could've done without but you know it's [TS]

  it's this is a movie that I really [TS]

  enjoyed uh I have a great deal of [TS]

  respect for the way it's made the way [TS]

  it's filmed um and I don't think I ever [TS]

  need to wash it again right shall we [TS]

  move on to get on our bikes and right [TS]

  away yes cutter worse let's ride out of [TS]

  the 1970s and into the early 1980s but [TS]

  really [TS]

  1979 it's breaking away time which is [TS]

  suddenly town of Bloomington Indiana [TS]

  home of the Indiana University yep and [TS]

  we are our four heroes are Dave Mike [TS]

  Cyril and moocher yes Yong Yong Beck [TS]

  Hanson and several other 19 year olds [TS]

  who uh basically are on their gap year [TS]

  after graduating high school and they [TS]

  are they are Tony's in a university town [TS]

  where the smart handsome rich people [TS]

  come to to learn and they are sort of [TS]

  just they are beginning to realize that [TS]

  they are likely going to be left behind [TS]

  by all that nevertheless our hero is [TS]

  Dave who is played by Dennis Christopher [TS]

  and he has developed a a very particular [TS]

  passion for bicycling um yeah especially [TS]

  especially with the Italian team to the [TS]

  point where he actually begins speaking [TS]

  in a comical Italian accent oh and [TS]

  shaving his legs and doing all sorts of [TS]

  things to upset his father who's played [TS]

  by the Magnificent oh so good Paul [TS]

  Dooley in this role I'm your goddamn [TS]

  father I'm not your super feet I'm not [TS]

  your pop I'm your guy don't have any in [TS]

  this house no yeah Tom oh really yes [TS]

  really is pretty much is the best thing [TS]

  in this movie for me was the opening [TS]

  moments when the title card comes up and [TS]

  it's like oh hey that guy's in this and [TS]

  that guy and that guy and end of the one [TS]

  guy I didn't know was of course the lead [TS]

  yes ya know they suck his other friends [TS]

  I should mention her plate by Dennis [TS]

  Quaid who looks like he was carved from [TS]

  Brock oh he's like a marble statue made [TS]

  animate it's amazing he would maintain [TS]

  that figure his whole life he was cut [TS]

  out of that quarry there who just made [TS]

  like a Greek god yep and then there's [TS]

  Daniel Stern who again less carved but [TS]

  still this is a reminder young actors [TS]

  make sure you're in movies where you [TS]

  take your shirt off a lot when you're [TS]

  young yeah you're gonna wish you had [TS]

  when you're [TS]

  because this movie has a lot i mean the [TS]

  70s in general had a lot of shirtless [TS]

  men and this movie is like even just [TS]

  even just in the sidelines in crowd [TS]

  scenes maybe you know one at every [TS]

  hundred men has no shirt it's just [TS]

  normal hey that's what this movies about [TS]

  right that's what his mom tells him to [TS]

  keep your shirt off when you're young [TS]

  and you can yep and some other words i [TS]

  think but yeah that was the gist sure so [TS]

  the other the other two friends are [TS]

  Daniel Stern who is the awkward [TS]

  apparently basketball-playing friend [TS]

  when really Daniel Stern plays an [TS]

  awkward loser yeah yeah no it's really [TS]

  odd and then there's Jackie Earle Haley [TS]

  who looks gross yeah as as mooch address [TS]

  freckles he looks like every kid in 1979 [TS]

  yeah basically Kelly leak gone to seed [TS]

  from the bad news bears measure you can [TS]

  see a comment in that movie too mm-hmm [TS]

  so they are they are us they they they [TS]

  are literally Steve from American [TS]

  Graffiti stuck in the town but without [TS]

  prospects other than Dave kind of being [TS]

  into bicycling and um they get into some [TS]

  fussing and some feuding with some of [TS]

  the fraternity boys from from Indiana [TS]

  University Dave uh finds himself uh [TS]

  romancing a co-ed as it in his Italian [TS]

  4700 coed who is apparently not very [TS]

  bright because no accent not being [TS]

  exactly Enrico Johnson Rico he's got a [TS]

  Vespa he's very Italian and the best pop [TS]

  on the fishing boat that is just cringey [TS]

  ya know every every scene where he that [TS]

  I have mixed feelings about that entire [TS]

  plot line where he deludes this this [TS]

  apparently dim young woman into [TS]

  believing that he's from some Italian [TS]

  fishing village because on the one hand [TS]

  there is a certain sweetness to it in [TS]

  their interactions and on the other hand [TS]

  it's really freaking creepy it's very [TS]

  sitcom and there's a lot of this movie [TS]

  that feels like it was pulled from [TS]

  television in in the 1970s and perhaps [TS]

  not ironically it would become a sitcom [TS]

  indeed after the success of this man I [TS]

  mean a lot of the humor feels like it's [TS]

  very very TV yeah there's [TS]

  scene where Daniel Stern gets his [TS]

  fingers stuck in the bowling ball that's [TS]

  above the level of TV come on that's [TS]

  quality entertainment no that's huge [TS]

  level humor this is an eighties movie [TS]

  like this is something movie made in 79 [TS]

  but when he's swinging that bowling ball [TS]

  around and they're having a brawl in the [TS]

  bowling alley oop that's 80s movies jump [TS]

  I do like that he just he's got a [TS]

  bowling ball on his hand now all right [TS]

  and then they go college kids account [TS]

  the college boys are right out of 80 [TS]

  central casting yeah yeah oh yeah think [TS]

  they went they went straight to revenge [TS]

  of the nerds after this mom justjust [TS]

  ruled off of one set and read on to [TS]

  another one the main body is played by [TS]

  heart bochner Ellis UC San Diego [TS]

  graduate who who you may remember [TS]

  negotiating with the Hans Gruber yeah [TS]

  naka Tony tower you could tell that's [TS]

  how he would end up in this movie indeed [TS]

  yes if they did the little American [TS]

  Graffiti right exactly the end of the [TS]

  movie he would be killed in knock to [TS]

  meet our speaking of 80s movies and and [TS]

  him there's that perfect scene at the [TS]

  end where where everything is worked out [TS]

  and Ellis can't help but smile and laugh [TS]

  now but you got it it's the end of an [TS]

  eighties movie you gotta be like Oh [TS]

  nerds all right I'll see you guys are [TS]

  okay those plucky cutters it and you can [TS]

  almost hear him thinking you're all [TS]

  right LaRussa that's really i want to [TS]

  mention by the way the the dad the line [TS]

  that i really like it was while we're [TS]

  talking with the it's this whole Italian [TS]

  plot the dead says at one point I don't [TS]

  want any e me in this house zucchini [TS]

  Fellini watch Gennie I asked my wife if [TS]

  she didn't know with what zucchini was [TS]

  because I found this an unbelievable [TS]

  aspect of the movie that there could be [TS]

  adults in the united states who didn't [TS]

  know what zucchini was and she assures [TS]

  me that it is at least plausible it's [TS]

  just squad 1979 it's blooming it is [TS]

  certainly plausible in Indiana yeah in [TS]

  in nicely explained it's like a squash [TS]

  you want some American food like french [TS]

  fries as the child of two indiana [TS]

  natives i can assure you this movie is [TS]

  painfully accurate and they do not know [TS]

  how to cook zucchini what do not know [TS]

  what it is though they wouldn't know how [TS]

  to cook it if you if Mario Batali showed [TS]

  up in their house let's tell them it's [TS]

  summer squash maybe they'll get it I [TS]

  don't know [TS]

  that's the rationalization I have for [TS]

  Katherine believing his Italian accent [TS]

  too wasn't she from the east coast [TS]

  though yeah that's a good point well I [TS]

  don't know if she is that she's in a [TS]

  waspy enclave of Connecticut and had [TS]

  never met an Italian before that's a [TS]

  good point also entirely possible anyway [TS]

  that's the work we get for an 80s movie [TS]

  contrivance you know like that's again [TS]

  the serenading the balcony fraternities [TS]

  and sororities college kids versus [TS]

  townies this moon was ahead of its time [TS]

  in many ways indeed yeah yeah and again [TS]

  it's one of those movies that kind of [TS]

  defies plot recaps the plot recap ER [TS]

  realized while watching it regretting [TS]

  his choices in life and suffice it to [TS]

  say there are lots of misadventures with [TS]

  the four friends where they'll fail in [TS]

  their own ways really they all fail in [TS]

  their own way Dennis Quaid tries to race [TS]

  against heart bochner at the at the [TS]

  stone quarry and and comes up comes up [TS]

  almost rounds finishes third in a [TS]

  two-man race um Daniel Stern gets beat [TS]

  up by the by the heart bochner games [TS]

  just a good Papa proud boys yeah we're [TS]

  the fred wahl attendees a serenade in [TS]

  character is Italian guy the the girl in [TS]

  the sorority house yeah I think I've [TS]

  mentioned that Jackie Earle Haley is [TS]

  short and gross yep it is maybe people [TS]

  remind of repeatedly hey shorty don't [TS]

  forget to punch the clock and which he [TS]

  literally does by punching the clock at [TS]

  the job that he said don't call me [TS]

  shorty they call him chicken hey kids [TS]

  can't help but react yeah that's exactly [TS]

  right but what eventually happens is [TS]

  that the president of Indiana University [TS]

  actually played by the president of [TS]

  Indiana University at the time really [TS]

  why's everyone together yeah yeah and [TS]

  says hey hey I can't have this fussin [TS]

  and feudin in my town so what's going to [TS]

  happen is that we're going to have a [TS]

  team of townies in the little 500 which [TS]

  is a a bike race that they actually have [TS]

  at Indiana University where Noah you [TS]

  right around 44 uh however many laps and [TS]

  you hurried off and the cutters are all [TS]

  this is great because we've got a guy [TS]

  who's really good at riding the bicycle [TS]

  Dave rides the whole race and we win [TS]

  yeah you know I'm willing to accept [TS]

  almost everything that happens [TS]

  movie but when the punishment for [TS]

  starting a fight in the student union is [TS]

  that they're going to let the Townies [TS]

  into a bicycle race Wow well it seems [TS]

  cooler that's when you have to have a [TS]

  car wash to stop the real estate [TS]

  developers from taking up a couple it's [TS]

  an 80s movies on Orthodox but I'll allow [TS]

  it what a coincidence it turns out that [TS]

  Ellis is a big cycling enthusiasts to [TS]

  what he's on the team he's a young man [TS]

  on campus he does every bicycles at dawn [TS]

  first thing I does not this but they're [TS]

  not good enough yeah that's a great line [TS]

  they're totally encapsulates the whole [TS]

  sir they're not good enough and I should [TS]

  be in a movie what am i doing in this [TS]

  movie I'm a villain I'm snooty so the [TS]

  the the race as you mentioned the the [TS]

  little 500 that is the climax of the [TS]

  movie uh what one of the things that I [TS]

  noticed at the end that I thought was [TS]

  kind of charming is that it is mostly [TS]

  just wide shots of bicycles racing yeah [TS]

  one continuous cut for the last lap and [TS]

  a half it's like God just let's all [TS]

  watch the race together they're not like [TS]

  it there's no cameras on the bike a [TS]

  modern movie would have liked the [TS]

  close-ups of like various teams doing [TS]

  various things and it's like no you get [TS]

  you get occasional moments of detail but [TS]

  it's not really about the race and then [TS]

  you just go back to the shot of like [TS]

  here's everybody racing I will say [TS]

  though that's counter pointed with the [TS]

  announcer who we hear in the background [TS]

  explaining what's going on he is [TS]

  strangely specific as if he is actually [TS]

  just the narrator of the film it's [TS]

  that's the part that struck me is that [TS]

  the move the video is like the pictures [TS]

  are very generic and like let's watch [TS]

  this together but then the announcer is [TS]

  over compensating and literally [TS]

  narrating the movie for us when it's [TS]

  shock and surprise you to know that the [TS]

  announcer is the guy whom this is all [TS]

  based on nothing would surprise me about [TS]

  this movie at this yeah well it is it's [TS]

  it's it's the guy that is the dude so I [TS]

  thought that worked pretty well because [TS]

  they have the crowd noise up over the [TS]

  announcer so you can barely hear the [TS]

  announcer because like if you were there [TS]

  you'd mostly just hear the hair out [TS]

  screaming and I think that that scene at [TS]

  the end where they follow them they [TS]

  follow just the promo distant shot up in [TS]

  the stands of the bikes going around the [TS]

  track once and then twice for that you [TS]

  know the white flag and then the [TS]

  checkered flag it there's no cutaways [TS]

  yet scrotum and all you hear is the [TS]

  crowd and you can barely hear the [TS]

  announcer kind of saying his announcing [TS]

  thing and his boar [TS]

  announcer voice but you're not really [TS]

  paying attention in the crowd is [TS]

  screaming that's that's a plus it's [TS]

  really your sports excitement that's the [TS]

  point at which i thought to myself [TS]

  you've done the impossible movie you've [TS]

  made me give a crap about the results of [TS]

  a bicycle arias well wouldn't with no [TS]

  stakes it's not like if you win this [TS]

  race you get a scholarship or something [TS]

  no no it's just the soul of the cutters [TS]

  that's at stake John come on yeah I know [TS]

  but you know I mean what happens if i [TS]

  win the race well you-you-you you've won [TS]

  the race and you get a nice trophy yeah [TS]

  congratulations and what if I lose well [TS]

  you get to continue living in the town [TS]

  is if you didn't participate you know [TS]

  the race is it's a testy the whole idea [TS]

  here is that the the dave is gonna is [TS]

  gonna rub the whole race for them which [TS]

  I I do wonder like well he's that that [TS]

  good that he can run all the laps and [TS]

  everybody else can have four different [TS]

  guys and let's keep it up at the chins [TS]

  on it is pretty well established by the [TS]

  rest of the movie that he is actually [TS]

  yeah well established in the movie that [TS]

  he is a very good cyclist the only time [TS]

  that he fails is when he's racing [TS]

  against a professional Italian team [TS]

  Amanda and they're jerks Rodney's and [TS]

  they'd has so many Italians do John they [TS]

  they cheat him after flipping him off [TS]

  they do him dirty up and salt him and [TS]

  then then yeah they stick something in [TS]

  his folks so it's like one of the [TS]

  greatest father-son scenes in that movie [TS]

  though when young when he breaks down [TS]

  and begins to weep oh yes he says daddy [TS]

  and you see Paul Dooley look panicked [TS]

  for a moment before finally hugging his [TS]

  son yep he's awkwardly trying to figure [TS]

  out what happens he looks down at his [TS]

  wife and sees that she's got tears in [TS]

  his eyes he's like well what are you [TS]

  doing what's happening I've lost legal [TS]

  orders her to do something this huh so [TS]

  to go back to the race for a second my [TS]

  point though is that is that since dave [TS]

  is the star of the of the group in terms [TS]

  of being the start of the movie but also [TS]

  the start by Sickler what we get is just [TS]

  enough drama to show the state of mind [TS]

  of the other characters so he gets hurt [TS]

  and they have to replace him and so we [TS]

  get uh you know dennis quaid doesn't [TS]

  want to do it but daniel stern game [TS]

  meffert in Jackie Earle Haley doesn't [TS]

  game effort and then finally Dennis [TS]

  Quaid sort of like he has his moment [TS]

  where he kind of turns around and says [TS]

  I'm going to do this and then of course [TS]

  Dave is able to re-enter the guy the guy [TS]

  goes by from the frat and says nice try [TS]

  kid and that pisses him off Yeah right [TS]

  it's on the bike and takes so they get [TS]

  just enough participation in the race [TS]

  for their character moments and then [TS]

  dave gets back on the bike and wins the [TS]

  race and that's yes perfect they each [TS]

  get their little chance at at victory [TS]

  little chance at redemption I was [TS]

  fantastic and it works out like it is [TS]

  fairly you know for for a movie of this [TS]

  kind realistic about mike is fit like [TS]

  he's not a bicycle rider but he only has [TS]

  to do one or two fast light and he's [TS]

  pissed off and so he you know he does [TS]

  keep them in it like the constant [TS]

  announcing of their position and the [TS]

  trades and everything make you believe [TS]

  that they they wouldn't have been [TS]

  completely out of contention yes yeah [TS]

  you right in a sense that Daniel Stern [TS]

  probably would be a train wreck on the [TS]

  bike and it turns out that he is but [TS]

  he's just good enough to keep in the [TS]

  pack somewhere in the head and Jackie [TS]

  Earle Haley fall asleep okay can't [TS]

  really possible lead oh it's hysterical [TS]

  when he's on the bike to and he can [TS]

  barely reach the pedals his little legs [TS]

  can't keep up but he gives a game effort [TS]

  every one of them puts in their little [TS]

  there a little bit and they get their [TS]

  little a little victory so so to [TS]

  characterize this movie because we [TS]

  always talked about it as an age movie [TS]

  this is not really but when I think of [TS]

  this movie I think about but watching it [TS]

  again for the umpteenth time occurred to [TS]

  me that this is a movie in the grand [TS]

  tradition of 80s movies they glorified a [TS]

  single sport there's movies about BMX [TS]

  riding movies about you know swimming [TS]

  diving churning like you just ricotta [TS]

  jacana whatever you just pick us pick a [TS]

  sport in the 80s you can make an entire [TS]

  movie and the point of that movie was [TS]

  like it's a soccer movie it's a football [TS]

  movie and the whole point of the movie [TS]

  was glorifying sport that's not the [TS]

  whole point of this move but this movie [TS]

  hits all those notes particularly when I [TS]

  was a kid the heart of this movie was [TS]

  him riding his bike behind the truck [TS]

  which is not the most important part of [TS]

  this movie but it was like look at this [TS]

  cool thing that they're doing in the [TS]

  sport that you previously didn't care [TS]

  about but suddenly it seems really cool [TS]

  and I don't all of my friends wanted to [TS]

  ride behind a truck to see how fast you [TS]

  can go on 10-speed bike oh I love this [TS]

  by the way Phil technically gymkata is a [TS]

  celebration of both gymnastics and [TS]

  martial arts [TS]

  haha let's be accurate here you know [TS]

  it's you say that this is a focus on on [TS]

  bicycling and yet we don't have an [TS]

  actual bike race until an hour and one [TS]

  minute into the movie well it was the [TS]

  whole training thing like the idea that [TS]

  he is dedicating his life to this that [TS]

  the tennspeed bikes are a cool thing yes [TS]

  but I mean it's not about the biking and [TS]

  that he can you can use to pick up girls [TS]

  because he can catch up to them even [TS]

  though they're on a motorized scooter he [TS]

  can bring back her notebook and he you [TS]

  know he's training out in the rain on [TS]

  the little the you know the the trainer [TS]

  wheelie thingy and he's Brydon behind [TS]

  the truck and he races with the Italians [TS]

  and it's that again like this is the [TS]

  movie so much more than that but it fits [TS]

  neatly right into that slot because I [TS]

  trying to think of another what is it [TS]

  what is another 80s bike racing movie I [TS]

  mean you've got you've got rad for BMS [TS]

  that's a different right gleaming the [TS]

  cube is that a biking Thank You morning [TS]

  mallesh skateboard wasn't wasn't Kevin [TS]

  Bacon the movie about bike messenger [TS]

  silver okay Quicksilver god damn it can [TS]

  make anything cool like bike messengers [TS]

  that bet they're cool too sure we make [TS]

  it any shoes me about them and bike [TS]

  messaging is life this movie is not a [TS]

  movie about a used car salesman ship [TS]

  this is a different movie about making [TS]

  that cool yeah so yeah the things I want [TS]

  the things I love about this movie um I [TS]

  love the fact that you can watch it as a [TS]

  young man as I did and be all yeah young [TS]

  man you've you've capsule youyou've [TS]

  encapsulated my feelings about life or [TS]

  you can watch it now as an old man as [TS]

  I'd rico that that Paul Dooley character [TS]

  really resonates me um love that love [TS]

  the Paul Dooley Dennis Christopher [TS]

  relationship in this movie um okay what [TS]

  I so here's my here's my thing I think [TS]

  the pole the the dad father-son [TS]

  relationship ends up being great but at [TS]

  the beginning when he's all like oh it's [TS]

  Italian oh I don't know and all that I [TS]

  feel like I I don't like him and I feel [TS]

  like he's a kind of a ridiculous [TS]

  caricature at that point so okay I takes [TS]

  me awhile to get and to get to get to [TS]

  understand him he's got the whole Hill [TS]

  thumb is diploma at me thing which seems [TS]

  and so I mean again do I think that [TS]

  there are people who are reluctant to [TS]

  support their children in higher [TS]

  education because [TS]

  as they are seeing them go further than [TS]

  them even though they should be proud of [TS]

  them yes there are those people the way [TS]

  he does it is so on-the-nose and so [TS]

  broad that I don't like it it's only [TS]

  when he finally acts like a human being [TS]

  in the last part of the movie that I [TS]

  appreciate that relationship he's not a [TS]

  human being in the first part he's just [TS]

  a caricature well in his defense of [TS]

  Italian stuff is incredibly irritating I [TS]

  can kind of series coming through but he [TS]

  doesn't respond like a human being to it [TS]

  he's just as a dummy like response [TS]

  dynamic in the house is that he makes [TS]

  these pronouncements and that his wife [TS]

  moderates and everyone agrees to [TS]

  basically ignore his ranting and ravings [TS]

  because this is the dynamic in the [TS]

  family like no one is taking him [TS]

  seriously and the Sun is not being [TS]

  crushed by those things the Sun is [TS]

  crushed instead later when he's in his [TS]

  bedroom and hears him through the wall [TS]

  when he's not when they thinks he's [TS]

  speaking you know privately or he's [TS]

  actually angry about it but but yeah I [TS]

  think that's part of the sale here is it [TS]

  he's not a good dad especially in the [TS]

  beginning and he's his own frustrations [TS]

  are coming and my note says dad sucks [TS]

  that's oh there's so much else though [TS]

  that's goofy and caricature in this [TS]

  movie that to me it just kind of blended [TS]

  in I mean the whole his whole Italian [TS]

  thing is way over the top I mean you [TS]

  know obviously you've got the [TS]

  ridiculously 80s villain performance [TS]

  from ballast and I mean everything is [TS]

  just kind of a little off kilter and a [TS]

  bit more I feel like this movie is the [TS]

  spiritual predecessor to a Christmas [TS]

  store where this is kind of sense of and [TS]

  it will take place in Indiana and they [TS]

  both take place around a dyspeptic [TS]

  father and a moderating mother and the [TS]

  idea is that your life becomes imbued [TS]

  with as much drama as you care to put [TS]

  into it in half of the time you're [TS]

  living inside your own head they're [TS]

  basically the same movie let me just say [TS]

  as the son of a caricature dyspeptic [TS]

  father from Indiana um nothing painfully [TS]

  on the girls giving you dodge those [TS]

  jeans huh parts of this movie really [TS]

  resonate for for our fill so all right [TS]

  yeah let's just say did why are we [TS]

  watching this documentary see ya you're [TS]

  in the movie yep so yeah it works for me [TS]

  okay oh my god no I I love that I love [TS]

  the scene where barbara barry puts the [TS]

  moves on offensive side and with the [TS]

  ha that is he puts out the candle with [TS]

  his fingers this is big you know his [TS]

  bravado just move that's his finishing [TS]

  move the bit where he sensuously pulls [TS]

  his pocket protector out to the Italian [TS]

  operas yes daringly money and I do I [TS]

  actually like the scene where he goes [TS]

  back to the quarry to we're worried [TS]

  where he worked as a young man those [TS]

  glory days a tu correo sure sure yeah [TS]

  I'm gonna drive a few wedges attend to [TS]

  realizes I cannot do that anymore I did [TS]

  it is all all past me but um the other [TS]

  thing that I really enjoy about breaking [TS]

  away is the fact that it's directed by [TS]

  an Englishman um Peter yay to his other [TS]

  big movies are bullet one of my favorite [TS]

  cop movies by the way and possibly a [TS]

  future old movie love entry he did hot [TS]

  rock which is a really good k / movie [TS]

  and um he later on he would do the [TS]

  dresser which is a nice character study [TS]

  and it just it's always astounded me [TS]

  that this guy who did not grow up in [TS]

  America really managed to tap into this [TS]

  little slice of American middle America [TS]

  Americana in perhaps a cliched way as [TS]

  some of you think but really it strut it [TS]

  really has an authentic feel to me again [TS]

  as someone who well I didn't grow up in [TS]

  the Midwest I have parents from the [TS]

  Midwest and they're both eerie indiana [TS]

  very indiana and this really resonates [TS]

  with me i can't tell you enough how much [TS]

  this movie feels like I'm watching a [TS]

  family movie being shot trust an English [TS]

  man to amplify the class issues though [TS]

  because that's one of the might one of [TS]

  my favorite scenes in this movie is so [TS]

  when we're Paul Dooley's character talks [TS]

  about you know he takes great pride in [TS]

  having mind that Corey and having built [TS]

  at university but then once he built it [TS]

  it was made really evident to him that [TS]

  you're going to billys were to the [TS]

  buildings were too good for us yeah [TS]

  you're good so it but you're not going [TS]

  to I love that scene and I feel like [TS]

  that scene needed somebody who's outside [TS]

  of America and connection say yeah there [TS]

  is a class [TS]

  him in the US and here it is because I [TS]

  don't know if I don't know if an [TS]

  American could have approached it with [TS]

  the same clarity and vigor that he did [TS]

  well eighties movies love doing that to [TS]

  the rich kids versus the poor kid so it [TS]

  was a lot of movies in the 80s [TS]

  especially young people movies were [TS]

  about class and about you know the [TS]

  preppies versus the you know the Slavs [TS]

  versus the snobs uh-huh and it most of [TS]

  those movies we're trying to make you [TS]

  reckon you know identify with the [TS]

  disaffected people because they were the [TS]

  majority you weren't really uh [TS]

  identifying with the preppies unless [TS]

  except for I guess class no one was the [TS]

  opposite but yes we makes movies it's [TS]

  not preppies it's feel nerds yeah yeah [TS]

  thus movie hits me very much in the same [TS]

  place as its contemporary the bad news [TS]

  bears hits me in terms of the way it's [TS]

  filmed and the way it is very true to a [TS]

  certain part of the country in the 1970s [TS]

  yeah the the the good those guys with [TS]

  blue jeans and no shirts swimming around [TS]

  in a quarry is that could not be more [TS]

  70s yeah it's fantastic I mean it really [TS]

  puts you in the place and it does it in [TS]

  an interestingly different more [TS]

  Midwestern way and obviously bad news [TS]

  bears is a Southern California and it [TS]

  feels very different in that respect but [TS]

  it also it just feels very very real and [TS]

  gritty in a way yeah this has the 70s in [TS]

  it like with the with the water racing [TS]

  again could could be in any 80s movies [TS]

  you know what wouldn't be in the 80 [TS]

  movies him hitting his head and coming [TS]

  back bloodied and playing that not for [TS]

  laughs but for a serious moment so his [TS]

  friends can jump in and save him yeah [TS]

  that's 70's movie really makes him fail [TS]

  comically and may it turns out into a [TS]

  joke and you know what when I was a kid [TS]

  watching this is another one of these [TS]

  movies that I remember watching and [TS]

  realizing there was something different [TS]

  or special about this movie as compared [TS]

  to the other movies that I was used to [TS]

  seeing not because it was like a rated r [TS]

  movie that I shouldn't have been [TS]

  watching or something but because it [TS]

  took itself seriously and was willing to [TS]

  show what I thought as a kid where these [TS]

  you know deeper truth about life that [TS]

  other movies that adults won't show you [TS]

  like the people behaving badly or [TS]

  feeling badly and doing things that are [TS]

  not a durable and making mistakes and [TS]

  failure and they're being consequences [TS]

  mixed in with all the rest of the [TS]

  schlock [TS]

  you know that would come to be standard [TS]

  in eighties movies but that that really [TS]

  spoke to me as a kid that like I took [TS]

  this movie much more seriously than all [TS]

  the movies despite all the fun things [TS]

  that were there to entertain me that it [TS]

  took its character seriously and that [TS]

  there was actual real emotion in it and [TS]

  you know of course I'm identifying with [TS]

  the disaffected kids and hanging out [TS]

  with each other and feeling like losers [TS]

  even though you know I felt like it even [TS]

  though I knew I was going to go to [TS]

  college somehow i watch this movie and [TS]

  identify with the people who are never [TS]

  going to go to college and till the end [TS]

  and maybe it's that sensibility or maybe [TS]

  it's just the sort of gritty seventies [TS]

  ish pneus of it but I kept expecting [TS]

  some sort of tragic event to occur yeah [TS]

  like yeah yeah kind much kind of had a [TS]

  target on his back for a lot yeah yeah [TS]

  Dennis Quaid disappears into the fridge [TS]

  I'm like oh my God he's gonna drown is [TS]

  really early in the movie and then a [TS]

  little bit later uh you know he's he's [TS]

  chasing after the truck and I'm like [TS]

  he's gonna run right to the back of that [TS]

  truck is an eighties montage sequence [TS]

  there Paul Dooley gets up on top and [TS]

  starts driving a wedge into a big block [TS]

  of rock I'm like he's gonna have that [TS]

  heart attack right there he's gonna die [TS]

  and he did a couple scenes later and it [TS]

  but I mean it was kind of like a minor [TS]

  thing he had that heart attack refund [TS]

  but it just there was sort of that sort [TS]

  of sense that something there's there's [TS]

  gonna be a tragic moment here having [TS]

  never seen it before I didn't know if it [TS]

  was gonna be light or if there was at [TS]

  some point gonna be a real low low yeah [TS]

  so comparing this to American Graffiti [TS]

  after watching both of them I felt like [TS]

  American Graffiti wants to tell you that [TS]

  all this is going away and breaking away [TS]

  once it wants to tell you that good [TS]

  things can still happen to you in your [TS]

  future like that's what it's not like [TS]

  that the jack girl hey we'll get married [TS]

  and you feel like you will have a life [TS]

  as an adult and we'll leave all this [TS]

  behind that the day will go to college [TS]

  like that the this movie I mean I don't [TS]

  know if it's like lying to you and wants [TS]

  to leave it's not as bad as you think it [TS]

  is actually things will work out in the [TS]

  end that that you will you will have [TS]

  victories again that you will regain [TS]

  your sense of self-worth and good things [TS]

  will happen to you and american graffiti [TS]

  is like that won't happen Mike's cop [TS]

  brother who will occasionally like hug [TS]

  bike right like that that in the end [TS]

  they were all they were friends who care [TS]

  for each other and they had families who [TS]

  cared like it was not everything is not [TS]

  as bad as you think it is you're a bunch [TS]

  of whiney white kids in the Midwest and [TS]

  it seems bad and you feels like you're [TS]

  being [TS]

  you know under the thumb of these [TS]

  college kids but in the end you have it [TS]

  pretty good yeah just because you're [TS]

  stuck in this town doesn't mean you're [TS]

  necessarily lesser than that writer that [TS]

  moved to Canada yeah just because you're [TS]

  stuck doesn't mean you're stuck I mean [TS]

  that's what I love about the ending of [TS]

  it is that Paul Dooley's on a bicycle [TS]

  yeah yeah and he has that kicky sign in [TS]

  front of his used car dealership and the [TS]

  fact that you see him I'm the bicycle i [TS]

  think it's just huge you know and i love [TS]

  that it showed i love that it shows that [TS]

  evolution of his character and I feel [TS]

  like that's actually the biggest piece [TS]

  of hope there is that it's never too [TS]

  late to to try something new and become [TS]

  a person you didn't expect to be yeah [TS]

  and Paul Dooley is younger than all of [TS]

  us in this movie isn't he like it's [TS]

  nothing watching at him i'm looking at [TS]

  his hair is like his hair is all black [TS]

  how old is he made this movie I don't [TS]

  know but I feel like he's younger than [TS]

  me in this movie and I'm watching that [TS]

  doesn't feel good all I know he was 50 [TS]

  he was he was in his early 50s all right [TS]

  yeah a little bit better than he's using [TS]

  hair do it yeah I so I I agree with what [TS]

  everybody is saying here I there is one [TS]

  thing I wanted to point out here so this [TS]

  this movie was nominated for four [TS]

  screenplay won the Academy Award for [TS]

  Best Screenplay um and you know [TS]

  sometimes the Academy Award is not the [TS]

  best thing and sometimes the best thing [TS]

  isn't that great but I'm going to say [TS]

  this I'm shocked that this movie won an [TS]

  award for the screenplay if only because [TS]

  I find essentially everything Dennis [TS]

  Quaid says into this movie to be [TS]

  painfully awful writing there is no the [TS]

  opposite of show not tell this movie [TS]

  tells you does not show it's too yeah I [TS]

  in fact John my note says Dennis Quaid [TS]

  speech at the stadium is the classic [TS]

  example of tell not show he literally [TS]

  just says everything he's feeling and [TS]

  everything that's going to happen and [TS]

  what his internal conflict is and that's [TS]

  not the only scene in which especially [TS]

  the Dennis Quaid character says oh I'm a [TS]

  symbol of somebody who peaked in high [TS]

  school and now doesn't know what to do [TS]

  I'm never gonna be the quarterback [TS]

  anymore it's like oh my god it is so bad [TS]

  I mean so I think it one for writing [TS]

  because like it is telling it is telling [TS]

  truths right but it's having characters [TS]

  actually say them and when I watch this [TS]

  as a kid show the show don't tell thing [TS]

  was not a glimmer [TS]

  you know in the corner of my eye I had [TS]

  no idea about that whole concept so it [TS]

  was delivering to me directly in a way [TS]

  that I couldn't picked up it was more [TS]

  subtle and watching it again as an adult [TS]

  having seen it a million times as a kid [TS]

  I'm like oh this movie doesn't [TS]

  understand show not tell I'm willing to [TS]

  forgive it though because it's such a [TS]

  beloved movie from my childhood but yeah [TS]

  that's one what once you get past Dennis [TS]

  quite Quaid's abs which are again [TS]

  spectacular edit shredded like lettuce [TS]

  oh just still not passed them he is the [TS]

  weakest character I think of all the [TS]

  ones he's an idea more than a character [TS]

  on his acting scenes where he's not [TS]

  speaking the expressions on his face and [TS]

  the few outbursts that he does have that [TS]

  aren't you know George Lucas on the nose [TS]

  the style dialog I think he he does I [TS]

  mean there's a reason he went on to [TS]

  further stardom in this movie I think he [TS]

  does a good job of it but if you got to [TS]

  read the lines you gotta read the lines [TS]

  and he's a he's a mood he's a movie [TS]

  stern on the nectar but the the the the [TS]

  the other four movies up for Best [TS]

  Original Screenplay that year were and [TS]

  justice for all all that jazz the China [TS]

  Syndrome and Manhattan and you know yeah [TS]

  so you know maybe not the strongest i [TS]

  like this movie better than any of those [TS]

  movies as yeah maybe the best of those [TS]

  and it may not have been as strong year [TS]

  for screenplays i just i had that moment [TS]

  where I kind of was like wait a second [TS]

  this one for the screenplay because the [TS]

  Quaid dialogue is just awful it is in [TS]

  fact if I if you wipe my memory of this [TS]

  movie in American Graffiti and then you [TS]

  you play them both for me and said which [TS]

  one was written by George Lucas I would [TS]

  say this one because this dialogue is [TS]

  prequel level dialogue from dennis quaid [TS]

  it is just there's nothing there no I i [TS]

  think the the expressions are [TS]

  sophisticated and well put together the [TS]

  fact is he's saying them out loud is the [TS]

  process like said that thats exactly [TS]

  this would have simplistic ideas [TS]

  expressed that loud at least this i feel [TS]

  like this he's saying the subtext oh [TS]

  yeah the subtext is is good he's one [TS]

  he's one of four characters that all [TS]

  have that all have plot lines it's it's [TS]

  true actually five if you count the dead [TS]

  so I mean you got to put some [TS]

  short-handed I wish Quaid yeah I wish [TS]

  Dennis Quaid had been given more to do [TS]

  to show us his feelings about this [TS]

  matter but instead he like literally [TS]

  goes [TS]

  to the stadium and points down and says [TS]

  I will never be that quarterback what [TS]

  got it got it oh yeah like they can fit [TS]

  that in there he can't have one line [TS]

  about them stay in this is simple man [TS]

  he's gonna have like four madam school [TS]

  the worst is when he talks about the [TS]

  unlit cigarettes like just haven't do [TS]

  that for the whole movie and we'll [TS]

  figure it out instead it's like I even I [TS]

  can't bring myself to live cigarette [TS]

  because I think I'm gonna have to go [TS]

  back into training like that's a perfect [TS]

  thing for you to write in the margins of [TS]

  your script while you're riding it was [TS]

  just look inside we can add the [TS]

  characters say it yeah his best moments [TS]

  by far are like the scene where he's at [TS]

  the quarry and the college kids show up [TS]

  and he just looks at him yeah right yeah [TS]

  he's very good at that Quaid is not the [TS]

  problem right it's the lines that he's [TS]

  given that I think are the problem in a [TS]

  movie that I like but that's just that [TS]

  for me that was the false note [TS]

  especially I think the second half of [TS]

  this film is way stronger than the first [TS]

  half because I don't like the early [TS]

  scenes with the dad and I don't like [TS]

  those speeches from dennis quaid and [TS]

  then I think it gets a lot better later [TS]

  I don't know what what that means but [TS]

  that's that's right now I think you can [TS]

  let Dennis Quaid do it like the line i [TS]

  quoted in the slacker layers like when [TS]

  he's angry you can have him snap like [TS]

  you're not the quarterback here Mike [TS]

  well at least I was once you get that [TS]

  one outbursts what you get at least I [TS]

  was once you get one outbursts you don't [TS]

  get him sight and for the rest of the [TS]

  movie I will continue to speak the [TS]

  subtext of my plot of the four friends [TS]

  though the one that really i think does [TS]

  the has the best thing going for him is [TS]

  the the the daniel stern character [TS]

  because um uh he he has a few lines [TS]

  where it's okay yeah you're you're [TS]

  you're showing not telling but what I [TS]

  really love about him is in the bike [TS]

  race um you know gross gross Jackie [TS]

  Earle Haley has his wife to hug and he's [TS]

  just looking around Dennis Christopher [TS]

  gets to hug his parents and um uh Dennis [TS]

  Quaid gets dug his brother the cop right [TS]

  to Daniel Stern has a smoke where he's [TS]

  looking around for someone to hug and [TS]

  gets no one enjoys yeah so heartbreaking [TS]

  that CIA sir really heartbreaking but [TS]

  they allude to it earlier when they say [TS]

  well Cyril's dad remember one when [TS]

  Dave's dad talks about well so you're [TS]

  like he is you know yeah he's the one [TS]

  obviously as an East Coast neurotic you [TS]

  identify with the most because he was [TS]

  the most like inside his own head and [TS]

  seemingly doesn't fit in anywhere and [TS]

  never will and probably will be the [TS]

  loser of this group forever well he [TS]

  picked up that guitar quick though see [TS]

  him just drift in the wind like he's [TS]

  trying to be happy he's but like there's [TS]

  nothing yeah well this is the reason I [TS]

  like Dave's dead as he seems to sense [TS]

  that a lot of Dave's friends need to be [TS]

  parented I mean there's a reason why [TS]

  mooch is at that table a lot and I get [TS]

  the sense that Dave's dad probably also [TS]

  is it is a gruff ear for cereal every [TS]

  once in a while too because cereals dad [TS]

  is well established as a jerk store and [TS]

  Tom yeah you don't get the sense that [TS]

  that Dave's friends are very well [TS]

  parented at all and that his his parents [TS]

  are the only ones who are involved in [TS]

  that all of his friends like that and [TS]

  kind of need that on some level as well [TS]

  well moochers dad took off to Chicago [TS]

  and left him in the house yeah expecting [TS]

  him to sell its own oh yeah the house [TS]

  that's for sale you got the first sale [TS]

  so so we've been I mean then what we [TS]

  does does have bits it's not like they [TS]

  all the subtext is on the screen of the [TS]

  dialogue well some of the news but yeah [TS]

  the rest of the movie is is pretty [TS]

  strong it's just that like idea of that [TS]

  you have to have shorthand because [TS]

  you've got a lot of characters you gotta [TS]

  fit all and that's the art of screen [TS]

  right you gotta find a way to get the [TS]

  five because i think this does a really [TS]

  good job of weaving together the arcs [TS]

  and having a bunch of good scenes like a [TS]

  bunch of good ideas for cinema like when [TS]

  he's driving his beat-up automobile [TS]

  backwards next to the mercedes you know [TS]

  and there are sort of hot rodding around [TS]

  trying to chase after the college kids [TS]

  and everything lots of good things that [TS]

  work as movies is just that you know a [TS]

  few dialogue scenes they feel like you [TS]

  have to give these seven ideas in and we [TS]

  need to get in and out in this amount of [TS]

  time and it was like all right well I'm [TS]

  just gonna say it I'm just gonna say [TS]

  what's mostly going on I throw up my [TS]

  hands at this boy yeah but again as a [TS]

  kid um this never occurred to make [TS]

  watching this movie the many many many [TS]

  times it never occurred to me that they [TS]

  were saying is out like is it because [TS]

  that because that's what I needed to you [TS]

  know as a kid you're not going to pick [TS]

  up on this stuff if they don't like [TS]

  literally come out and tell you in the [TS]

  same way that you read you know books [TS]

  when you're in middle school in the [TS]

  English teacher has to explain to you [TS]

  this is what this means because if the [TS]

  English teacher doesn't explain it to [TS]

  you you will have a dim vague distant [TS]

  awareness of it but not really ever put [TS]

  two and two together and this would we [TS]

  just comes out and says it yes I feel [TS]

  time to thank you movie for saying that [TS]

  I do want to call out as it as a [TS]

  plus the the scene where he's racing [TS]

  with the Italians and they Jam a rod [TS]

  through his back his back wheel sending [TS]

  him into the dirt I actually had a hard [TS]

  time watching it the second time because [TS]

  it is so heartbreaking I don't watch his [TS]

  dreams just Schatz right what that's why [TS]

  when you're a kid you're like yes yes [TS]

  life life is terrible never meet your [TS]

  idols is the lesson although i will say [TS]

  that when the guy messes with his [TS]

  shifters the look of sheer outrage on [TS]

  his face is absolutely hysterical i [TS]

  laughed and laughed but then he's in [TS]

  he's in the gutter and that's it he's [TS]

  done that posters are coming down yeah [TS]

  that he has that that that chilling line [TS]

  where he just lays out everybody cheats [TS]

  I just didn't know yeah that's it his [TS]

  life so this is unfair the professional [TS]

  bike riders would never do that of any [TS]

  nationality let's say I gotta say though [TS]

  you have to say that chin zono is a [TS]

  apparently really really good sports or [TS]

  they apparently just never saw this film [TS]

  because they are thanked in the credits [TS]

  while they are thanked in the credits [TS]

  there's the truck is a chin zano truck [TS]

  it is like product placement before [TS]

  there was product placement yes fortunes [TS]

  but then the point of the the Italian [TS]

  racers from shin zato is uh they're [TS]

  jerks Peters yep also phil when you [TS]

  mentioned peter yates you you didn't [TS]

  mention the most interesting thing about [TS]

  him which is that in 1983 he he two of [TS]

  his movies that he directed were [TS]

  released one of them multiple award [TS]

  nominee and winner the dresser the [TS]

  dresser yeah other eight movie crow and [TS]

  i just am fascinated that the same man [TS]

  made both crow and the dresser and also [TS]

  that the man who made crawl also made [TS]

  bullet and breaking away and the dresser [TS]

  yes I don't know how that is possible [TS]

  but it is well this is sort of similar [TS]

  to the John Boorman trajectory I think [TS]

  there's a deeper story there that we [TS]

  need to explore well they can't all be [TS]

  gems nothing can all be jealous can't [TS]

  amazing though just got released two [TS]

  movies this year period says one is the [TS]

  dresser I've heard of it yes well many [TS]

  Academy Award nominations for the [TS]

  dresser yes oh I liked it what was your [TS]

  other [TS]

  movie theater crow oh that thing with [TS]

  ken what's his name in the glades a [TS]

  glaive sure breaking a glaive anyway um [TS]

  I like breaking away i like i like i [TS]

  enjoy both these movies I like Steve I'm [TS]

  not sure I would say like I would rush [TS]

  back to watch either of them but in in a [TS]

  certain mood I think I could enjoy [TS]

  either of them as this you know nice [TS]

  kind of nostalgia trip of the [TS]

  coming-of-age stories are nice the [TS]

  ensembles are interesting I like that [TS]

  these are mostly both featuring actors [TS]

  who would go on to do other things and [TS]

  are recognizable and so young that is a [TS]

  big that is a big win too so that [TS]

  they're both charming in their own way [TS]

  you get pj soles in this one stirring [TS]

  stuff up as usual another 70s 80s movies [TS]

  mainstay Halloween's PJ stalls Breaking [TS]

  Away also ahead of a time ends on a [TS]

  freeze frame oh and it's such a freeze [TS]

  frame it is it's right because he turns [TS]

  back when he is a son singing in French [TS]

  yes speaking French now what Oh babies [TS]

  for men and then the Indiana fight song [TS]

  which went on to become another trope [TS]

  you know every movie in 1981-82 ended [TS]

  with the India yeah that's right uh [TS]

  anything we have not covered about these [TS]

  films that now we look we got it all [TS]

  right well I'm going to close up the old [TS]

  Movie Club then and thank our guests [TS]

  Lisa Schmeisser thank you for being here [TS]

  free grub thank you it's a pleasure to [TS]

  be invited John siracusa thank you I [TS]

  can't believe that I had to be on here [TS]

  with all you old people but I'll get [TS]

  over it yeah Oh movies Steve let's thank [TS]

  you stop the hell you doing those are my [TS]

  french fries hey no more Eenie in this [TS]

  house and of course Phillip Michaels who [TS]

  chooses the movies thanks these are [TS]

  enjoyed watching these movies Phil [TS]

  thanks for choosing them so I've been [TS]

  tried to do [TS]

  you can write these lines George but you [TS]

  can't say them and I've been your host [TS]

  Jason snow we will see you next week on [TS]

  the incomparable thanks for listening [TS]

  bye everybody [TS]

  you [TS]

  [Music] [TS]