The Incomparable

348: He's Way Better Than Fonzie


00:00:00   you [TS]

00:00:02   the incomparable number 348 April 2017 [TS]

00:00:09   welcome back everybody to the [TS]

00:00:12   incomparable i am your host Jason Snell [TS]

00:00:14   we are convening another edition of old [TS]

00:00:17   movie club Oh movie club these movies [TS]

00:00:22   are so old they're from kids sit down [TS]

00:00:24   they're from the 1970s Wow is that [TS]

00:00:27   before light bulbs yes old time they had [TS]

00:00:30   to settle are a very large fire had to [TS]

00:00:32   be set in order to project the film well [TS]

00:00:35   I was it was a long long time ago in [TS]

00:00:38   this edition we're going to be talking [TS]

00:00:40   about two coming of age movies from the [TS]

00:00:44   70s one set in the 70s and one set in [TS]

00:00:46   the sixth early 60s feels like the 50s [TS]

00:00:50   but it's the early 60s although by the [TS]

00:00:52   time it's over it feels like the 80s hmm [TS]

00:00:54   interesting we'll get there joining us [TS]

00:00:56   to talk about this first off the person [TS]

00:00:58   who selected the films as he usually [TS]

00:01:01   does an old movie club mr. Philip [TS]

00:01:02   Michaels I Phil you know I i would like [TS]

00:01:05   to point out the the the most recent of [TS]

00:01:08   these movies Breaking Away is thirty [TS]

00:01:10   eight damn years old and if when I was [TS]

00:01:13   eighteen watching a 38 year old movie it [TS]

00:01:15   would have been made in 1950 so you know [TS]

00:01:18   where we're all old old time marches on [TS]

00:01:22   oh I know yeah the seven the 70 is a [TS]

00:01:24   decade and in which I believe all of us [TS]

00:01:27   were born far away now yes yes in short [TS]

00:01:33   i'm closer to death and birth good night [TS]

00:01:36   everyone hey this has been old movie [TS]

00:01:40   also joining us on the on the old movie [TS]

00:01:43   highway Lisa Schmeisser hello hi there [TS]

00:01:46   I'm pondering my mortality no wishing I [TS]

00:01:48   work well you know whose fault that is [TS]

00:01:50   it's Steve Lutz it's always my fault [TS]

00:01:52   yeah i was gonna blame Phil actually but [TS]

00:01:54   I'm happy let's blame Steve just because [TS]

00:01:56   there would you like to roll some balls [TS]

00:01:59   and also yeah on this old movie club I [TS]

00:02:03   believe perhaps his first time in our [TS]

00:02:05   old movie club its John siracusa despite [TS]

00:02:07   the math the math in quotes that I just [TS]

00:02:10   heard I would like to file a formal [TS]

00:02:11   protest against this being an old movie [TS]

00:02:13   club these movies can't pasa [TS]

00:02:16   we be all I another counter fresh and [TS]

00:02:18   modern and I watched him a million times [TS]

00:02:19   when I was a kid and I'm practically [TS]

00:02:21   still a kid so someone's doing something [TS]

00:02:23   wrong you're a child at heart you're the [TS]

00:02:25   guy that's iffy for Team old membership [TS]

00:02:27   as I recall yeah you keep trying to get [TS]

00:02:30   in and we keep rejecting you because [TS]

00:02:31   you're not quite old enough all right [TS]

00:02:33   Phil I guess we should start [TS]

00:02:35   chronologically right so 1973 American [TS]

00:02:38   Graffiti American Graffiti clearly [TS]

00:02:41   George Lucas's best work oh oh no I i [TS]

00:02:46   well we can talk about that later but it [TS]

00:02:49   is it should talk about that now we're [TS]

00:02:50   talking about America okay sure yeah I I [TS]

00:02:54   will show my s certainly George Lucas's [TS]

00:02:56   most personal work because it is it is [TS]

00:02:59   basically him doing a movie about uh hit [TS]

00:03:03   his teenage years in modesto yeah about [TS]

00:03:07   him if if the wiki stories are to be [TS]

00:03:10   believed well basically every one of [TS]

00:03:12   these characters is supposedly him at [TS]

00:03:14   some stages young life although I find [TS]

00:03:16   that highly obstacle sydenham to know I [TS]

00:03:18   actually think that's a fairly accurate [TS]

00:03:20   thing and that that I think helps [TS]

00:03:23   explain why the ron howard and and [TS]

00:03:25   richard dreyfuss characters are vaguely [TS]

00:03:26   distinguishable but it basically it is [TS]

00:03:31   the the last night before the [TS]

00:03:33   aforementioned Richard Dreyfuss and [TS]

00:03:35   Andrade Howard are going to go off to [TS]

00:03:37   college and they are going to spend it [TS]

00:03:41   the way apparently you spent nights in [TS]

00:03:43   the early 1960s in modesto screws enfora [TS]

00:03:47   yeah you you cruise around town it's [TS]

00:03:49   actually san rafael that they're driving [TS]

00:03:51   around san rafael in petaluma both towns [TS]

00:03:53   that I recognized them we could pick out [TS]

00:03:56   the different locations and those since [TS]

00:03:58   I live not far away from both of those [TS]

00:04:00   locations it's you could you could see [TS]

00:04:02   it but I grew up not too far from [TS]

00:04:04   Modesto and when I when I was a kid they [TS]

00:04:07   was cruising was still a thing he has [TS]

00:04:09   nothing else to do just drive your car [TS]

00:04:10   around that's a lot cruising in my town [TS]

00:04:13   of course they did it was Sandra that's [TS]

00:04:15   what may be dated cooler that's what [TS]

00:04:18   made a cooler than it was outlawed and [TS]

00:04:20   you would do it anyway now Jason as a [TS]

00:04:23   comment that's made early on by by the [TS]

00:04:26   John character the the holomap yes the [TS]

00:04:29   fellow who [TS]

00:04:30   never grown up and is stuck as the as [TS]

00:04:33   the number one racer and he's kind of [TS]

00:04:35   locked into this this state of being for [TS]

00:04:38   the remainder of his short life as it [TS]

00:04:40   turns out but his comment early on is [TS]

00:04:43   that things are already starting to fade [TS]

00:04:45   in terms of the cruising scene and I'm [TS]

00:04:47   curious when you came up was the [TS]

00:04:49   cruising scene just limping along was [TS]

00:04:51   there like one car driving back and [TS]

00:04:53   forth in front of the dairy queen during [TS]

00:04:54   Jason's rookie season on the cruising [TS]

00:04:56   I'm occurs in circuit no in fact I have [TS]

00:04:58   to say um by the time I was a teenager [TS]

00:05:01   cruising was not a thing but when my [TS]

00:05:03   brother who was born in 1964 when he was [TS]

00:05:05   a teenager so let's say the very early [TS]

00:05:07   80s it was still hanging on but by the [TS]

00:05:10   mid to late 80s it was gone hmm that's [TS]

00:05:13   my cruising knowledge for you there Oh [TS]

00:05:14   in Tidewater Virginia where I I first [TS]

00:05:16   became a teenager cruising was actually [TS]

00:05:18   still a thing in the 80s but to be fair [TS]

00:05:20   the joke about Newport News and I was [TS]

00:05:23   growing up was set your clock back 60 [TS]

00:05:24   years perhaps it was just breaking onto [TS]

00:05:26   the city but yeah it was it was what I [TS]

00:05:30   liked about this movie in part was how [TS]

00:05:32   effortlessly it captures this year [TS]

00:05:34   pointlessness of your teenagers Friday [TS]

00:05:35   night especially especially if it does [TS]

00:05:37   revolve around cruisin like I kept I [TS]

00:05:39   kept looking over at fill-ins saying I [TS]

00:05:41   can't relate directly to these [TS]

00:05:42   experiences but it is hitting all sorts [TS]

00:05:44   of emotional chords I thought I had [TS]

00:05:46   successfully repressed if 1980s George [TS]

00:05:50   child of the 1980s George Lucas is [TS]

00:05:52   making this movie it's it's hanging out [TS]

00:05:54   in the mall probably it's going to the [TS]

00:05:56   the hot dog on a stick and there's a [TS]

00:05:58   love Zeppelin soundtrack behind it [TS]

00:05:59   because you know get the net out with [TS]

00:06:01   something that happened on every rock [TS]

00:06:03   radio station at nine o'clock at night [TS]

00:06:05   where you'd be sitting here listening to [TS]

00:06:07   music that was already much older than [TS]

00:06:09   you were and wondering why where's our [TS]

00:06:11   music and yeah so to continue [TS]

00:06:13   introducing the characters we've we've [TS]

00:06:15   met John Paula Matt who's the s who's [TS]

00:06:18   the fastest driver in the valley and [TS]

00:06:21   drag races and a bit of a cautionary [TS]

00:06:23   tale to because as steve says to kurt [TS]

00:06:25   early on you want to end up like John [TS]

00:06:27   yeah stuck in the town forever and then [TS]

00:06:31   of course a toad who is I guess it still [TS]

00:06:35   a high school student and and still [TS]

00:06:37   hanging out with these guys and and [TS]

00:06:39   really something of a [TS]

00:06:41   a nerd linger something of a point [TS]

00:06:44   Dexter it's charles martin smith [TS]

00:06:46   accredited as charlie martin smith to [TS]

00:06:48   make him cool you stole teenager you [TS]

00:06:51   know on howard were both the only [TS]

00:06:52   teenagers on set and his mom probably [TS]

00:06:54   still called him charlie so you know [TS]

00:06:56   that's right he does know how to rock a [TS]

00:06:58   pink sailor suit though so that's some [TS]

00:07:00   this is the way to think of charles [TS]

00:07:02   martin smith in this in this is i wrote [TS]

00:07:04   down he's playing the rick moranis part [TS]

00:07:06   it's yeah pretty much yes ten years [TS]

00:07:08   earlier the first time i saw rick [TS]

00:07:09   moranis i was horribly confused for my [TS]

00:07:12   money he gets the best lines in the [TS]

00:07:13   picture as well we're introduced to him [TS]

00:07:15   actually um he rides in on his scooter [TS]

00:07:18   and crashes in mediating machine yeah [TS]

00:07:22   and and that that was not in the script [TS]

00:07:24   that was charles martin smith [TS]

00:07:25   legitimately crashing into into things [TS]

00:07:28   and they decided i'll leave it in [TS]

00:07:30   Charlie okay all right we'll take it and [TS]

00:07:32   as fortuitous that they did because that [TS]

00:07:34   sets the tone for him peering like if he [TS]

00:07:36   hit if he had successfully landed that [TS]

00:07:37   Vespa it would be harder to sell him as [TS]

00:07:40   the bumbling hapless nerd that he is the [TS]

00:07:42   whole way through I mean this is a guy [TS]

00:07:43   who loses everything all night long he [TS]

00:07:47   finds whole new ways to lose right we [TS]

00:07:49   follow the adventures of the this group [TS]

00:07:51   of four friends as they circle the same [TS]

00:07:54   real estate in modesto from from dusk [TS]

00:07:59   till dawn so we've got John and we've [TS]

00:08:01   got charlie martin smith as Terry the [TS]

00:08:04   toad and and we we haven't we haven't [TS]

00:08:07   that we have two other fellow I heard [TS]

00:08:08   yes Kurt who is Richard Dreyfuss yeah uh [TS]

00:08:12   who who has a bit of the cold feet about [TS]

00:08:14   going off to college and we have Ronnie [TS]

00:08:17   Howard as Steve who just just wants to [TS]

00:08:21   get out of town who apparently cannot [TS]

00:08:23   wait to get out yeah and is so and is so [TS]

00:08:25   eager to get out of town he he tells his [TS]

00:08:29   girlfriend who is Curt's sister played [TS]

00:08:33   by Cindy Williams who you'll recognize [TS]

00:08:35   as Shirley of TVs Laverne and Shirley [TS]

00:08:37   Telles are basically fair we're gonna [TS]

00:08:40   see other people but we're still going [TS]

00:08:42   steady okay and an arrangement that she [TS]

00:08:45   is not entirely sold off I think this [TS]

00:08:48   might be a relevant point to point out [TS]

00:08:50   that this is a film that launched to ABC [TS]

00:08:53   sitcoms right [TS]

00:08:54   because it's hard not to look at the [TS]

00:08:56   success of this movie and say this is [TS]

00:08:57   why happy days featuring Ron Howard was [TS]

00:09:00   created and Laverne and Shirley [TS]

00:09:02   featuring Cindy Williams they're both [TS]

00:09:03   guess said in the 50s aww it comes on [TS]

00:09:06   ABC I know that the Happy Days pilot was [TS]

00:09:08   actually shot before American Graffiti [TS]

00:09:10   but with the success of this film [TS]

00:09:11   basically ABC said 50s nostalgia is the [TS]

00:09:16   bee's knees baby and these shows were [TS]

00:09:19   created with these to activate happy [TS]

00:09:21   days was American Graffiti and love [TS]

00:09:23   American style uh having a beautiful [TS]

00:09:25   baby together and calling it Fonzarelli [TS]

00:09:28   so that was um yeah and then the [TS]

00:09:34   audience cheers is the baby crowns and [TS]

00:09:36   is horrifying no the baby was delivered [TS]

00:09:39   right over a shark though strange how [TS]

00:09:41   that happen shot across the room and ran [TS]

00:09:44   into a jukebox that had been broken yes [TS]

00:09:46   yeah suddenly started playing a little [TS]

00:09:48   Bailey Bill Haley in the Comets put a [TS]

00:09:50   glove on the little bottle and waved [TS]

00:09:52   goodbye as it goes down the conveyor [TS]

00:09:53   belt we lameos schlemazel so now we [TS]

00:09:57   enter a critical point in the recapping [TS]

00:10:00   of American Graffiti in that the movie [TS]

00:10:02   jumps around from from scene to scene as [TS]

00:10:05   these four friends spent absolutely no [TS]

00:10:08   time together on their final night [TS]

00:10:10   together yes without spoiling a lot one [TS]

00:10:12   of the things that you brought up and I [TS]

00:10:14   apologize we're now skipping through [TS]

00:10:15   this podcast like yeah we totally skip [TS]

00:10:17   the movie just like American Graffiti [TS]

00:10:19   we're skipping around to the better yeah [TS]

00:10:21   but one of the one of the things that [TS]

00:10:22   Phil brought up when you're watching [TS]

00:10:23   Breaking Away as he said I cannot for [TS]

00:10:26   the life of me figure out why these guys [TS]

00:10:27   all remained friends and i replied well [TS]

00:10:31   it was it was it's it's a friendship of [TS]

00:10:33   geographical convenience because these [TS]

00:10:36   guys have probably all known each other [TS]

00:10:37   since they were kindergartners right and [TS]

00:10:39   they're their parents are probably [TS]

00:10:41   intertwined in some ways there's always [TS]

00:10:43   been pressure to hang out you know [TS]

00:10:44   suddenly go we're having a BBQ blitz on [TS]

00:10:46   so the hill you'll see Stevie or what [TS]

00:10:48   have you and you know aside from the [TS]

00:10:51   circumstances that they shared there's [TS]

00:10:53   not a whole lot to bond them and so when [TS]

00:10:55   I was watching American Graffiti right [TS]

00:10:57   feel it did make sense that they were [TS]

00:10:58   just kind of splintering off and doing [TS]

00:10:59   their own thing because as far as they [TS]

00:11:03   were concerned two of their number were [TS]

00:11:04   already headed out of the valley and [TS]

00:11:05   therefore they were automatically taking [TS]

00:11:07   them cell [TS]

00:11:08   off that we have something in common [TS]

00:11:09   list by virtue of leaving they were [TS]

00:11:11   declaring themselves outsiders the whole [TS]

00:11:13   tone of this movie I mean this is the [TS]

00:11:15   end of the summer this is the last [TS]

00:11:18   hurrah the friends are going off to [TS]

00:11:20   school you it is about like a last you [TS]

00:11:23   know everything is ending so them them [TS]

00:11:25   splitting apart and going their own [TS]

00:11:26   separate ways on the night is you know [TS]

00:11:28   that's what they're going to do anyway [TS]

00:11:30   we've been having fun all summer long [TS]

00:11:31   and now it's over I find it really [TS]

00:11:33   interesting that Steve for all of his [TS]

00:11:35   valedictory ax Brava Brava about getting [TS]

00:11:38   out of there spends the most time [TS]

00:11:39   retracing his high school steps over and [TS]

00:11:42   over again like between the sock hop and [TS]

00:11:44   his inadvertent discovery that when you [TS]

00:11:48   tell a girl you're gonna see other [TS]

00:11:49   people she's gonna she's going to take [TS]

00:11:50   that information and run with it um you [TS]

00:11:54   know he talked a big game about getting [TS]

00:11:56   out but I kind of feel like his end like [TS]

00:11:58   the ending of his movie was was pretty [TS]

00:11:59   much pretty well to help Telegraph by [TS]

00:12:01   the end of Act one so so let me leap in [TS]

00:12:03   there and here's how we will tell the [TS]

00:12:06   tale I will I'll sort of summarize the [TS]

00:12:09   stories of the four characters in the [TS]

00:12:12   order that I find them interesting I [TS]

00:12:15   like two quick issues that I have before [TS]

00:12:17   we go good yeah go ahead Steve first of [TS]

00:12:19   all and this is just a personal problem [TS]

00:12:21   I suspect but as with every film i have [TS]

00:12:24   ever seen with richard dreyfuss in it [TS]

00:12:26   something about him just makes me want [TS]

00:12:28   to punch him i'm not sure what it is in [TS]

00:12:30   this movie he's particularly bad because [TS]

00:12:32   he's being wishy-washy and i like it [TS]

00:12:33   does is it i don't know if i'm gonna go [TS]

00:12:36   to college and i just don't give a rat's [TS]

00:12:38   ass if he goes or not but there's just [TS]

00:12:40   something about the way he carries [TS]

00:12:41   himself that just it's it's hard for me [TS]

00:12:43   to enjoy anything that he's in and this [TS]

00:12:45   one is particularly bad the second the [TS]

00:12:47   second is that one of the main bhi plots [TS]

00:12:49   of this thing that the Terry the toad B [TS]

00:12:51   plot is contingent on Steve deciding [TS]

00:12:55   he's going to let toad have his car [TS]

00:12:57   while he's away yeah watch it he's not [TS]

00:13:00   giving it to him who does that oh yeah [TS]

00:13:03   we opened his his his first act as a car [TS]

00:13:06   washer is to take off in it and rifle [TS]

00:13:08   way and Steve seems okay with it he's [TS]

00:13:10   got his mind on other things yeah i [TS]

00:13:12   think it's it's steve fancies himself is [TS]

00:13:16   this benevolent and now little man i [TS]

00:13:18   give this watch to you [TS]

00:13:20   curious I'm on to bigger and better [TS]

00:13:21   pastures I kept this car this cold hard [TS]

00:13:25   lump of Detroit steel I am the king of [TS]

00:13:28   Modesto high or wherever and now i'm [TS]

00:13:31   going to hand it on to you and this will [TS]

00:13:33   make you as cool as I was it's Riley [TS]

00:13:36   Allard I think that I I think that part [TS]

00:13:39   of it was i'm giving you the car because [TS]

00:13:40   i've grown too big for this town I've [TS]

00:13:43   grown too big for this relationship I've [TS]

00:13:44   grown too big for the scene totally damn [TS]

00:13:47   I don't know beggars belief to me that [TS]

00:13:49   anybody would will his car to the nerdy [TS]

00:13:51   friend it's more like you can you can [TS]

00:13:53   you know just check on it but it's going [TS]

00:13:55   to be up on blocks and with a tarp on it [TS]

00:13:58   and don't touch it just just make sure [TS]

00:14:00   it's still there but in cities like now [TS]

00:14:02   drive it around to do whatever and have [TS]

00:14:04   fun Terry the toad proceeds to do so I [TS]

00:14:07   have a casual relationship with [TS]

00:14:08   insurances all right yeah it's I feel [TS]

00:14:12   like the whole reason that Steve is [TS]

00:14:13   different from kurt i think is that [TS]

00:14:15   steve has this fantasy in his head of [TS]

00:14:18   how it's going to work out like he's [TS]

00:14:20   going to leave in a a love teary [TS]

00:14:24   goodbyes they'll town will recognize [TS]

00:14:26   that their lesser without him and and [TS]

00:14:28   he's off like he's got this whole [TS]

00:14:29   fantasy in his head about everything [TS]

00:14:31   will freeze in amber the minute he [TS]

00:14:33   leaves because he can't conceive of life [TS]

00:14:35   in that town going on without it like [TS]

00:14:36   that's just the way he's wired whereas [TS]

00:14:38   Kurt is terrified that if he leaves and [TS]

00:14:41   things change without him it proves that [TS]

00:14:42   he didn't matter at all and you know I [TS]

00:14:45   think I think that's I think the [TS]

00:14:46   fundamental differences is that Steve [TS]

00:14:48   never really planned to leave Steve [TS]

00:14:50   always just wanted to show the town he [TS]

00:14:51   was better than they were this episode [TS]

00:14:52   of the incomparable is brought to you by [TS]

00:14:54   same box same box as a product that lets [TS]

00:14:57   you take control of your email it works [TS]

00:15:00   with pretty much any email account and [TS]

00:15:03   the way it works is same box goes into [TS]

00:15:06   your email check your mail and organizes [TS]

00:15:09   it for you it will move stuff into [TS]

00:15:11   different folders it will watch what's [TS]

00:15:13   coming in it will watch what you do with [TS]

00:15:15   mail if you get mail that you never want [TS]

00:15:17   to see again you drop it in the black [TS]

00:15:19   hole and you'll never see any mail like [TS]

00:15:21   that ever again it analyzes what you're [TS]

00:15:25   getting organizes the results will [TS]

00:15:27   automatically remind you when you need a [TS]

00:15:29   follow-up email so you don't forget if [TS]

00:15:32   you're like me you've got an inbox [TS]

00:15:33   it's got a lot of things in it including [TS]

00:15:35   in my case I've got some stuff that's [TS]

00:15:37   starred I know I need to reply but I'm [TS]

00:15:40   not reminded I forget I lose track [TS]

00:15:42   SaneBox watches this and lets you know [TS]

00:15:44   it's like an assistant who is going [TS]

00:15:46   through your mail and reminding you [TS]

00:15:48   about what to do you can snooze emails [TS]

00:15:50   so you can say I want to deal with this [TS]

00:15:52   but I want to get it out of my way now [TS]

00:15:54   this all happens on top of gmail or [TS]

00:15:56   whatever else you're using with same box [TS]

00:15:59   you can get a 14-day free trial and if [TS]

00:16:02   you go to sandbox calm / and comparable [TS]

00:16:05   you'll get a $25 credit applied to your [TS]

00:16:08   account on top of the 14-day free trial [TS]

00:16:12   check it out that's SI + e bo x.com / [TS]

00:16:17   incomparable thank you same box for [TS]

00:16:20   making email sane and for sponsoring the [TS]

00:16:23   incomparable i'm also going to throw in [TS]

00:16:25   a defense of richard dreyfuss here who [TS]

00:16:28   i'm not good luck with it I know I know [TS]

00:16:31   I'm not going to convince you I I don't [TS]

00:16:33   have the same the Richard Dreyfuss that [TS]

00:16:36   let's face it lots of Americans have um [TS]

00:16:39   1970s Richard Dreyfuss was really really [TS]

00:16:43   went on a bit of a winning streak and [TS]

00:16:45   this was sort of the the beginning of [TS]

00:16:47   that because in a four year period he [TS]

00:16:48   did this he did the apprenticeship of [TS]

00:16:51   duddy kravitz he did jaws he did close [TS]

00:16:54   encounters of the third kind and then he [TS]

00:16:56   he capped that off with the goodbye girl [TS]

00:16:58   for which he won an Oscar so that's [TS]

00:17:00   that's that's a nice little run of [TS]

00:17:01   movies there where Richard Dreyfuss [TS]

00:17:04   could do no wrong even if some people [TS]

00:17:07   might have wanted to punch him even in [TS]

00:17:11   Jaws which I dearly love is a film that [TS]

00:17:13   there's something about him that just [TS]

00:17:14   makes me want to slug him just haul off [TS]

00:17:16   and pop him one that's like such a great [TS]

00:17:18   part of the character in Jaws though the [TS]

00:17:20   idea that yeah that's definitely [TS]

00:17:21   punchable outside because he is so [TS]

00:17:24   condescending to ya you're gonna shine [TS]

00:17:26   yes was no boating accident yes yeah it [TS]

00:17:30   works in Jaws here here it kind of takes [TS]

00:17:32   away from my enjoyment but that's my [TS]

00:17:34   care hmm alright but um okay so the four [TS]

00:17:38   plots the aforementioned toad getting [TS]

00:17:40   the car and going up yeah the Ulysses [TS]

00:17:44   like journey of self-discovery [TS]

00:17:47   he tries to pick up a girl now that he [TS]

00:17:50   has a car at his disposal and actually [TS]

00:17:52   succeeds because he manages to meet [TS]

00:17:55   Debbie who is played by a bouffant 'add [TS]

00:17:57   candy clark uh in one of my favorite [TS]

00:18:01   performances in the movie um bit of an [TS]

00:18:04   odd duck yeah she I just love the [TS]

00:18:08   perfect perfect foil or kind of Mentor [TS]

00:18:11   figure really for toad though yeah right [TS]

00:18:14   she gives toad and education well the [TS]

00:18:17   fact that she is so weird makes it okay [TS]

00:18:19   that toad is clearly punching above his [TS]

00:18:21   weight class when he manages to get her [TS]

00:18:23   in the car it's not hard to do for dough [TS]

00:18:25   yeah but you you looking go okay she's [TS]

00:18:28   she's baddie so obviously you wouldn't [TS]

00:18:31   she would get in the car with with it [TS]

00:18:34   with toad and they they go on an [TS]

00:18:35   adventure that includes toad trying to [TS]

00:18:37   buy liquor largely unsuccessfully until [TS]

00:18:40   he's helped out by a helpful um [TS]

00:18:42   convenience store robber yes uh toad [TS]

00:18:46   drinking too much liquor toad getting [TS]

00:18:48   the car stolen from him toad discovering [TS]

00:18:51   the car towed getting beat up by the [TS]

00:18:52   people who have stolen the car until [TS]

00:18:54   he's saved by a Palo mad yeah his [TS]

00:18:58   fortuitous arrival who in honor since [TS]

00:19:01   John syracuse's on the podcast the deus [TS]

00:19:03   ex machina no that's rated where he [TS]

00:19:06   swoops in and saves um uh saves a toad [TS]

00:19:11   so amazingly car graphite boy yes watch [TS]

00:19:15   out John Woo I like the fight because it [TS]

00:19:19   shows exactly how dumb and pointless and [TS]

00:19:20   confusing these things tend to be well I [TS]

00:19:22   would have but that's fine but I don't [TS]

00:19:24   think they could have done better making [TS]

00:19:26   it look like maybe one or two as punches [TS]

00:19:27   landed mmm they would kind of look like [TS]

00:19:29   they were like like a wrestling worthy [TS]

00:19:31   you know siblings wrestling in their [TS]

00:19:33   pajamas look more real than that funny [TS]

00:19:35   but I think I think that is a byproduct [TS]

00:19:37   of we we have X amount of dollars to to [TS]

00:19:41   make this movie and we're not doing [TS]

00:19:43   reshoots so they didn't have the thought [TS]

00:19:45   technology of quick cuts so it's like [TS]

00:19:47   well you know this is how long you hold [TS]

00:19:48   shots and if you people are fumbling [TS]

00:19:50   against each other is there's no way to [TS]

00:19:52   fix that it's not like we can make a cut [TS]

00:19:53   every two seconds or every one second [TS]

00:19:55   they didn't know you know John Lucas's [TS]

00:19:57   original script had them fighting from [TS]

00:19:59   separate couches [TS]

00:20:00   so I really enjoy the toad storyline I [TS]

00:20:04   just it is um both very funny very [TS]

00:20:09   heartwarming very cringe-inducing and um [TS]

00:20:11   I I think he is one of the more [TS]

00:20:14   identifiable characters in the movie [TS]

00:20:16   because who among us doesn't feel like [TS]

00:20:20   toad where we're trying to to blend in [TS]

00:20:24   and and look cool and we know deep down [TS]

00:20:27   in our hearts we can sit in that [TS]

00:20:29   beautiful car and and no one's going to [TS]

00:20:31   to be fooled well yep what is his arc [TS]

00:20:35   though like he ends but we're gonna skip [TS]

00:20:37   to the end of the night but at the end [TS]

00:20:39   of the night he ends like he's [TS]

00:20:41   dishevelled his glasses are broken he's [TS]

00:20:43   gotten beaten up he's sitting on the [TS]

00:20:44   curb talking to Debbie and and she's [TS]

00:20:47   like well you know maybe you can call me [TS]

00:20:49   like we had actually had a good time she [TS]

00:20:52   describes her you know we had a good [TS]

00:20:54   time because here's what we did maybe [TS]

00:20:56   that was fun for her to watch all those [TS]

00:20:58   things happen to him like a sort of an [TS]

00:21:00   observer but toes gotta be saying that's [TS]

00:21:03   your idea of a good time like why would [TS]

00:21:05   I sign up for that again why am I ever [TS]

00:21:06   gonna give you a call is like the idea I [TS]

00:21:08   feel like you just described his arc as [TS]

00:21:09   he's had that moment of realization [TS]

00:21:11   trees like this is bull and you know [TS]

00:21:14   he's gonna take that observation it's [TS]

00:21:16   going to make him feel better about [TS]

00:21:17   being left out of the social flow for [TS]

00:21:20   the next 12 months but is he gonna call [TS]

00:21:22   her but she's like maybe you can call me [TS]

00:21:23   sometime you seem like you never get it [TS]

00:21:25   well yeah my sense is his arc is all [TS]

00:21:27   that happened but I've got a girl now I [TS]

00:21:29   don't know that's a good match that's [TS]

00:21:33   one of my meta problems with this whole [TS]

00:21:35   movie is that kind of the the lesson [TS]

00:21:37   there are various lessons of the but [TS]

00:21:39   like the ideal that everyone is [TS]

00:21:42   character seems to be shooting for is an [TS]

00:21:43   ideal that doesn't really sound that [TS]

00:21:46   appealing it seems like you need a [TS]

00:21:47   follow-up movie for them to all learn [TS]

00:21:49   that the ideal that they were all [TS]

00:21:50   shooting course it was also a lie but [TS]

00:21:52   that's not this movie well there's more [TS]

00:21:53   American Graffiti come out either no it [TS]

00:21:57   really isn't but John what you just [TS]

00:21:58   articulated the idea that this ideal [TS]

00:22:00   that you're shooting for is really it [TS]

00:22:02   falls short of what you could do or it [TS]

00:22:05   doesn't quite meet up with the hype I [TS]

00:22:07   feel like that's also one of the points [TS]

00:22:09   which is that these guys have invested [TS]

00:22:11   so much emotional capital [TS]

00:22:14   into this this whole scene and who they [TS]

00:22:16   are and how they interact with people [TS]

00:22:17   and is it really worth it and some of [TS]

00:22:20   them are like oh no it's not whereas [TS]

00:22:22   some yeah and I think that's one of [TS]

00:22:25   those pivotal things you learn in [TS]

00:22:26   adolescence to is is you have your own [TS]

00:22:28   moment where you look around and you [TS]

00:22:30   realize I have been prioritizing [TS]

00:22:34   something completely wrong and wow the [TS]

00:22:36   scales have fallen from my eyes you know [TS]

00:22:38   I again I one of the reasons I had like [TS]

00:22:40   a full body cringe in this entire movie [TS]

00:22:42   is because he kept nailing all of the [TS]

00:22:45   notes that go into being like 16 17 18 [TS]

00:22:48   years old and beginning to try to [TS]

00:22:52   imagine or articulate the life that [TS]

00:22:55   you're going to have passed high school [TS]

00:22:56   and passed these people that you've been [TS]

00:22:58   thrown with wholly by accident or [TS]

00:23:00   circumstance for the entirety of your [TS]

00:23:02   life yeah I do get that I get like [TS]

00:23:04   pervasive sadness over this whole movie [TS]

00:23:07   of like of a thing coming to an end like [TS]

00:23:10   it yeah this movie knows that everything [TS]

00:23:12   you see here has to come to an end it's [TS]

00:23:13   that I think I'm staking taking it a [TS]

00:23:14   step further insight not only is [TS]

00:23:16   everything this movie have to come to an [TS]

00:23:17   end but the even if it didn't or even [TS]

00:23:19   when it was happening was also very [TS]

00:23:21   horrible and I mean well get to the [TS]

00:23:23   ending ending where they have the gut [TS]

00:23:24   punch of the faces over the sky as the [TS]

00:23:26   the final ending of the movie i guess [TS]

00:23:28   that's their way of fast forwarding is [TS]

00:23:29   sake and by the way these kids still [TS]

00:23:31   don't know what the hell's and starve [TS]

00:23:32   them take a look at this yeah yeah I [TS]

00:23:33   love that up along it's crap sandwich [TS]

00:23:35   all around yeah enjoy hope you like the [TS]

00:23:38   movie welcome to the 70s I think the [TS]

00:23:40   reason Phil demanded that I be in this [TS]

00:23:42   podcast is um we watched an epilogue and [TS]

00:23:45   I turned to him and I said you know the [TS]

00:23:46   first time I watched this movie I [TS]

00:23:47   watched with my parents when I was like [TS]

00:23:49   12 or 13 years old and we got to the [TS]

00:23:52   epilogue and I remember like I remember [TS]

00:23:55   feeling so shocked and so betrayed by [TS]

00:23:58   the fact that two of these characters [TS]

00:23:59   like then died off screen oh and one of [TS]

00:24:03   them never goes back to the hometown in [TS]

00:24:05   the one of them stays and I was upset [TS]

00:24:07   that they killed the characters and then [TS]

00:24:09   what upset me further was realizing that [TS]

00:24:11   again I was like these guys didn't [TS]

00:24:13   matter to each other they had lives that [TS]

00:24:15   I said they just didn't matter they had [TS]

00:24:17   lives that moved on my parents yeah this [TS]

00:24:18   is what happens after high school is the [TS]

00:24:20   people that you spend all this time with [TS]

00:24:21   it doesn't matter what they do because [TS]

00:24:23   their lives are not your lives and you [TS]

00:24:25   have to you have to learn how to you [TS]

00:24:27   have to learn how to [TS]

00:24:27   move past that and so I think when I saw [TS]

00:24:30   American Graffiti in a really pivotal [TS]

00:24:32   age where it's like yeah you don't know [TS]

00:24:33   what's going to happen and you don't [TS]

00:24:35   know and and no one's life is going to [TS]

00:24:36   affect you like your own life choices to [TS]

00:24:38   you that was that was crystallized for [TS]

00:24:40   me watching that movie in that epilogue [TS]

00:24:42   they also tell you don't get into cars [TS]

00:24:43   with strange men the other big lesson of [TS]

00:24:47   the movie is if you're walking down the [TS]

00:24:49   street to be fair no no one ever asked [TS]

00:24:51   me so is never initiated don't be like [TS]

00:24:54   me all right sure thank you for that [TS]

00:24:57   segue John because that leads me to the [TS]

00:24:59   next plot point which is John's Paula [TS]

00:25:04   Matt's story line whereas he is driving [TS]

00:25:08   around trying to cruise for girls he [TS]

00:25:11   runs into a car full of giggly girls and [TS]

00:25:14   says hey why don't you want to ride with [TS]

00:25:15   me well you doesn't matter which one [TS]

00:25:17   yeah you can go with the this girl's [TS]

00:25:19   sister oga sister Carol Judy's sister [TS]

00:25:22   Carol Judy's sister Carol is 12 yeah [TS]

00:25:25   yeah yes Mackenzie Phillips was 12 when [TS]

00:25:28   she filmed all that mm-hmm and um [TS]

00:25:30   realizes he has been had spends much of [TS]

00:25:36   the rest of the movie just fuming about [TS]

00:25:38   the the evening that he's been dealt I [TS]

00:25:41   love that though I love her oh you know [TS]

00:25:43   it's a it's such a very um sweet [TS]

00:25:46   interaction between those two where he [TS]

00:25:48   becomes a little bit of her Protectorate [TS]

00:25:52   what I what I like about this um segment [TS]

00:25:55   is it I haven't really studied George [TS]

00:25:58   Lucas I get the assumption that he [TS]

00:26:00   really likes westerns cuz the paula mack [TS]

00:26:02   storyline he it's it's the it's the [TS]

00:26:04   gunslinger it's Shane he is the [TS]

00:26:07   protector and he and he drives around [TS]

00:26:10   town and then and everyone says oh [TS]

00:26:12   there's a guy gunning for you and he [TS]

00:26:14   said yeah yeah I know and I I just [TS]

00:26:19   really like the the interactions between [TS]

00:26:21   him and and Mackenzie Phillips which I [TS]

00:26:25   think are delightful well he's set up to [TS]

00:26:28   at the beginning like one of these [TS]

00:26:30   things is not like the other like he is [TS]

00:26:31   teased way too cool for the other guys [TS]

00:26:34   it's kind of amazing that they speak [TS]

00:26:35   he's got his fancy car and all of that [TS]

00:26:38   and so his story gets to be different [TS]

00:26:41   from the other stories where he's got he [TS]

00:26:43   gets saddled with this 12 year old girl [TS]

00:26:45   and he can't find her sister and what I [TS]

00:26:48   love about that is that that my [TS]

00:26:49   expectation for this character is [TS]

00:26:51   completely undermined by the fact that [TS]

00:26:54   he doesn't dump around the side of the [TS]

00:26:55   road he talks to her and he's annoyed [TS]

00:26:58   about it but he like he talks to her he [TS]

00:26:59   takes care of her they have a rapport [TS]

00:27:01   and yeah you know it's going in that [TS]

00:27:03   direction but it's fun because that is [TS]

00:27:05   not what I expected when I you know when [TS]

00:27:08   you first see him he's super cool so of [TS]

00:27:11   course hoodlum yes he runs afoul of the [TS]

00:27:13   cops he's a troublemaker he pulls down [TS]

00:27:16   Terry the toads pants right in front of [TS]

00:27:18   the girl at the drive is yeah but a [TS]

00:27:20   rogue but he has an affection for the [TS]

00:27:21   younger ones he's like the older brother [TS]

00:27:23   like why is he even talking to that me [TS]

00:27:24   so much older than they are he was out [TS]

00:27:26   of high school long before they were out [TS]

00:27:27   of high school because he never left [TS]

00:27:29   high school yeah all right all right all [TS]

00:27:30   right now his talk about not wanting to [TS]

00:27:32   go to the sock hop he's he's the one [TS]

00:27:35   that's the most stunted in terms of this [TS]

00:27:36   progression but but he is hanging out [TS]

00:27:38   with them so i think his glory days were [TS]

00:27:39   in high school and the reason he hangs [TS]

00:27:41   out with these younger people is because [TS]

00:27:42   they're still going to regard him as [TS]

00:27:44   having some patina of success or cool [TS]

00:27:46   whereas people his own age or look right [TS]

00:27:48   through them yeah because they recognize [TS]

00:27:50   that you know they recognize that he's [TS]

00:27:52   on the fast track to nowhere he's not [TS]

00:27:54   getting the Moose Lodge well that's why [TS]

00:27:55   he loves Terry to Terry the toad who [TS]

00:27:57   because there's that big boosterism at [TS]

00:27:59   the end where you know he's recognizing [TS]

00:28:01   you know why he was gonna beat me and [TS]

00:28:03   I'm getting old Terry's like no no [TS]

00:28:06   you're still the greatest been number [TS]

00:28:08   one always your number-one for another [TS]

00:28:10   year anyway always have a height man [TS]

00:28:12   yeah although I want to point out with [TS]

00:28:14   the Paula Matt character is um the guys [TS]

00:28:17   I knew who were like this used to just [TS]

00:28:19   put girls into two different categories [TS]

00:28:21   which were these are the girls I want to [TS]

00:28:23   have things to do with and these are the [TS]

00:28:26   girls that I I don't for whatever reason [TS]

00:28:29   I don't find them attractive they're too [TS]

00:28:30   young whatever and so while I think it's [TS]

00:28:32   great that Paula mods character is the [TS]

00:28:34   protector and so on and so forth it's [TS]

00:28:36   also broadcasting pretty clearly that [TS]

00:28:38   he's he's put her in a bucket where [TS]

00:28:40   she's untouchable or what have you it [TS]

00:28:41   does again reemphasize the cheese is [TS]

00:28:44   well years old yes that's a sensible is [TS]

00:28:47   not even for some people though I mean [TS]

00:28:49   of that is a good bucket to put the [TS]

00:28:51   twelfth year old yeah but he's not [TS]

00:28:53   making comments like oh [TS]

00:28:54   see you way too girl it's not like I [TS]

00:28:55   don't know if anything ever suffered [TS]

00:28:57   through the movie beautiful girls um but [TS]

00:28:59   there's a really creepy plotline in [TS]

00:29:01   there in which a teenage Natalie Portman [TS]

00:29:03   is repeatedly flinging herself at [TS]

00:29:05   timothy hutton and he basically [TS]

00:29:07   intimates that were not for the fact [TS]

00:29:09   that there's like a decade to half age [TS]

00:29:10   difference between them and society [TS]

00:29:12   friends and that sort of thing he you [TS]

00:29:14   know oh you know if only you were older [TS]

00:29:16   we get along like a house on fire or [TS]

00:29:17   whatever and like that doesn't happen [TS]

00:29:19   here it's sweet that's the thing I kind [TS]

00:29:21   of find unexpected about it it does [TS]

00:29:23   remind me the thing that it may even be [TS]

00:29:26   a touchdown for them is James Franco in [TS]

00:29:28   freaks and geeks has his sort of soft [TS]

00:29:32   spot for the for the load for the geeks [TS]

00:29:35   for the you know Lindsay's younger [TS]

00:29:37   brother and his friends he's Carlos [TS]

00:29:38   right with the dungeons and dragons oh [TS]

00:29:40   yeah exactly it reminds me of that a [TS]

00:29:42   little bit where where this is a nice [TS]

00:29:44   fun story where you got the totally [TS]

00:29:46   toughest nails cool guy and and and it's [TS]

00:29:50   revealed he's a decent human being [TS]

00:29:51   underneath that's his dark secret is [TS]

00:29:53   that is that he's not gonna leave her on [TS]

00:29:55   the side of the road and that in fact [TS]

00:29:56   they had this conversation he treats her [TS]

00:29:58   he doesn't treat her creepily she [TS]

00:30:00   doesn't she you know she it's yeah i [TS]

00:30:02   loved it I thought it was great it's [TS]

00:30:04   only undercuts slightly by these sort of [TS]

00:30:06   sexual politics of the time being played [TS]

00:30:08   for laughs in terms of one of her first [TS]

00:30:10   things is to be like holding over his [TS]

00:30:12   head oh there's a cop I'll scream all [TS]

00:30:14   scream than being raped yeah I had that [TS]

00:30:16   went his way to get her out of the car [TS]

00:30:18   to be like okay now I have to pretend [TS]

00:30:19   I'm coming on to you which it still [TS]

00:30:21   works in the context like look this is [TS]

00:30:22   this is the only way to show this kid [TS]

00:30:24   that she's not ready for what she thinks [TS]

00:30:26   she's ready for and yet the way he I [TS]

00:30:29   don't know if he was supposed to be as [TS]

00:30:30   awkward or it's some really bad script [TS]

00:30:32   writing like I can't imagine that you [TS]

00:30:34   have to show him trying to come on to [TS]

00:30:36   her and the lines that he has to say and [TS]

00:30:38   how he says them it's it's the worst [TS]

00:30:40   ever anyway like I don't can you really [TS]

00:30:43   be that much of a nice guy and do that [TS]

00:30:45   Bluff like I don't that's that's [TS]

00:30:47   borderline creepy but all of it within [TS]

00:30:50   the context of the movie fits because [TS]

00:30:51   like this is the whole mechanic this is [TS]

00:30:53   you know predator and prey cruising [TS]

00:30:55   around in your cars and this is the [TS]

00:30:58   mechanic that everyone has accepted they [TS]

00:30:59   were all participating in this game to [TS]

00:31:01   no end that any of them can discern [TS]

00:31:03   and so it can be used as a plot device [TS]

00:31:06   in this in this story arc but it was [TS]

00:31:08   those are too awkward them I'm gonna [TS]

00:31:10   chalk it up to bad script writing mainly [TS]

00:31:12   because this is a script that also [TS]

00:31:13   features the exchange I can get tough [TS]

00:31:15   with you too you know hard guy it's just [TS]

00:31:20   it's hard to tell what was supposed to [TS]

00:31:21   be you know yeah want on what was just [TS]

00:31:24   unintentional yeah it's not some of it [TS]

00:31:27   might be bad screenwriting and some of [TS]

00:31:28   it might be I'm writing dialogue the [TS]

00:31:30   teenagers would say so I feel like a [TS]

00:31:33   teenager could could do a fake come on [TS]

00:31:35   better than he did that mean it may be [TS]

00:31:37   the point was his heart wasn't supposed [TS]

00:31:38   to be in and he couldn't believe he was [TS]

00:31:39   doing it and he's leaning in on her and [TS]

00:31:41   she's getting good no didn't like that [TS]

00:31:43   well maybe he's you know partly hoping [TS]

00:31:45   that she's not into it but as a whole [TS]

00:31:46   put the whole idea that he's trying to [TS]

00:31:48   get her out of the car or tell him tell [TS]

00:31:50   me where your house is and this is this [TS]

00:31:52   is what I'm gonna do to make it but I [TS]

00:31:53   mean he's he keeps a very clear distance [TS]

00:31:55   away from her for you know for his own [TS]

00:31:57   reasons and also because you know [TS]

00:31:58   there's the possibility that maybe she's [TS]

00:32:00   like oh I'm curious about this I'll give [TS]

00:32:02   it a go so yeah it does make sense [TS]

00:32:04   within that context it was certainly [TS]

00:32:06   that the highlight of the arc i think [TS]

00:32:08   was them like a shaven creaming the the [TS]

00:32:09   neighboring car and let his hair out of [TS]

00:32:11   the tires i'm running around that was [TS]

00:32:12   nicely shot and that was i concurred [TS]

00:32:14   that was fun although that is one heck [TS]

00:32:16   of a big can of shaving cream get a lot [TS]

00:32:18   of mileage out of that do you know it [TS]

00:32:19   goes a long way because that one's been [TS]

00:32:20   used already she still has it with her [TS]

00:32:22   from the previous car shaving cream [TS]

00:32:24   incident in Eisenhower's America men [TS]

00:32:26   wanted big fans of shaving cream jam and [TS]

00:32:28   she covers that entire damn car with [TS]

00:32:30   that one can that's already been used [TS]

00:32:32   once it's crazy so they will go quickly [TS]

00:32:35   through the Ron Howard Steve plotline [TS]

00:32:38   because we've already really hit the [TS]

00:32:40   highlights in a way kind of the most [TS]

00:32:43   poignant cuz he is he thinks one thing [TS]

00:32:46   and no he learns and one another you are [TS]

00:32:50   you you think you were X but you were [TS]

00:32:52   actually why yes so the movie begins [TS]

00:32:55   with him telling Cindy Williams will see [TS]

00:32:57   other people Cindy Williamson okay after [TS]

00:33:01   being initially put off by it Ron Howard [TS]

00:33:04   going look what no usually supposed to [TS]

00:33:07   react like that you were supposed to [TS]

00:33:08   collapse weeping and accept it and yes [TS]

00:33:11   yeah and and move on and they they have [TS]

00:33:15   a fight they get separated [TS]

00:33:17   uh he during all this process realizes [TS]

00:33:22   that maybe he's not so eager to get out [TS]

00:33:24   of this this one-horse town as much as [TS]

00:33:27   he thought he would and it all coalesces [TS]

00:33:30   into the plot where again all four [TS]

00:33:32   characters sort of come together which [TS]

00:33:33   will we'll get to in a moment the the [TS]

00:33:36   scene that I really like in the the Ron [TS]

00:33:38   Howard story is is at the sock hop when [TS]

00:33:40   they're doing the the hunt the [TS]

00:33:43   unfortunately named snowball dance um [TS]

00:33:45   and actually the best performance there [TS]

00:33:48   is Cindy Williams because she um you [TS]

00:33:50   just see her go from just fury to [TS]

00:33:53   sadness in in about the time it takes [TS]

00:33:57   Paul am at to to drive down the streets [TS]

00:34:00   of Petaluma it's just a really a really [TS]

00:34:04   great scene that conveys a lot of [TS]

00:34:08   emotion and a lot of depth and and and [TS]

00:34:10   for that I kind of uh like that bit of [TS]

00:34:13   the plot line though the Ron Howard [TS]

00:34:15   character really doesn't press a lot of [TS]

00:34:18   buttons for me unfortunately no I mean [TS]

00:34:20   either and I knew kids like him oh sure [TS]

00:34:22   he's there I mean he's there doing I [TS]

00:34:25   think what the what this requires which [TS]

00:34:27   is he's the wide-eyed you know he's call [TS]

00:34:30   it gonna be the college boy and all of [TS]

00:34:31   that I don't know I mean that also the [TS]

00:34:34   this is the end of summer but there's a [TS]

00:34:36   sock hop so I guess that maybe the high [TS]

00:34:38   schools already started and so that [TS]

00:34:40   they've got an event at the at the gym [TS]

00:34:42   yeah it's like it's like the orientation [TS]

00:34:44   and it's hard to say not to see that as [TS]

00:34:47   a kind of a weed a scene with a lot of [TS]

00:34:50   yet with an American Bandstand kind of [TS]

00:34:54   dancing and things like that and so it's [TS]

00:34:57   it's it's in there that's by the way [TS]

00:34:59   speaking of locations that's the that's [TS]

00:35:01   the gym at the high school my daughter [TS]

00:35:02   goes to 0 I thought I saw that Khris was [TS]

00:35:05   like oh that's reducing so yeah and [TS]

00:35:07   kathleen quinlan who is in this as [TS]

00:35:09   credit as Kathy because everybody hadn't [TS]

00:35:11   got their stage names front right yet [TS]

00:35:13   she did she's peg in this and she's so [TS]

00:35:16   she's City Williams friend um oh she's [TS]

00:35:19   great and and she was she had just [TS]

00:35:21   graduated from that high school when she [TS]

00:35:23   was in this movie with the scene set [TS]

00:35:25   that she's in at the high school gym [TS]

00:35:27   it's just what a weird experience to [TS]

00:35:29   graduate from high school and [TS]

00:35:31   and then being a feature film in your [TS]

00:35:33   gym it's totally crazy she is such a [TS]

00:35:35   wonderful silver of discord oh yeah yeah [TS]

00:35:40   Skyrim scenes are all good in this movie [TS]

00:35:41   when their kids were talking to each [TS]

00:35:43   other in the bathrooms even like the [TS]

00:35:44   boys making fun of the the zip makeup [TS]

00:35:47   and then showing it Cherry Bomb you're [TS]

00:35:50   right man through the one in there cuz [TS]

00:35:52   this the thing that happens and the [TS]

00:35:52   girls saying you know that you forget it [TS]

00:35:54   this guy's leaving you gotta forget [TS]

00:35:56   about them what do you have to see him [TS]

00:35:57   forever like just the snare rank talk [TS]

00:35:59   among once the de genders are separated [TS]

00:36:01   in in their bathroom environments all [TS]

00:36:02   while looking in the mirrors that was [TS]

00:36:03   all good yep know if you go to the [TS]

00:36:06   bathroom as a girl in high school you [TS]

00:36:07   you develop like five best friends as [TS]

00:36:09   you talk over the sink truth sir [TS]

00:36:12   exchanged insights are plumbed it's it's [TS]

00:36:15   it's beautiful come to think of it and [TS]

00:36:17   that's one of the few see well that's [TS]

00:36:18   actually my biggest complaint about [TS]

00:36:20   american graffiti is is perhaps that is [TS]

00:36:24   really and again it's a product of the [TS]

00:36:26   filmmaker because george lucas has never [TS]

00:36:28   been known to be particularly and and [TS]

00:36:30   empathetic towards lots of different [TS]

00:36:33   points of view but it's a story in which [TS]

00:36:35   the women aren't really people most of [TS]

00:36:37   the time yeah and right but tivity to be [TS]

00:36:40   fair the men aren't always people still [TS]

00:36:44   you have but still you have for you have [TS]

00:36:46   four characters whose stories are [TS]

00:36:47   treated as important true and in every [TS]

00:36:50   one of those stories a woman can nudge [TS]

00:36:51   the action along or she can be the [TS]

00:36:53   reward at the end of the action or what [TS]

00:36:55   have you but the scene where the women [TS]

00:36:57   are talking in the bathroom is literally [TS]

00:36:59   the only time in the movie where like [TS]

00:37:01   they're acknowledged as human beings [TS]

00:37:02   that are actually the stars of their own [TS]

00:37:05   stories and have their own motivations [TS]

00:37:06   and aspirations separate of how they [TS]

00:37:09   interact with these these turkeys and [TS]

00:37:10   chinos yeah and and so that's one of the [TS]

00:37:12   reasons i like it so much is because it [TS]

00:37:14   actually treats the women as people and [TS]

00:37:16   that doesn't happen in a whole lot of [TS]

00:37:18   the other seems i do like that Cindy [TS]

00:37:20   Williams right because in the script it [TS]

00:37:23   Ron Howard basically says how we're [TS]

00:37:24   gonna see other people right and she's [TS]

00:37:26   like um right I mean I like that I like [TS]

00:37:28   that she is acting of her own [TS]

00:37:30   self-interest and her own best interest [TS]

00:37:32   through this movie because I feel like [TS]

00:37:33   you know she could have been written [TS]

00:37:35   another way where she was like oh sure [TS]

00:37:37   whatever you say Steve I didn't I felt [TS]

00:37:40   like that scene she was she it seemed [TS]

00:37:42   like she was had been so conditioned her [TS]

00:37:43   entire life [TS]

00:37:44   be agreeable the one presented with [TS]

00:37:46   something that was disagreeable it's [TS]

00:37:48   almost like she couldn't physically [TS]

00:37:50   disagree in the moment but merely had to [TS]

00:37:53   go all right I guess this is the thing [TS]

00:37:55   we're doing I must remain agreeable and [TS]

00:37:57   only later as the movie progresses like [TS]

00:37:59   wait a second that yes yeah culminating [TS]

00:38:01   in the scene where they're dancing and [TS]

00:38:02   she's pissed off of them and the [TS]

00:38:03   spotlight is on them oh this is like it [TS]

00:38:06   like it took her like three scenes to [TS]

00:38:07   figure out like wait wait a second what [TS]

00:38:09   do you even you know and then she's like [TS]

00:38:11   really had it by the time she's in the [TS]

00:38:12   car with Harrison Ford obviously mm-hmm [TS]

00:38:14   I also feel like again part of the the [TS]

00:38:16   way Steve is written is he's obviously [TS]

00:38:17   he's obviously been the town's golden [TS]

00:38:21   boy like you know adults like him and he [TS]

00:38:23   was probably God's person Senor soup [TS]

00:38:25   relatives and teachers went easy on him [TS]

00:38:27   and there was always this presumption [TS]

00:38:29   that Steve deserved to succeed and when [TS]

00:38:32   you are the girlfriend of the Golden Boy [TS]

00:38:34   you are from like you that's one of the [TS]

00:38:36   trade-offs you make as well you know of [TS]

00:38:38   course why wouldn't you go along with [TS]

00:38:40   him he's obviously right he's set up and [TS]

00:38:41   then she realizes it no actually he's a [TS]

00:38:44   turkey I hate it when Richie and Shirley [TS]

00:38:47   fight though it isn't sad yeah I don't [TS]

00:38:49   know how he got his on TV I mean I you [TS]

00:38:51   know the chronology is backwards but [TS]

00:38:52   like he does not have a lot of charisma [TS]

00:38:54   in this movie I feel like of all the [TS]

00:38:55   people in this may I think Richard [TS]

00:38:56   Dreyfuss has more charisma than run time [TS]

00:38:58   in this movie well and not to not to [TS]

00:39:01   delve into happy days um uh huh [TS]

00:39:04   backstory but really it was kind of [TS]

00:39:07   conceived that Anson Williams would be [TS]

00:39:10   as like a co-lead in that series along [TS]

00:39:14   with Richie Cunningham and then everyone [TS]

00:39:16   gravitated towards Fonzarelli yeah which [TS]

00:39:19   it who is I would say when I saw John [TS]

00:39:21   the first time in this I always like oh [TS]

00:39:24   he's a he's he's he's the Fonzie right [TS]

00:39:26   here than Fonzie like I i I'd also heard [TS]

00:39:31   the connection between the show and [TS]

00:39:32   happy days and I watched happy days you [TS]

00:39:33   know my whole childhood and this movie [TS]

00:39:36   could not be farther than happy days in [TS]

00:39:38   every at like the setting is the same [TS]

00:39:39   but in terms of tone and Carol shortened [TS]

00:39:41   and treatment it's like nothing from [TS]

00:39:44   this movie made it into a b days except [TS]

00:39:45   for the outfits yeah although Richie is [TS]

00:39:47   Jimmy's boring as Steve and that's what [TS]

00:39:49   I was going to say is that Ron Howard's [TS]

00:39:50   not that interesting and happy days too [TS]

00:39:52   that's why Swansea became the star but [TS]

00:39:54   but he works as a straight man for [TS]

00:39:56   Fonzie to be like it's because it's a [TS]

00:39:57   stupid comedy thing it's got to be like [TS]

00:40:00   you know he's he's your boring [TS]

00:40:01   protagonist who things happen to and [TS]

00:40:03   gets advised by the Alpha characters it [TS]

00:40:05   works in a sitcom thing problem with [TS]

00:40:07   Steve and Kurt both for me is there [TS]

00:40:10   clearly the two that we're supposed to [TS]

00:40:11   be relating the most to because health [TS]

00:40:14   John and Terry are they're both [TS]

00:40:15   caricature there on the outliers there's [TS]

00:40:17   getting around that and they're [TS]

00:40:18   interesting because of that because [TS]

00:40:20   because he does play a little with the [TS]

00:40:22   expectations on John and Terry's is kind [TS]

00:40:24   of funny but I think Lucas does a lot of [TS]

00:40:28   assuming here that we're just going to [TS]

00:40:30   see the inherent interestingness in [TS]

00:40:32   Steven Kurt because he does because [TS]

00:40:34   they're sort of him yes but there's just [TS]

00:40:36   nothing there so unless you're George [TS]

00:40:39   Lucas or somebody who grew up exactly [TS]

00:40:41   like George Lucas or one of these two [TS]

00:40:42   clowns that were supposed to relate to [TS]

00:40:43   you just can't well I like so I mean I [TS]

00:40:46   was going to bring up that because we [TS]

00:40:47   probably should talk about Richard [TS]

00:40:49   Dreyfuss is Kurt in his story I think I [TS]

00:40:52   think what's interesting about that from [TS]

00:40:54   my perspective is he seems he's he's [TS]

00:40:57   this kind of wishy-washy guy right the [TS]

00:40:59   first time we see him he's like I'm [TS]

00:41:00   probably not going to go i don't know [TS]

00:41:01   and all that but so so he served meant [TS]

00:41:03   to be frustrating and infuriating and [TS]

00:41:05   then he has a wacky like a series of [TS]

00:41:09   wacky adventures like the wacky [TS]

00:41:12   adventure plot I saved him from last [TS]

00:41:15   because the of all the plot lines it's [TS]

00:41:18   the it felt the most contrived to me [TS]

00:41:21   where he falls in with the local gang of [TS]

00:41:23   toughs yeah feroz i gotta say i love [TS]

00:41:28   parts of the pharaohs and and Kurt plot [TS]

00:41:32   and I think it actually goes well with [TS]

00:41:34   with the with the toad plot too because [TS]

00:41:37   these are the a sequence of unlikely [TS]

00:41:39   events that keep happening and you it's [TS]

00:41:41   a long boy I it was a long night you [TS]

00:41:44   know it's one of those kind of stories [TS]

00:41:45   where this happened and this happened [TS]

00:41:46   and I kind of like movies like this this [TS]

00:41:49   is one of the reasons I like after hours [TS]

00:41:50   with Griffin Dunne it's similarly like a [TS]

00:41:53   series of ridiculous event someone has [TS]

00:41:55   to like that movie it is well I I you [TS]

00:41:57   know back when with Griffin Dunne was a [TS]

00:41:58   movie star for the 90 minute runtime of [TS]

00:42:00   that movie and then that was again um I [TS]

00:42:02   think there is a genre of you know what [TS]

00:42:05   happens [TS]

00:42:06   at 4am I'm crazy night man exactly right [TS]

00:42:10   well that's and that's what happens here [TS]

00:42:11   and and i think i think the moment that [TS]

00:42:14   that it turned the corner for me is [TS]

00:42:16   there's that scene where they're they're [TS]

00:42:18   gonna go in and rob the restaurant [TS]

00:42:22   that's got the the the pinball machines [TS]

00:42:25   yeah yeah this whole place is for fun [TS]

00:42:27   and and they and and they know him they [TS]

00:42:31   know Kurt he's the golden boy he's there [TS]

00:42:33   the guy dr. scholarship yeah yeah fine [TS]

00:42:37   mousse someday and I think I think [TS]

00:42:40   that's funny because it's like what's [TS]

00:42:42   gonna happen now and he and he you know [TS]

00:42:44   he talks to them while the other guys [TS]

00:42:46   steal the money from the pinball machine [TS]

00:42:47   and then they go and and then and then [TS]

00:42:50   tie the chain to the car of a cop and [TS]

00:42:52   tear the cop car part in the any [TS]

00:42:54   big-budget action sequence of the film [TS]

00:42:57   which is one of them yes and what one of [TS]

00:43:00   one of the three anyway there are others [TS]

00:43:03   i like i like the welders there's a car [TS]

00:43:06   race as a car race at the end there's [TS]

00:43:08   the slap fight and that's about it we [TS]

00:43:12   haven't mentioned the the the the most [TS]

00:43:14   compelling part of the Richard Dreyfuss [TS]

00:43:17   storyline which is he sees Suzanne [TS]

00:43:19   Somers yelling and is just and and she [TS]

00:43:23   mouths I love you Adam and he is smitten [TS]

00:43:25   and needs to find out who and his night [TS]

00:43:29   is basically I need to find out who this [TS]

00:43:31   girl is because the game is cruising for [TS]

00:43:33   women and the ultimate winning of the [TS]

00:43:35   game is cruising for the special woman [TS]

00:43:37   who will cure everything the magic [TS]

00:43:38   blonde well I used compelling there were [TS]

00:43:42   air quotes I'm sorry those didn't okay [TS]

00:43:44   good good over the transom but I thought [TS]

00:43:47   I was gonna have to know life is called [TS]

00:43:48   the movie seemed mostly in on that like [TS]

00:43:50   that it was saying look look at this guy [TS]

00:43:52   he's in such dire straits that yes for [TS]

00:43:54   anything to hang on to and he sees the [TS]

00:43:55   imaginary woman Chevy Chase ferrari [TS]

00:43:57   Christie Brinkley style and this like [TS]

00:43:59   this is his lifeline and we we are [TS]

00:44:01   laughing at him and realizing this is [TS]

00:44:03   not going to save him but by the end of [TS]

00:44:05   the movie he's looking longingly at the [TS]

00:44:07   plane window at a white car and I hope [TS]

00:44:08   he's realizing that that was not the [TS]

00:44:11   wait but it's almost as if like I know [TS]

00:44:13   you're still out there pretty brown lady [TS]

00:44:15   I'm flying wet I don't I don't [TS]

00:44:18   understand it the movie was [TS]

00:44:19   the same page as me about the but the [TS]

00:44:21   futility of tying your hopes to nabbing [TS]

00:44:25   the just the right prey animal in [TS]

00:44:27   cruising as a solution to your life's [TS]

00:44:28   problems I was gonna say I think she's [TS]

00:44:30   imaginary oh yeah absolutely is Christie [TS]

00:44:33   Brinkley was real though right and I [TS]

00:44:36   guess yes yes Griswold works in the land [TS]

00:44:38   of reality um I think when he's my I [TS]

00:44:41   think when he's flying away and he sees [TS]

00:44:43   her driving down the road that's one of [TS]

00:44:46   those moments where he realizes that ok [TS]

00:44:48   did the the town that I thought I grew [TS]

00:44:50   up and in the life that I thought I had [TS]

00:44:52   there that's not entirely real either [TS]

00:44:54   and that woman that fantasy of who she [TS]

00:44:56   has belongs to his fantasy of who he was [TS]

00:44:58   in that town and and I think that's what [TS]

00:45:01   that's supposed to symbolize is you know [TS]

00:45:03   it's it's basically like one it's [TS]

00:45:06   basically two steps before a bunch of [TS]

00:45:07   jet goes Jedi watching Darth Darth [TS]

00:45:09   Vader's helmet burn with the evil ha no [TS]

00:45:11   no Lisa you you were telling me [TS]

00:45:13   originally they were gonna do like a [TS]

00:45:14   thing in the opening where Chris at [TS]

00:45:16   Suzanne Somers like appears and so on [TS]

00:45:20   and and transparent so the idea is that [TS]

00:45:22   you see that she's always a phantom and [TS]

00:45:23   a hallucination realm dog that would [TS]

00:45:25   have been terrible than having to rather [TS]

00:45:28   than having today I I feel like it's [TS]

00:45:30   obvious from the movie both because [TS]

00:45:32   everybody has like a myth about her [TS]

00:45:34   she's a kept woman she's a prostitute [TS]

00:45:36   yeah I like my different stories about [TS]

00:45:38   her because it says like a small town [TS]

00:45:39   like oh I know you're talking about no [TS]

00:45:41   no she's she's the wife of this old [TS]

00:45:42   person oh she's a prostitute she's like [TS]

00:45:44   everyone knows who he's talking about [TS]

00:45:46   even though it's not yeah well they all [TS]

00:45:47   have this same fantasy yeah and then [TS]

00:45:50   there's the phone call that happens [TS]

00:45:51   where it's just incredibly vague and [TS]

00:45:53   what's really notable about that phone [TS]

00:45:54   call is she doesn't say a word about [TS]

00:45:56   herself she doesn't mention her name she [TS]

00:45:58   doesn't say anything it's all she's [TS]

00:46:00   basically a mirror reflecting his desire [TS]

00:46:02   back at him and I think he finally gets [TS]

00:46:05   that or he's like okay hey this is this [TS]

00:46:08   is clearly not going to work because [TS]

00:46:09   you're just echoing you failed the [TS]

00:46:11   Turing test some great so you're gonna [TS]

00:46:14   said since the phone woke him from sleep [TS]

00:46:15   he never actually woke up oh yes that [TS]

00:46:19   seems pretty clearly telegraphed at [TS]

00:46:21   least to me what I do like about his [TS]

00:46:23   quest and she is I think meant to be an [TS]

00:46:25   impossible dream and write what I do [TS]

00:46:28   like about his quest honestly the thing [TS]

00:46:30   I like about it the most is it leads him [TS]

00:46:32   out [TS]

00:46:32   to the radio station and go and and the [TS]

00:46:36   radio station so on the outskirts of [TS]

00:46:38   town and I've been I've been in that [TS]

00:46:41   radio station basically like I know [TS]

00:46:43   that's what it is in the valley like you [TS]

00:46:45   just go out of stretch of road and [TS]

00:46:46   there's a transmitter and there's and [TS]

00:46:48   and wolfman jack is there and wolfman [TS]

00:46:50   jack this this movie spend a huge [TS]

00:46:54   percentage of its budget on music like [TS]

00:46:56   $80,000 of the budget is music there's [TS]

00:46:59   no score wisely the score is classic [TS]

00:47:02   hits from the 50s and early 60s it sits [TS]

00:47:05   right up to 62 where it's set and [TS]

00:47:08   wolfman jack is the DJ and then he [TS]

00:47:11   appears at the end of the movie when [TS]

00:47:12   Richard Dreyfuss goes and talks to him [TS]

00:47:14   and he makes the request to out to the [TS]

00:47:17   blonde in the t-bird and what I wanted [TS]

00:47:20   to say is I love the I love the [TS]

00:47:22   soundtrack I love the way it's it's done [TS]

00:47:25   where it's mostly ambient it's just like [TS]

00:47:28   the music is playing and then [TS]

00:47:29   everybody's tuned to the same radio and [TS]

00:47:31   and it is there is nothing more [TS]

00:47:34   evocative of a hot summer night then [TS]

00:47:37   everybody driving around with their [TS]

00:47:38   windows rolled down and the radio coming [TS]

00:47:41   and especially if everybody's listening [TS]

00:47:42   to the same radio station and it's just [TS]

00:47:44   everywhere and then you add that it's [TS]

00:47:46   the period music to set that tone it's [TS]

00:47:49   brilliant it's my favorite thing about [TS]

00:47:50   this movie is and every so often the [TS]

00:47:52   lyrics match up to what's going on [TS]

00:47:54   on-screen yes I was about to say quite a [TS]

00:47:56   lot of the time it does because that [TS]

00:47:58   there's a lot of really good musical [TS]

00:48:02   jokes at toad's except the music is [TS]

00:48:05   mixed kind of like a Scorsese movie [TS]

00:48:06   though where it's like it's not afraid [TS]

00:48:08   to put the music out front sort of in [TS]

00:48:10   the mix where the music is actually more [TS]

00:48:12   dominant than the dialogue where it just [TS]

00:48:14   overwhelmed because that is that it is [TS]

00:48:15   the point of the scene it's like [TS]

00:48:16   basically a music video and also there [TS]

00:48:18   are some lines of dialogue and disperse [TS]

00:48:19   with it so again getting what you're [TS]

00:48:21   saying Jason were like the music [TS]

00:48:24   permeates and pervades everything to the [TS]

00:48:26   point where the conversation you're [TS]

00:48:27   having with the car realistically is [TS]

00:48:28   very often difficult to hear over the [TS]

00:48:30   sound of the music and all the other [TS]

00:48:31   things that are going on and I [TS]

00:48:32   definitely got that feel I mean I don't [TS]

00:48:35   know when one was mean streets was mean [TS]

00:48:36   streets before this this was a 73 at the [TS]

00:48:40   same time actually yeah but anyway [TS]

00:48:42   square sees would do it even more later [TS]

00:48:44   of like I literally putting the [TS]

00:48:46   loud you know pop music soundtrack out [TS]

00:48:49   in front of everything else including a [TS]

00:48:51   dialogue which definitely changes the [TS]

00:48:53   feel of the movie and I mean and and it [TS]

00:48:56   gives gives a feel for place in time in [TS]

00:48:58   a way that even just like the outfits in [TS]

00:49:00   the cars doesn't that's right i had to [TS]

00:49:02   look up the beach boys track because i [TS]

00:49:03   like surely that wasn't in 1962 and I [TS]

00:49:05   was like yeah it absolutely was it was [TS]

00:49:07   the song of the summer that year George [TS]

00:49:09   Lucas knew I mean they this was a this [TS]

00:49:11   was and this was the trade-off right [TS]

00:49:12   we're not going to have a score but wit [TS]

00:49:14   but that the radio hits are going to be [TS]

00:49:16   the score and it works so well it is so [TS]

00:49:20   good yeah I'm ambivalent about most of [TS]

00:49:22   the the Richard Dreyfuss storyline but I [TS]

00:49:25   do love that scene with Wolfman Jack [TS]

00:49:26   because that that is the it's all a [TS]

00:49:29   facade kid yeah it's all have a popsicle [TS]

00:49:32   chemical not know what wolfman jack [TS]

00:49:34   looked like back then cuz I know what he [TS]

00:49:36   looks like when I was a kid you saw the [TS]

00:49:37   Hollywood Squares he had the Saturday [TS]

00:49:39   morning cartoon yeah after American [TS]

00:49:41   Graffiti he became you know he was big [TS]

00:49:44   but you know in this scenario where he [TS]

00:49:47   has two Scooby squad saw did you guys [TS]

00:49:49   follow DJ's was that only something cuz [TS]

00:49:52   my girlfriends and I used to have [TS]

00:49:53   favorite djs because you know again when [TS]

00:49:55   you're a teenager music is the the pulse [TS]

00:49:58   of every social interaction and my [TS]

00:50:01   girlfriends and I could name all of the [TS]

00:50:03   different djs in all the different [TS]

00:50:04   stations and you know we didn't know [TS]

00:50:08   what they look like though we just knew [TS]

00:50:09   them by their voices we could even [TS]

00:50:10   rattle off whatever details they had or [TS]

00:50:12   whatever quirks and this was still back [TS]

00:50:14   when you could call the DJ and you have [TS]

00:50:16   a reasonable expectation of having to [TS]

00:50:17   pick up the phone and talk to you yeah [TS]

00:50:19   and so I think for these teenagers they [TS]

00:50:22   probably had this idea that Wolfman Jack [TS]

00:50:23   was one thing and then Kurt sees that [TS]

00:50:25   he's actually just died in a Hawaiian [TS]

00:50:27   shirt the guy an obstacle sure has to [TS]

00:50:30   talk to teenagers all night while eating [TS]

00:50:32   melting popsicles and he realizes that [TS]

00:50:34   oh my god oh my god this is my life has [TS]

00:50:38   been built on a lie my life isn't built [TS]

00:50:40   on a lie I'm gonna get on that plane god [TS]

00:50:43   damn it oh yeah because I tell you the [TS]

00:50:45   first time I saw a DJ and personal like [TS]

00:50:47   this guy sounds so much cooler when I [TS]

00:50:48   don't know what he looks like yeah yeah [TS]

00:50:51   the wolfman was a bit of an institution [TS]

00:50:52   it interestingly he does mention at one [TS]

00:50:55   point he calls out the address of a [TS]

00:50:57   little stall on [TS]

00:51:00   Street in Chula Vista California which [TS]

00:51:02   is where he actually broadcast from not [TS]

00:51:04   somewhere outside of Modesto yes I [TS]

00:51:06   thought it was interesting that they [TS]

00:51:07   left that in my understanding is [TS]

00:51:08   actually that the that a lot of his [TS]

00:51:11   interactions and including all the phone [TS]

00:51:14   calls were from the off air tapes of [TS]

00:51:17   Wolfman Jack shows those were real not [TS]

00:51:20   although there's apparently one where he [TS]

00:51:22   where George Lucas and Joe well of [TS]

00:51:25   course not is the guy in the pizza place [TS]

00:51:27   ooh I don't know what you're talking [TS]

00:51:29   about yeah so whatever happened to [TS]

00:51:32   George Lucas yeah I don't know they went [TS]

00:51:35   on to make little art films there's a [TS]

00:51:37   fair amount of the of the later Lucas [TS]

00:51:39   floating around in this primordial stew [TS]

00:51:41   here like there's a there's a line very [TS]

00:51:43   early on where John is talking to Steve [TS]

00:51:45   and and Lori about going to the hop and [TS]

00:51:48   he says you two just got out your ass [TS]

00:51:51   out of there even then Lucas couldn't be [TS]

00:51:54   bothered with the second take it's not [TS]

00:51:56   obviously a shank line could very easily [TS]

00:51:58   have been redone it's like now that [TS]

00:52:00   seems pretty good let's go with that yep [TS]

00:52:02   i will say in Lucas's defense again as [TS]

00:52:07   it was with Terry crashing his his [TS]

00:52:10   scooter that a lot of it was if this is [TS]

00:52:14   going to look like an authentic teen [TS]

00:52:15   movie let's have them be stumbly and and [TS]

00:52:19   bad with the dialogue and and and and [TS]

00:52:23   choke on their lines so that it it [TS]

00:52:24   sounds like actual 17 and 18 year olds [TS]

00:52:27   talking his one good idea in this movie [TS]

00:52:30   that he shot a chronological wasn't oh [TS]

00:52:32   yeah his claim to fame directorial ii [TS]

00:52:34   speaking he had one good idea once in [TS]

00:52:36   his life and was used to good effect so [TS]

00:52:38   it might be end of the movie everybody [TS]

00:52:39   looked tired because they were tired we [TS]

00:52:42   should talk about the the ending of the [TS]

00:52:44   movie just because we've we've kind of [TS]

00:52:45   danced around it and also we've been had [TS]

00:52:47   a like an hour time to move on after we [TS]

00:52:49   talked about the ending where they all [TS]

00:52:50   come back together is all night long a [TS]

00:52:53   young racer has been looking for the [TS]

00:52:56   Paula Matt character it's played by [TS]

00:52:58   Harrison Ford who refused to cut his [TS]

00:53:00   hair for the movie which is why he wears [TS]

00:53:02   that ridiculous cowboy yeah I like that [TS]

00:53:04   cowboy hat the reason i like is it shows [TS]

00:53:06   this is a guy who's hanging on to what [TS]

00:53:08   his conception of cool was back when he [TS]

00:53:09   was a teenager so he's Bob falfa [TS]

00:53:12   it's also telling that an almost named [TS]

00:53:14   every every scene he appears and he has [TS]

00:53:17   a different girl in the car because he's [TS]

00:53:19   just unpleasant to be her Oh Bob's alpha [TS]

00:53:22   mm-hmm and so he and John Milner finally [TS]

00:53:27   have their big race in Road in petaluma [TS]

00:53:29   that I've drove driven down many times [TS]

00:53:31   and uh Cindy Williams is sitting in the [TS]

00:53:36   car with Bob falfa because she's trying [TS]

00:53:38   to get back at at poor Ronnie Howard [TS]

00:53:40   toad gets to start the race which is you [TS]

00:53:44   know the highlight of toads life up [TS]

00:53:46   until the point that he got to hang out [TS]

00:53:49   with candy clark for the evening there's [TS]

00:53:52   a race Bob thatha's clearly beating John [TS]

00:53:56   Milner and then Bob falfa spins out has [TS]

00:53:59   a crash that's when if Steve hadn't [TS]

00:54:02   decided that he was staying in modesto [TS]

00:54:04   that's when he realizes that he is and [TS]

00:54:07   Paula Matt realizes oh god I'm not a kid [TS]

00:54:11   anymore I'm I'm mortal and no way John [TS]

00:54:15   you're the best ever over the okay toad [TS]

00:54:19   will take them all eventually agrees [TS]

00:54:21   it's like you know what you're right i [TS]

00:54:22   will be the best forever the very next [TS]

00:54:24   scene is just Richard Dreyfuss getting [TS]

00:54:26   on that plane flying off to his big [TS]

00:54:28   fancy college back east Ronnie Howard [TS]

00:54:31   seen behind saying hey I'll be there in [TS]

00:54:33   a year no you won't know and you you [TS]

00:54:36   failed the small town test but here this [TS]

00:54:38   small town test you have an F yeah I [TS]

00:54:41   feel like when they do the little [TS]

00:54:42   capsule descriptions at the end and it [TS]

00:54:43   turns out that toad is dead and uh John [TS]

00:54:47   is dead that as far as Lucas is [TS]

00:54:49   concerned steve is also as good as dead [TS]

00:54:51   because he stayed in modesto ain't got [TS]

00:54:53   the granite us so he's also dead so [TS]

00:54:54   everyone's dead he's a writer he's ok [TS]

00:55:00   he's a writer yeah yeah he's a writer [TS]

00:55:01   the ultimate the ultimate life victory [TS]

00:55:03   you know he made I'm wondering if the [TS]

00:55:04   whole point to him being in Canada's [TS]

00:55:06   he's a draft dodger that's what my yeah [TS]

00:55:07   exactly that's not your instil because [TS]

00:55:10   I'm like oh cannon on my dad like know [TS]

00:55:11   that he dodged the draft like oh yeah [TS]

00:55:13   thank you know I'm better and I had not [TS]

00:55:15   considered that yeah he could have saved [TS]

00:55:16   his friend toad but nope he was writing [TS]

00:55:19   yes last time I saw this movie was many [TS]

00:55:22   years ago [TS]

00:55:23   when I'm watching it again like I [TS]

00:55:25   remembered most of the movie in broad [TS]

00:55:27   strokes but when they're doing the car [TS]

00:55:28   race scene for a moment I said I'll wait [TS]

00:55:30   a second is this where Cindy William [TS]

00:55:32   dies like I meant the whole thing of [TS]

00:55:34   like oh you got to be careful she does [TS]

00:55:36   she doesn't want to be in the car you [TS]

00:55:37   got to get out of the car you know like [TS]

00:55:40   I knew the car was gonna crash because I [TS]

00:55:41   remember that I know he's gonna win the [TS]

00:55:42   race because of a congress like did they [TS]

00:55:44   kill her is that is at the end like if [TS]

00:55:46   this movie was a little bit deeper into [TS]

00:55:47   the 70s and was directed by someone [TS]

00:55:48   other than George Lucas she would have [TS]

00:55:50   died in that thing like that would have [TS]

00:55:51   been really close if it would have been [TS]

00:55:54   Martin Scorsese she would have been [TS]

00:55:56   wearing a red dress like it's time her [TS]

00:56:00   you know that their relationship they [TS]

00:56:01   couldn't get it together and like you [TS]

00:56:03   want to seize other people and they're [TS]

00:56:05   just going in different directions and [TS]

00:56:06   she just was goes into a car with a [TS]

00:56:07   stranger and it's a bad choice and she [TS]

00:56:10   wants out but then she wants to get back [TS]

00:56:11   at him and she's in the car just you [TS]

00:56:13   know you get what are you doing in that [TS]

00:56:14   car sir john tells her to get out the [TS]

00:56:15   car she says just be quiet and then she [TS]

00:56:18   dies in a car wreck i met honestly that [TS]

00:56:19   wreck with like no seat belts in that [TS]

00:56:20   high of a car they're not walking away [TS]

00:56:22   from that instead she gets up and she's [TS]

00:56:24   so spunky she's hitting Ron Howard two [TS]

00:56:25   seconds later so yeah I mean I'm glad [TS]

00:56:28   she didn't but it would have been even [TS]

00:56:30   more 70s movie and a very different [TS]

00:56:32   movie if she had died in that car [TS]

00:56:34   because that really would have taught [TS]

00:56:35   Steve you know like you've made some bad [TS]

00:56:37   choices yeah this is pretty early 70s [TS]

00:56:40   things didn't really get gritty and [TS]

00:56:41   nasty for a few more years yeah this was [TS]

00:56:44   one of the first movies to do that [TS]

00:56:45   epilogue were at post and here's what [TS]

00:56:48   happened to all those characters we [TS]

00:56:49   haven't with two hours which animal [TS]

00:56:52   house kind of took the piss out of five [TS]

00:56:54   years late I love I love both as that [TS]

00:56:56   belongs so much without senator [TS]

00:56:58   blutarsky and wife and that's when you [TS]

00:57:00   have to end the epilogue at the end of [TS]

00:57:02   year the movie Vietnam is hanging over [TS]

00:57:04   this movie so you kind of almost have to [TS]

00:57:06   say because because this is the question [TS]

00:57:09   you're watching a movie set 10 years in [TS]

00:57:11   the past these are a bunch of high [TS]

00:57:12   school kids Vietnam is happening what [TS]

00:57:15   you know what's going to happen and so [TS]

00:57:17   you kind of have to say yeah he went off [TS]

00:57:18   and died in Vietnam and and and so I [TS]

00:57:22   feel like it almost requires that you [TS]

00:57:25   address that and so there it is you know [TS]

00:57:27   he didn't make it back and you know this [TS]

00:57:29   guy stayed in town sells insurance or [TS]

00:57:32   whatever and then this guy went to [TS]

00:57:34   Canada and as a writer and [TS]

00:57:35   III yeah yeah I wanted to say before we [TS]

00:57:39   move on that I did watch this movie [TS]

00:57:42   thinking what would George Lucas have [TS]

00:57:46   been as a filmmaker if he hadn't made [TS]

00:57:49   Star Wars or if he had or if Star Wars [TS]

00:57:52   had not succeeded because I feel like he [TS]

00:57:55   might have had a very interesting and [TS]

00:57:58   very different career trajectory based [TS]

00:58:00   on this film because I think this is a [TS]

00:58:03   really well made film it's got some [TS]

00:58:05   issues but I think it's really well-made [TS]

00:58:06   and evocative and given the budget and [TS]

00:58:08   then you know and then he made Star Wars [TS]

00:58:10   which is a huge hit and is a great movie [TS]

00:58:12   but I do i do wonder cuz and that's the [TS]

00:58:14   shame of it is that you know that guy [TS]

00:58:16   never made another movie right after [TS]

00:58:18   Star Wars he never he never got the [TS]

00:58:20   chance to make another movie because by [TS]

00:58:21   the time he was directing movies again [TS]

00:58:22   it wasn't the same guy it wasn't the guy [TS]

00:58:24   who made our American Graffiti it was [TS]

00:58:26   the builder of an empire and it's a [TS]

00:58:28   little bit it's a little bit of a shame [TS]

00:58:30   i think because i would have been [TS]

00:58:31   interested to see him take a more 70s [TS]

00:58:35   cinema path instead of you know what [TS]

00:58:38   ended up happening which was that he [TS]

00:58:40   became star wars incorporated i would [TS]

00:58:42   have liked to have seen the modesto [TS]

00:58:43   trilogy yeah of your of your 70s [TS]

00:58:47   directors your Martin Scorsese's your [TS]

00:58:49   Francis Ford Coppola 'he's you can even [TS]

00:58:51   include brian de palma in that group and [TS]

00:58:54   Spielberg George Lucas's career path [TS]

00:58:58   kind of became the least interesting [TS]

00:59:01   right of those in that like you say it [TS]

00:59:03   became George Lucas industry as words we [TS]

00:59:06   got to move some Kenner action figures [TS]

00:59:08   guys oh and he obviously made a decision [TS]

00:59:11   to lean into the business side to not [TS]

00:59:13   even direct the second and third films [TS]

00:59:15   to do all of that he could have [TS]

00:59:17   potentially made a different decision [TS]

00:59:20   love with the visual effects too because [TS]

00:59:22   it seems like a lot of his death was [TS]

00:59:23   driven by it doesn't look like the [TS]

00:59:25   pictures in my head and it became less [TS]

00:59:27   about what is the story I'm telling him [TS]

00:59:29   more about how is the story being [TS]

00:59:31   presented visually it's like that dude [TS]

00:59:33   in Boston who got so into the technology [TS]

00:59:36   in the engineering that he dropped out [TS]

00:59:38   of the band to just do recording [TS]

00:59:40   technology fault you know you know you [TS]

00:59:43   get some people who get sidetracked by [TS]

00:59:45   by it doesn't match what's in my head [TS]

00:59:47   and they [TS]

00:59:49   they put there was a narrative thread [TS]

00:59:50   because we can give George a lot of crap [TS]

00:59:52   for what he did later in his career but [TS]

00:59:54   yes you know this is a good movie and [TS]

00:59:55   star wars is a really great movie and [TS]

00:59:57   and then it was so [TS]

00:59:57   and then it was so [TS]

01:00:00   successful that we never saw this young [TS]

01:00:02   filmmaker make up what would the next [TS]

01:00:04   one have been we'll we'll never know [TS]

01:00:05   arguably this is the movie where he was [TS]

01:00:07   most moderated by the influence of [TS]

01:00:09   others who were shoring up his [TS]

01:00:10   weaknesses you know I mean yes you're [TS]

01:00:12   like so like this this is this is a [TS]

01:00:14   rookie type of thing every when he's [TS]

01:00:17   left completely on his own you get THX [TS]

01:00:19   1138 or you know the prequels and in [TS]

01:00:22   between their varying degrees of [TS]

01:00:23   moderation and writing help and ability [TS]

01:00:26   to say no to him that allowed the good [TS]

01:00:29   things I mean that's that's arguably [TS]

01:00:30   what what a Hollywood production machine [TS]

01:00:32   is supposed to do it take talent and [TS]

01:00:34   allowed their good aspects that come [TS]

01:00:35   through in the places where they lack [TS]

01:00:37   fill those gaps I agree this is a movie [TS]

01:00:39   that's that's put together and very [TS]

01:00:40   interestingly particularly as you [TS]

01:00:42   already called out Jason the way the [TS]

01:00:43   soundtrack works is very cool I also [TS]

01:00:46   want to call out the scene where Kurt is [TS]

01:00:48   cabling the police car and there's an [TS]

01:00:51   approaching train which he uses kind of [TS]

01:00:54   his building music it's almost like you [TS]

01:00:56   know his heart beating as he got caught [TS]

01:00:58   and the and as just as he's about to [TS]

01:01:01   cable the car that the train skids to a [TS]

01:01:03   halt and you hear that brake squeal and [TS]

01:01:05   it goes very quiet and it's just a [TS]

01:01:07   beautifully shot wonderfully tense scene [TS]

01:01:11   in the middle of this otherwise almost [TS]

01:01:12   tension free movie and it's very cool [TS]

01:01:15   and I I do tend to give Lucas a lot of [TS]

01:01:17   crap but that's that is a sign of where [TS]

01:01:21   he had some definite genius this movie [TS]

01:01:23   looks good too like no visual effects [TS]

01:01:24   but you know that the change in quality [TS]

01:01:27   of the light as the night progresses and [TS]

01:01:30   comes morning works beautifully and is [TS]

01:01:32   we've pretty well throughout the movie [TS]

01:01:34   even though they're jumping around from [TS]

01:01:35   location to location the night scenes [TS]

01:01:36   with the streetlights and the cars and [TS]

01:01:39   shiny chrome yeah the setting is perfect [TS]

01:01:41   this setting is just straight-up perfect [TS]

01:01:43   i will say that i had not seen this [TS]

01:01:45   movie before although i'd seen bits and [TS]

01:01:48   pieces of it many many times over the [TS]

01:01:50   years is the first time i sat down and [TS]

01:01:51   watched it end to end and while I i I'm [TS]

01:01:55   glad I watched it and I enjoyed the [TS]

01:01:57   experience this is a slow movie it's [TS]

01:02:02   deliberately paced yes it is but it's [TS]

01:02:04   it's you know it's I know this this is a [TS]

01:02:06   fond remembrance of a bygone time right [TS]

01:02:08   and it's it's it's lucas is a nostalgia [TS]

01:02:11   trip and it's the nostalgia trip of [TS]

01:02:13   everybody who [TS]

01:02:13   grew up in that era and lived this but I [TS]

01:02:17   didn't and so the fact that we have to [TS]

01:02:20   linger on every moment of the sock hop [TS]

01:02:22   or Kurt strolling endlessly down the [TS]

01:02:24   halls of the high school and playing [TS]

01:02:26   with the lockers and stuff it just gets [TS]

01:02:28   it gets pretty tedious for me you didn't [TS]

01:02:31   say yeah the overwhelming feeling of [TS]

01:02:32   heartbreak keeping you attached to the [TS]

01:02:34   movie like I didn't I think Lisa did to [TS]

01:02:36   like just that just that the entire [TS]

01:02:38   movie like I was surprised by my [TS]

01:02:40   reaction too because I had seen it many [TS]

01:02:41   many times in the past but not for many [TS]

01:02:43   years and seeing it maybe I'm older and [TS]

01:02:44   and more mushy now but like just just [TS]

01:02:48   the heartbreak that pervades the movie [TS]

01:02:50   because as an older person you know that [TS]

01:02:52   this is all you know yeah tell me turn [TS]

01:02:54   it I I think it's a mistake to dismiss [TS]

01:02:56   this totally as a nostalgia thing that [TS]

01:02:58   was a big thing in the 70s there was a [TS]

01:03:00   big let's make movies about the 1950s [TS]

01:03:03   and early 1960s like this and grease and [TS]

01:03:07   animal house and but III think this one [TS]

01:03:10   is better than those because that [TS]

01:03:13   there's actually a timeless poignancy to [TS]

01:03:17   it about what you lose as you get older [TS]

01:03:21   that that um Lucas briefly tapped into [TS]

01:03:25   um yeah well it briefly is the thing I [TS]

01:03:28   for me that I appreciate no because the [TS]

01:03:30   that's touched upon that's definitely [TS]

01:03:32   there but it is couched in so much of [TS]

01:03:34   the you know oh it's we gotta throw in a [TS]

01:03:36   cherry bomb and does it make up and [TS]

01:03:37   literally everything that happened in [TS]

01:03:39   the early 60s has to be compressed into [TS]

01:03:41   this one night and there's just so much [TS]

01:03:43   of it it just completely dilutes the the [TS]

01:03:45   poignancy of it for me and it's not [TS]

01:03:47   helped by the fact that I find both uh [TS]

01:03:48   Steven Curt stories totally uninspiring [TS]

01:03:52   yeah they're the least compelling yes [TS]

01:03:54   and I also not super pleased about the [TS]

01:03:56   image in my head i have now of George [TS]

01:03:58   Lucas rolling around in margarine which [TS]

01:04:00   could've done without but you know it's [TS]

01:04:05   it's this is a movie that I really [TS]

01:04:07   enjoyed uh I have a great deal of [TS]

01:04:09   respect for the way it's made the way [TS]

01:04:11   it's filmed um and I don't think I ever [TS]

01:04:14   need to wash it again right shall we [TS]

01:04:16   move on to get on our bikes and right [TS]

01:04:18   away yes cutter worse let's ride out of [TS]

01:04:23   the 1970s and into the early 1980s but [TS]

01:04:26   really [TS]

01:04:27   1979 it's breaking away time which is [TS]

01:04:31   suddenly town of Bloomington Indiana [TS]

01:04:34   home of the Indiana University yep and [TS]

01:04:37   we are our four heroes are Dave Mike [TS]

01:04:41   Cyril and moocher yes Yong Yong Beck [TS]

01:04:44   Hanson and several other 19 year olds [TS]

01:04:47   who uh basically are on their gap year [TS]

01:04:51   after graduating high school and they [TS]

01:04:55   are they are Tony's in a university town [TS]

01:04:59   where the smart handsome rich people [TS]

01:05:01   come to to learn and they are sort of [TS]

01:05:04   just they are beginning to realize that [TS]

01:05:07   they are likely going to be left behind [TS]

01:05:10   by all that nevertheless our hero is [TS]

01:05:14   Dave who is played by Dennis Christopher [TS]

01:05:17   and he has developed a a very particular [TS]

01:05:22   passion for bicycling um yeah especially [TS]

01:05:25   especially with the Italian team to the [TS]

01:05:28   point where he actually begins speaking [TS]

01:05:30   in a comical Italian accent oh and [TS]

01:05:35   shaving his legs and doing all sorts of [TS]

01:05:39   things to upset his father who's played [TS]

01:05:42   by the Magnificent oh so good Paul [TS]

01:05:46   Dooley in this role I'm your goddamn [TS]

01:05:48   father I'm not your super feet I'm not [TS]

01:05:51   your pop I'm your guy don't have any in [TS]

01:05:53   this house no yeah Tom oh really yes [TS]

01:05:56   really is pretty much is the best thing [TS]

01:06:00   in this movie for me was the opening [TS]

01:06:01   moments when the title card comes up and [TS]

01:06:03   it's like oh hey that guy's in this and [TS]

01:06:05   that guy and that guy and end of the one [TS]

01:06:08   guy I didn't know was of course the lead [TS]

01:06:10   yes ya know they suck his other friends [TS]

01:06:13   I should mention her plate by Dennis [TS]

01:06:14   Quaid who looks like he was carved from [TS]

01:06:16   Brock oh he's like a marble statue made [TS]

01:06:20   animate it's amazing he would maintain [TS]

01:06:22   that figure his whole life he was cut [TS]

01:06:25   out of that quarry there who just made [TS]

01:06:27   like a Greek god yep and then there's [TS]

01:06:29   Daniel Stern who again less carved but [TS]

01:06:33   still this is a reminder young actors [TS]

01:06:35   make sure you're in movies where you [TS]

01:06:36   take your shirt off a lot when you're [TS]

01:06:37   young yeah you're gonna wish you had [TS]

01:06:40   when you're [TS]

01:06:41   because this movie has a lot i mean the [TS]

01:06:43   70s in general had a lot of shirtless [TS]

01:06:45   men and this movie is like even just [TS]

01:06:46   even just in the sidelines in crowd [TS]

01:06:48   scenes maybe you know one at every [TS]

01:06:51   hundred men has no shirt it's just [TS]

01:06:53   normal hey that's what this movies about [TS]

01:06:55   right that's what his mom tells him to [TS]

01:06:57   keep your shirt off when you're young [TS]

01:06:58   and you can yep and some other words i [TS]

01:07:03   think but yeah that was the gist sure so [TS]

01:07:04   the other the other two friends are [TS]

01:07:06   Daniel Stern who is the awkward [TS]

01:07:07   apparently basketball-playing friend [TS]

01:07:10   when really Daniel Stern plays an [TS]

01:07:12   awkward loser yeah yeah no it's really [TS]

01:07:14   odd and then there's Jackie Earle Haley [TS]

01:07:16   who looks gross yeah as as mooch address [TS]

01:07:21   freckles he looks like every kid in 1979 [TS]

01:07:25   yeah basically Kelly leak gone to seed [TS]

01:07:27   from the bad news bears measure you can [TS]

01:07:30   see a comment in that movie too mm-hmm [TS]

01:07:32   so they are they are us they they they [TS]

01:07:35   are literally Steve from American [TS]

01:07:38   Graffiti stuck in the town but without [TS]

01:07:40   prospects other than Dave kind of being [TS]

01:07:43   into bicycling and um they get into some [TS]

01:07:47   fussing and some feuding with some of [TS]

01:07:49   the fraternity boys from from Indiana [TS]

01:07:51   University Dave uh finds himself uh [TS]

01:07:55   romancing a co-ed as it in his Italian [TS]

01:07:59   4700 coed who is apparently not very [TS]

01:08:03   bright because no accent not being [TS]

01:08:06   exactly Enrico Johnson Rico he's got a [TS]

01:08:09   Vespa he's very Italian and the best pop [TS]

01:08:13   on the fishing boat that is just cringey [TS]

01:08:15   ya know every every scene where he that [TS]

01:08:19   I have mixed feelings about that entire [TS]

01:08:22   plot line where he deludes this this [TS]

01:08:24   apparently dim young woman into [TS]

01:08:27   believing that he's from some Italian [TS]

01:08:29   fishing village because on the one hand [TS]

01:08:31   there is a certain sweetness to it in [TS]

01:08:33   their interactions and on the other hand [TS]

01:08:35   it's really freaking creepy it's very [TS]

01:08:37   sitcom and there's a lot of this movie [TS]

01:08:39   that feels like it was pulled from [TS]

01:08:41   television in in the 1970s and perhaps [TS]

01:08:45   not ironically it would become a sitcom [TS]

01:08:47   indeed after the success of this man I [TS]

01:08:49   mean a lot of the humor feels like it's [TS]

01:08:51   very very TV yeah there's [TS]

01:08:53   scene where Daniel Stern gets his [TS]

01:08:55   fingers stuck in the bowling ball that's [TS]

01:08:57   above the level of TV come on that's [TS]

01:08:59   quality entertainment no that's huge [TS]

01:09:02   level humor this is an eighties movie [TS]

01:09:04   like this is something movie made in 79 [TS]

01:09:06   but when he's swinging that bowling ball [TS]

01:09:08   around and they're having a brawl in the [TS]

01:09:09   bowling alley oop that's 80s movies jump [TS]

01:09:12   I do like that he just he's got a [TS]

01:09:15   bowling ball on his hand now all right [TS]

01:09:17   and then they go college kids account [TS]

01:09:19   the college boys are right out of 80 [TS]

01:09:21   central casting yeah yeah oh yeah think [TS]

01:09:23   they went they went straight to revenge [TS]

01:09:25   of the nerds after this mom justjust [TS]

01:09:26   ruled off of one set and read on to [TS]

01:09:28   another one the main body is played by [TS]

01:09:30   heart bochner Ellis UC San Diego [TS]

01:09:33   graduate who who you may remember [TS]

01:09:34   negotiating with the Hans Gruber yeah [TS]

01:09:37   naka Tony tower you could tell that's [TS]

01:09:40   how he would end up in this movie indeed [TS]

01:09:42   yes if they did the little American [TS]

01:09:45   Graffiti right exactly the end of the [TS]

01:09:47   movie he would be killed in knock to [TS]

01:09:49   meet our speaking of 80s movies and and [TS]

01:09:53   him there's that perfect scene at the [TS]

01:09:55   end where where everything is worked out [TS]

01:09:58   and Ellis can't help but smile and laugh [TS]

01:10:00   now but you got it it's the end of an [TS]

01:10:02   eighties movie you gotta be like Oh [TS]

01:10:03   nerds all right I'll see you guys are [TS]

01:10:05   okay those plucky cutters it and you can [TS]

01:10:08   almost hear him thinking you're all [TS]

01:10:09   right LaRussa that's really i want to [TS]

01:10:13   mention by the way the the dad the line [TS]

01:10:16   that i really like it was while we're [TS]

01:10:17   talking with the it's this whole Italian [TS]

01:10:18   plot the dead says at one point I don't [TS]

01:10:23   want any e me in this house zucchini [TS]

01:10:25   Fellini watch Gennie I asked my wife if [TS]

01:10:30   she didn't know with what zucchini was [TS]

01:10:31   because I found this an unbelievable [TS]

01:10:32   aspect of the movie that there could be [TS]

01:10:34   adults in the united states who didn't [TS]

01:10:36   know what zucchini was and she assures [TS]

01:10:38   me that it is at least plausible it's [TS]

01:10:40   just squad 1979 it's blooming it is [TS]

01:10:43   certainly plausible in Indiana yeah in [TS]

01:10:45   in nicely explained it's like a squash [TS]

01:10:47   you want some American food like french [TS]

01:10:49   fries as the child of two indiana [TS]

01:10:51   natives i can assure you this movie is [TS]

01:10:54   painfully accurate and they do not know [TS]

01:10:56   how to cook zucchini what do not know [TS]

01:10:58   what it is though they wouldn't know how [TS]

01:11:00   to cook it if you if Mario Batali showed [TS]

01:11:02   up in their house let's tell them it's [TS]

01:11:04   summer squash maybe they'll get it I [TS]

01:11:06   don't know [TS]

01:11:07   that's the rationalization I have for [TS]

01:11:08   Katherine believing his Italian accent [TS]

01:11:11   too wasn't she from the east coast [TS]

01:11:12   though yeah that's a good point well I [TS]

01:11:13   don't know if she is that she's in a [TS]

01:11:15   waspy enclave of Connecticut and had [TS]

01:11:17   never met an Italian before that's a [TS]

01:11:19   good point also entirely possible anyway [TS]

01:11:21   that's the work we get for an 80s movie [TS]

01:11:22   contrivance you know like that's again [TS]

01:11:25   the serenading the balcony fraternities [TS]

01:11:28   and sororities college kids versus [TS]

01:11:30   townies this moon was ahead of its time [TS]

01:11:31   in many ways indeed yeah yeah and again [TS]

01:11:34   it's one of those movies that kind of [TS]

01:11:35   defies plot recaps the plot recap ER [TS]

01:11:38   realized while watching it regretting [TS]

01:11:41   his choices in life and suffice it to [TS]

01:11:45   say there are lots of misadventures with [TS]

01:11:47   the four friends where they'll fail in [TS]

01:11:49   their own ways really they all fail in [TS]

01:11:51   their own way Dennis Quaid tries to race [TS]

01:11:53   against heart bochner at the at the [TS]

01:11:55   stone quarry and and comes up comes up [TS]

01:11:58   almost rounds finishes third in a [TS]

01:12:00   two-man race um Daniel Stern gets beat [TS]

01:12:03   up by the by the heart bochner games [TS]

01:12:07   just a good Papa proud boys yeah we're [TS]

01:12:09   the fred wahl attendees a serenade in [TS]

01:12:11   character is Italian guy the the girl in [TS]

01:12:15   the sorority house yeah I think I've [TS]

01:12:17   mentioned that Jackie Earle Haley is [TS]

01:12:19   short and gross yep it is maybe people [TS]

01:12:22   remind of repeatedly hey shorty don't [TS]

01:12:24   forget to punch the clock and which he [TS]

01:12:26   literally does by punching the clock at [TS]

01:12:28   the job that he said don't call me [TS]

01:12:30   shorty they call him chicken hey kids [TS]

01:12:32   can't help but react yeah that's exactly [TS]

01:12:33   right but what eventually happens is [TS]

01:12:36   that the president of Indiana University [TS]

01:12:39   actually played by the president of [TS]

01:12:41   Indiana University at the time really [TS]

01:12:43   why's everyone together yeah yeah and [TS]

01:12:45   says hey hey I can't have this fussin [TS]

01:12:48   and feudin in my town so what's going to [TS]

01:12:51   happen is that we're going to have a [TS]

01:12:54   team of townies in the little 500 which [TS]

01:12:58   is a a bike race that they actually have [TS]

01:13:00   at Indiana University where Noah you [TS]

01:13:03   right around 44 uh however many laps and [TS]

01:13:08   you hurried off and the cutters are all [TS]

01:13:11   this is great because we've got a guy [TS]

01:13:13   who's really good at riding the bicycle [TS]

01:13:15   Dave rides the whole race and we win [TS]

01:13:16   yeah you know I'm willing to accept [TS]

01:13:18   almost everything that happens [TS]

01:13:20   movie but when the punishment for [TS]

01:13:22   starting a fight in the student union is [TS]

01:13:24   that they're going to let the Townies [TS]

01:13:26   into a bicycle race Wow well it seems [TS]

01:13:30   cooler that's when you have to have a [TS]

01:13:31   car wash to stop the real estate [TS]

01:13:33   developers from taking up a couple it's [TS]

01:13:35   an 80s movies on Orthodox but I'll allow [TS]

01:13:37   it what a coincidence it turns out that [TS]

01:13:39   Ellis is a big cycling enthusiasts to [TS]

01:13:41   what he's on the team he's a young man [TS]

01:13:43   on campus he does every bicycles at dawn [TS]

01:13:45   first thing I does not this but they're [TS]

01:13:47   not good enough yeah that's a great line [TS]

01:13:49   they're totally encapsulates the whole [TS]

01:13:50   sir they're not good enough and I should [TS]

01:13:53   be in a movie what am i doing in this [TS]

01:13:55   movie I'm a villain I'm snooty so the [TS]

01:13:59   the the race as you mentioned the the [TS]

01:14:03   little 500 that is the climax of the [TS]

01:14:05   movie uh what one of the things that I [TS]

01:14:08   noticed at the end that I thought was [TS]

01:14:09   kind of charming is that it is mostly [TS]

01:14:13   just wide shots of bicycles racing yeah [TS]

01:14:16   one continuous cut for the last lap and [TS]

01:14:19   a half it's like God just let's all [TS]

01:14:20   watch the race together they're not like [TS]

01:14:22   it there's no cameras on the bike a [TS]

01:14:24   modern movie would have liked the [TS]

01:14:25   close-ups of like various teams doing [TS]

01:14:27   various things and it's like no you get [TS]

01:14:29   you get occasional moments of detail but [TS]

01:14:31   it's not really about the race and then [TS]

01:14:32   you just go back to the shot of like [TS]

01:14:34   here's everybody racing I will say [TS]

01:14:36   though that's counter pointed with the [TS]

01:14:38   announcer who we hear in the background [TS]

01:14:39   explaining what's going on he is [TS]

01:14:41   strangely specific as if he is actually [TS]

01:14:44   just the narrator of the film it's [TS]

01:14:46   that's the part that struck me is that [TS]

01:14:48   the move the video is like the pictures [TS]

01:14:51   are very generic and like let's watch [TS]

01:14:52   this together but then the announcer is [TS]

01:14:54   over compensating and literally [TS]

01:14:56   narrating the movie for us when it's [TS]

01:14:57   shock and surprise you to know that the [TS]

01:14:59   announcer is the guy whom this is all [TS]

01:15:00   based on nothing would surprise me about [TS]

01:15:02   this movie at this yeah well it is it's [TS]

01:15:04   it's it's the guy that is the dude so I [TS]

01:15:08   thought that worked pretty well because [TS]

01:15:09   they have the crowd noise up over the [TS]

01:15:11   announcer so you can barely hear the [TS]

01:15:13   announcer because like if you were there [TS]

01:15:14   you'd mostly just hear the hair out [TS]

01:15:15   screaming and I think that that scene at [TS]

01:15:16   the end where they follow them they [TS]

01:15:18   follow just the promo distant shot up in [TS]

01:15:20   the stands of the bikes going around the [TS]

01:15:21   track once and then twice for that you [TS]

01:15:23   know the white flag and then the [TS]

01:15:24   checkered flag it there's no cutaways [TS]

01:15:25   yet scrotum and all you hear is the [TS]

01:15:27   crowd and you can barely hear the [TS]

01:15:29   announcer kind of saying his announcing [TS]

01:15:31   thing and his boar [TS]

01:15:32   announcer voice but you're not really [TS]

01:15:34   paying attention in the crowd is [TS]

01:15:35   screaming that's that's a plus it's [TS]

01:15:37   really your sports excitement that's the [TS]

01:15:39   point at which i thought to myself [TS]

01:15:40   you've done the impossible movie you've [TS]

01:15:43   made me give a crap about the results of [TS]

01:15:45   a bicycle arias well wouldn't with no [TS]

01:15:48   stakes it's not like if you win this [TS]

01:15:49   race you get a scholarship or something [TS]

01:15:51   no no it's just the soul of the cutters [TS]

01:15:53   that's at stake John come on yeah I know [TS]

01:15:55   but you know I mean what happens if i [TS]

01:15:57   win the race well you-you-you you've won [TS]

01:15:59   the race and you get a nice trophy yeah [TS]

01:16:01   congratulations and what if I lose well [TS]

01:16:04   you get to continue living in the town [TS]

01:16:06   is if you didn't participate you know [TS]

01:16:08   the race is it's a testy the whole idea [TS]

01:16:11   here is that the the dave is gonna is [TS]

01:16:14   gonna rub the whole race for them which [TS]

01:16:15   I I do wonder like well he's that that [TS]

01:16:18   good that he can run all the laps and [TS]

01:16:19   everybody else can have four different [TS]

01:16:21   guys and let's keep it up at the chins [TS]

01:16:23   on it is pretty well established by the [TS]

01:16:25   rest of the movie that he is actually [TS]

01:16:26   yeah well established in the movie that [TS]

01:16:28   he is a very good cyclist the only time [TS]

01:16:30   that he fails is when he's racing [TS]

01:16:33   against a professional Italian team [TS]

01:16:35   Amanda and they're jerks Rodney's and [TS]

01:16:38   they'd has so many Italians do John they [TS]

01:16:41   they cheat him after flipping him off [TS]

01:16:47   they do him dirty up and salt him and [TS]

01:16:50   then then yeah they stick something in [TS]

01:16:53   his folks so it's like one of the [TS]

01:16:54   greatest father-son scenes in that movie [TS]

01:16:56   though when young when he breaks down [TS]

01:16:58   and begins to weep oh yes he says daddy [TS]

01:17:02   and you see Paul Dooley look panicked [TS]

01:17:04   for a moment before finally hugging his [TS]

01:17:06   son yep he's awkwardly trying to figure [TS]

01:17:08   out what happens he looks down at his [TS]

01:17:09   wife and sees that she's got tears in [TS]

01:17:11   his eyes he's like well what are you [TS]

01:17:12   doing what's happening I've lost legal [TS]

01:17:16   orders her to do something this huh so [TS]

01:17:19   to go back to the race for a second my [TS]

01:17:21   point though is that is that since dave [TS]

01:17:23   is the star of the of the group in terms [TS]

01:17:25   of being the start of the movie but also [TS]

01:17:27   the start by Sickler what we get is just [TS]

01:17:29   enough drama to show the state of mind [TS]

01:17:32   of the other characters so he gets hurt [TS]

01:17:35   and they have to replace him and so we [TS]

01:17:39   get uh you know dennis quaid doesn't [TS]

01:17:42   want to do it but daniel stern game [TS]

01:17:45   meffert in Jackie Earle Haley doesn't [TS]

01:17:47   game effort and then finally Dennis [TS]

01:17:49   Quaid sort of like he has his moment [TS]

01:17:51   where he kind of turns around and says [TS]

01:17:52   I'm going to do this and then of course [TS]

01:17:54   Dave is able to re-enter the guy the guy [TS]

01:17:56   goes by from the frat and says nice try [TS]

01:17:58   kid and that pisses him off Yeah right [TS]

01:18:00   it's on the bike and takes so they get [TS]

01:18:01   just enough participation in the race [TS]

01:18:03   for their character moments and then [TS]

01:18:05   dave gets back on the bike and wins the [TS]

01:18:06   race and that's yes perfect they each [TS]

01:18:08   get their little chance at at victory [TS]

01:18:10   little chance at redemption I was [TS]

01:18:12   fantastic and it works out like it is [TS]

01:18:15   fairly you know for for a movie of this [TS]

01:18:17   kind realistic about mike is fit like [TS]

01:18:19   he's not a bicycle rider but he only has [TS]

01:18:21   to do one or two fast light and he's [TS]

01:18:22   pissed off and so he you know he does [TS]

01:18:24   keep them in it like the constant [TS]

01:18:26   announcing of their position and the [TS]

01:18:27   trades and everything make you believe [TS]

01:18:29   that they they wouldn't have been [TS]

01:18:31   completely out of contention yes yeah [TS]

01:18:33   you right in a sense that Daniel Stern [TS]

01:18:35   probably would be a train wreck on the [TS]

01:18:36   bike and it turns out that he is but [TS]

01:18:38   he's just good enough to keep in the [TS]

01:18:40   pack somewhere in the head and Jackie [TS]

01:18:42   Earle Haley fall asleep okay can't [TS]

01:18:45   really possible lead oh it's hysterical [TS]

01:18:47   when he's on the bike to and he can [TS]

01:18:48   barely reach the pedals his little legs [TS]

01:18:50   can't keep up but he gives a game effort [TS]

01:18:52   every one of them puts in their little [TS]

01:18:55   there a little bit and they get their [TS]

01:18:56   little a little victory so so to [TS]

01:18:58   characterize this movie because we [TS]

01:19:00   always talked about it as an age movie [TS]

01:19:01   this is not really but when I think of [TS]

01:19:03   this movie I think about but watching it [TS]

01:19:04   again for the umpteenth time occurred to [TS]

01:19:06   me that this is a movie in the grand [TS]

01:19:09   tradition of 80s movies they glorified a [TS]

01:19:11   single sport there's movies about BMX [TS]

01:19:14   riding movies about you know swimming [TS]

01:19:17   diving churning like you just ricotta [TS]

01:19:20   jacana whatever you just pick us pick a [TS]

01:19:24   sport in the 80s you can make an entire [TS]

01:19:26   movie and the point of that movie was [TS]

01:19:27   like it's a soccer movie it's a football [TS]

01:19:29   movie and the whole point of the movie [TS]

01:19:31   was glorifying sport that's not the [TS]

01:19:32   whole point of this move but this movie [TS]

01:19:33   hits all those notes particularly when I [TS]

01:19:35   was a kid the heart of this movie was [TS]

01:19:36   him riding his bike behind the truck [TS]

01:19:38   which is not the most important part of [TS]

01:19:39   this movie but it was like look at this [TS]

01:19:41   cool thing that they're doing in the [TS]

01:19:42   sport that you previously didn't care [TS]

01:19:44   about but suddenly it seems really cool [TS]

01:19:46   and I don't all of my friends wanted to [TS]

01:19:48   ride behind a truck to see how fast you [TS]

01:19:49   can go on 10-speed bike oh I love this [TS]

01:19:51   by the way Phil technically gymkata is a [TS]

01:19:53   celebration of both gymnastics and [TS]

01:19:55   martial arts [TS]

01:19:56   haha let's be accurate here you know [TS]

01:19:59   it's you say that this is a focus on on [TS]

01:20:01   bicycling and yet we don't have an [TS]

01:20:03   actual bike race until an hour and one [TS]

01:20:06   minute into the movie well it was the [TS]

01:20:08   whole training thing like the idea that [TS]

01:20:09   he is dedicating his life to this that [TS]

01:20:11   the tennspeed bikes are a cool thing yes [TS]

01:20:13   but I mean it's not about the biking and [TS]

01:20:15   that he can you can use to pick up girls [TS]

01:20:16   because he can catch up to them even [TS]

01:20:17   though they're on a motorized scooter he [TS]

01:20:19   can bring back her notebook and he you [TS]

01:20:21   know he's training out in the rain on [TS]

01:20:23   the little the you know the the trainer [TS]

01:20:25   wheelie thingy and he's Brydon behind [TS]

01:20:27   the truck and he races with the Italians [TS]

01:20:29   and it's that again like this is the [TS]

01:20:31   movie so much more than that but it fits [TS]

01:20:32   neatly right into that slot because I [TS]

01:20:34   trying to think of another what is it [TS]

01:20:36   what is another 80s bike racing movie I [TS]

01:20:38   mean you've got you've got rad for BMS [TS]

01:20:40   that's a different right gleaming the [TS]

01:20:42   cube is that a biking Thank You morning [TS]

01:20:44   mallesh skateboard wasn't wasn't Kevin [TS]

01:20:46   Bacon the movie about bike messenger [TS]

01:20:48   silver okay Quicksilver god damn it can [TS]

01:20:53   make anything cool like bike messengers [TS]

01:20:55   that bet they're cool too sure we make [TS]

01:20:56   it any shoes me about them and bike [TS]

01:20:58   messaging is life this movie is not a [TS]

01:21:00   movie about a used car salesman ship [TS]

01:21:02   this is a different movie about making [TS]

01:21:03   that cool yeah so yeah the things I want [TS]

01:21:06   the things I love about this movie um I [TS]

01:21:08   love the fact that you can watch it as a [TS]

01:21:10   young man as I did and be all yeah young [TS]

01:21:14   man you've you've capsule youyou've [TS]

01:21:16   encapsulated my feelings about life or [TS]

01:21:18   you can watch it now as an old man as [TS]

01:21:20   I'd rico that that Paul Dooley character [TS]

01:21:23   really resonates me um love that love [TS]

01:21:27   the Paul Dooley Dennis Christopher [TS]

01:21:29   relationship in this movie um okay what [TS]

01:21:35   I so here's my here's my thing I think [TS]

01:21:37   the pole the the dad father-son [TS]

01:21:39   relationship ends up being great but at [TS]

01:21:42   the beginning when he's all like oh it's [TS]

01:21:44   Italian oh I don't know and all that I [TS]

01:21:47   feel like I I don't like him and I feel [TS]

01:21:50   like he's a kind of a ridiculous [TS]

01:21:51   caricature at that point so okay I takes [TS]

01:21:54   me awhile to get and to get to get to [TS]

01:21:58   understand him he's got the whole Hill [TS]

01:21:59   thumb is diploma at me thing which seems [TS]

01:22:01   and so I mean again do I think that [TS]

01:22:05   there are people who are reluctant to [TS]

01:22:08   support their children in higher [TS]

01:22:09   education because [TS]

01:22:10   as they are seeing them go further than [TS]

01:22:14   them even though they should be proud of [TS]

01:22:15   them yes there are those people the way [TS]

01:22:17   he does it is so on-the-nose and so [TS]

01:22:19   broad that I don't like it it's only [TS]

01:22:21   when he finally acts like a human being [TS]

01:22:24   in the last part of the movie that I [TS]

01:22:26   appreciate that relationship he's not a [TS]

01:22:27   human being in the first part he's just [TS]

01:22:29   a caricature well in his defense of [TS]

01:22:31   Italian stuff is incredibly irritating I [TS]

01:22:34   can kind of series coming through but he [TS]

01:22:36   doesn't respond like a human being to it [TS]

01:22:38   he's just as a dummy like response [TS]

01:22:40   dynamic in the house is that he makes [TS]

01:22:42   these pronouncements and that his wife [TS]

01:22:43   moderates and everyone agrees to [TS]

01:22:45   basically ignore his ranting and ravings [TS]

01:22:47   because this is the dynamic in the [TS]

01:22:48   family like no one is taking him [TS]

01:22:49   seriously and the Sun is not being [TS]

01:22:51   crushed by those things the Sun is [TS]

01:22:52   crushed instead later when he's in his [TS]

01:22:54   bedroom and hears him through the wall [TS]

01:22:55   when he's not when they thinks he's [TS]

01:22:57   speaking you know privately or he's [TS]

01:22:58   actually angry about it but but yeah I [TS]

01:23:00   think that's part of the sale here is it [TS]

01:23:01   he's not a good dad especially in the [TS]

01:23:03   beginning and he's his own frustrations [TS]

01:23:05   are coming and my note says dad sucks [TS]

01:23:07   that's oh there's so much else though [TS]

01:23:10   that's goofy and caricature in this [TS]

01:23:13   movie that to me it just kind of blended [TS]

01:23:14   in I mean the whole his whole Italian [TS]

01:23:16   thing is way over the top I mean you [TS]

01:23:20   know obviously you've got the [TS]

01:23:20   ridiculously 80s villain performance [TS]

01:23:23   from ballast and I mean everything is [TS]

01:23:25   just kind of a little off kilter and a [TS]

01:23:28   bit more I feel like this movie is the [TS]

01:23:30   spiritual predecessor to a Christmas [TS]

01:23:32   store where this is kind of sense of and [TS]

01:23:34   it will take place in Indiana and they [TS]

01:23:36   both take place around a dyspeptic [TS]

01:23:37   father and a moderating mother and the [TS]

01:23:39   idea is that your life becomes imbued [TS]

01:23:42   with as much drama as you care to put [TS]

01:23:44   into it in half of the time you're [TS]

01:23:45   living inside your own head they're [TS]

01:23:47   basically the same movie let me just say [TS]

01:23:50   as the son of a caricature dyspeptic [TS]

01:23:53   father from Indiana um nothing painfully [TS]

01:23:56   on the girls giving you dodge those [TS]

01:23:58   jeans huh parts of this movie really [TS]

01:24:01   resonate for for our fill so all right [TS]

01:24:05   yeah let's just say did why are we [TS]

01:24:09   watching this documentary see ya you're [TS]

01:24:13   in the movie yep so yeah it works for me [TS]

01:24:17   okay oh my god no I I love that I love [TS]

01:24:19   the scene where barbara barry puts the [TS]

01:24:21   moves on offensive side and with the [TS]

01:24:23   ha that is he puts out the candle with [TS]

01:24:26   his fingers this is big you know his [TS]

01:24:28   bravado just move that's his finishing [TS]

01:24:31   move the bit where he sensuously pulls [TS]

01:24:33   his pocket protector out to the Italian [TS]

01:24:35   operas yes daringly money and I do I [TS]

01:24:39   actually like the scene where he goes [TS]

01:24:41   back to the quarry to we're worried [TS]

01:24:43   where he worked as a young man those [TS]

01:24:45   glory days a tu correo sure sure yeah [TS]

01:24:47   I'm gonna drive a few wedges attend to [TS]

01:24:49   realizes I cannot do that anymore I did [TS]

01:24:53   it is all all past me but um the other [TS]

01:24:56   thing that I really enjoy about breaking [TS]

01:24:59   away is the fact that it's directed by [TS]

01:25:02   an Englishman um Peter yay to his other [TS]

01:25:07   big movies are bullet one of my favorite [TS]

01:25:10   cop movies by the way and possibly a [TS]

01:25:12   future old movie love entry he did hot [TS]

01:25:15   rock which is a really good k / movie [TS]

01:25:17   and um he later on he would do the [TS]

01:25:21   dresser which is a nice character study [TS]

01:25:23   and it just it's always astounded me [TS]

01:25:27   that this guy who did not grow up in [TS]

01:25:30   America really managed to tap into this [TS]

01:25:33   little slice of American middle America [TS]

01:25:36   Americana in perhaps a cliched way as [TS]

01:25:40   some of you think but really it strut it [TS]

01:25:44   really has an authentic feel to me again [TS]

01:25:46   as someone who well I didn't grow up in [TS]

01:25:50   the Midwest I have parents from the [TS]

01:25:52   Midwest and they're both eerie indiana [TS]

01:25:53   very indiana and this really resonates [TS]

01:25:57   with me i can't tell you enough how much [TS]

01:26:00   this movie feels like I'm watching a [TS]

01:26:03   family movie being shot trust an English [TS]

01:26:07   man to amplify the class issues though [TS]

01:26:09   because that's one of the might one of [TS]

01:26:11   my favorite scenes in this movie is so [TS]

01:26:13   when we're Paul Dooley's character talks [TS]

01:26:15   about you know he takes great pride in [TS]

01:26:17   having mind that Corey and having built [TS]

01:26:19   at university but then once he built it [TS]

01:26:22   it was made really evident to him that [TS]

01:26:23   you're going to billys were to the [TS]

01:26:26   buildings were too good for us yeah [TS]

01:26:27   you're good so it but you're not going [TS]

01:26:28   to I love that scene and I feel like [TS]

01:26:31   that scene needed somebody who's outside [TS]

01:26:34   of America and connection say yeah there [TS]

01:26:36   is a class [TS]

01:26:37   him in the US and here it is because I [TS]

01:26:38   don't know if I don't know if an [TS]

01:26:40   American could have approached it with [TS]

01:26:41   the same clarity and vigor that he did [TS]

01:26:44   well eighties movies love doing that to [TS]

01:26:46   the rich kids versus the poor kid so it [TS]

01:26:47   was a lot of movies in the 80s [TS]

01:26:49   especially young people movies were [TS]

01:26:51   about class and about you know the [TS]

01:26:53   preppies versus the you know the Slavs [TS]

01:26:56   versus the snobs uh-huh and it most of [TS]

01:26:59   those movies we're trying to make you [TS]

01:27:00   reckon you know identify with the [TS]

01:27:02   disaffected people because they were the [TS]

01:27:03   majority you weren't really uh [TS]

01:27:04   identifying with the preppies unless [TS]

01:27:06   except for I guess class no one was the [TS]

01:27:09   opposite but yes we makes movies it's [TS]

01:27:12   not preppies it's feel nerds yeah yeah [TS]

01:27:14   thus movie hits me very much in the same [TS]

01:27:16   place as its contemporary the bad news [TS]

01:27:19   bears hits me in terms of the way it's [TS]

01:27:21   filmed and the way it is very true to a [TS]

01:27:25   certain part of the country in the 1970s [TS]

01:27:28   yeah the the the good those guys with [TS]

01:27:32   blue jeans and no shirts swimming around [TS]

01:27:34   in a quarry is that could not be more [TS]

01:27:37   70s yeah it's fantastic I mean it really [TS]

01:27:40   puts you in the place and it does it in [TS]

01:27:43   an interestingly different more [TS]

01:27:45   Midwestern way and obviously bad news [TS]

01:27:47   bears is a Southern California and it [TS]

01:27:49   feels very different in that respect but [TS]

01:27:51   it also it just feels very very real and [TS]

01:27:53   gritty in a way yeah this has the 70s in [TS]

01:27:56   it like with the with the water racing [TS]

01:27:58   again could could be in any 80s movies [TS]

01:28:00   you know what wouldn't be in the 80 [TS]

01:28:01   movies him hitting his head and coming [TS]

01:28:03   back bloodied and playing that not for [TS]

01:28:06   laughs but for a serious moment so his [TS]

01:28:08   friends can jump in and save him yeah [TS]

01:28:09   that's 70's movie really makes him fail [TS]

01:28:12   comically and may it turns out into a [TS]

01:28:14   joke and you know what when I was a kid [TS]

01:28:16   watching this is another one of these [TS]

01:28:17   movies that I remember watching and [TS]

01:28:19   realizing there was something different [TS]

01:28:21   or special about this movie as compared [TS]

01:28:23   to the other movies that I was used to [TS]

01:28:24   seeing not because it was like a rated r [TS]

01:28:26   movie that I shouldn't have been [TS]

01:28:27   watching or something but because it [TS]

01:28:29   took itself seriously and was willing to [TS]

01:28:31   show what I thought as a kid where these [TS]

01:28:33   you know deeper truth about life that [TS]

01:28:35   other movies that adults won't show you [TS]

01:28:37   like the people behaving badly or [TS]

01:28:40   feeling badly and doing things that are [TS]

01:28:43   not a durable and making mistakes and [TS]

01:28:45   failure and they're being consequences [TS]

01:28:47   mixed in with all the rest of the [TS]

01:28:49   schlock [TS]

01:28:49   you know that would come to be standard [TS]

01:28:51   in eighties movies but that that really [TS]

01:28:53   spoke to me as a kid that like I took [TS]

01:28:55   this movie much more seriously than all [TS]

01:28:56   the movies despite all the fun things [TS]

01:28:58   that were there to entertain me that it [TS]

01:29:00   took its character seriously and that [TS]

01:29:02   there was actual real emotion in it and [TS]

01:29:04   you know of course I'm identifying with [TS]

01:29:05   the disaffected kids and hanging out [TS]

01:29:07   with each other and feeling like losers [TS]

01:29:08   even though you know I felt like it even [TS]

01:29:11   though I knew I was going to go to [TS]

01:29:12   college somehow i watch this movie and [TS]

01:29:14   identify with the people who are never [TS]

01:29:15   going to go to college and till the end [TS]

01:29:17   and maybe it's that sensibility or maybe [TS]

01:29:19   it's just the sort of gritty seventies [TS]

01:29:21   ish pneus of it but I kept expecting [TS]

01:29:23   some sort of tragic event to occur yeah [TS]

01:29:26   like yeah yeah kind much kind of had a [TS]

01:29:28   target on his back for a lot yeah yeah [TS]

01:29:30   Dennis Quaid disappears into the fridge [TS]

01:29:33   I'm like oh my God he's gonna drown is [TS]

01:29:35   really early in the movie and then a [TS]

01:29:36   little bit later uh you know he's he's [TS]

01:29:38   chasing after the truck and I'm like [TS]

01:29:40   he's gonna run right to the back of that [TS]

01:29:41   truck is an eighties montage sequence [TS]

01:29:45   there Paul Dooley gets up on top and [TS]

01:29:47   starts driving a wedge into a big block [TS]

01:29:49   of rock I'm like he's gonna have that [TS]

01:29:50   heart attack right there he's gonna die [TS]

01:29:51   and he did a couple scenes later and it [TS]

01:29:55   but I mean it was kind of like a minor [TS]

01:29:56   thing he had that heart attack refund [TS]

01:29:58   but it just there was sort of that sort [TS]

01:30:00   of sense that something there's there's [TS]

01:30:02   gonna be a tragic moment here having [TS]

01:30:04   never seen it before I didn't know if it [TS]

01:30:05   was gonna be light or if there was at [TS]

01:30:07   some point gonna be a real low low yeah [TS]

01:30:09   so comparing this to American Graffiti [TS]

01:30:10   after watching both of them I felt like [TS]

01:30:12   American Graffiti wants to tell you that [TS]

01:30:14   all this is going away and breaking away [TS]

01:30:16   once it wants to tell you that good [TS]

01:30:19   things can still happen to you in your [TS]

01:30:20   future like that's what it's not like [TS]

01:30:22   that the jack girl hey we'll get married [TS]

01:30:24   and you feel like you will have a life [TS]

01:30:25   as an adult and we'll leave all this [TS]

01:30:27   behind that the day will go to college [TS]

01:30:28   like that the this movie I mean I don't [TS]

01:30:31   know if it's like lying to you and wants [TS]

01:30:32   to leave it's not as bad as you think it [TS]

01:30:34   is actually things will work out in the [TS]

01:30:35   end that that you will you will have [TS]

01:30:39   victories again that you will regain [TS]

01:30:41   your sense of self-worth and good things [TS]

01:30:43   will happen to you and american graffiti [TS]

01:30:44   is like that won't happen Mike's cop [TS]

01:30:47   brother who will occasionally like hug [TS]

01:30:49   bike right like that that in the end [TS]

01:30:51   they were all they were friends who care [TS]

01:30:53   for each other and they had families who [TS]

01:30:55   cared like it was not everything is not [TS]

01:30:57   as bad as you think it is you're a bunch [TS]

01:30:58   of whiney white kids in the Midwest and [TS]

01:31:00   it seems bad and you feels like you're [TS]

01:31:03   being [TS]

01:31:03   you know under the thumb of these [TS]

01:31:05   college kids but in the end you have it [TS]

01:31:06   pretty good yeah just because you're [TS]

01:31:08   stuck in this town doesn't mean you're [TS]

01:31:10   necessarily lesser than that writer that [TS]

01:31:11   moved to Canada yeah just because you're [TS]

01:31:14   stuck doesn't mean you're stuck I mean [TS]

01:31:16   that's what I love about the ending of [TS]

01:31:17   it is that Paul Dooley's on a bicycle [TS]

01:31:18   yeah yeah and he has that kicky sign in [TS]

01:31:21   front of his used car dealership and the [TS]

01:31:23   fact that you see him I'm the bicycle i [TS]

01:31:25   think it's just huge you know and i love [TS]

01:31:28   that it showed i love that it shows that [TS]

01:31:30   evolution of his character and I feel [TS]

01:31:32   like that's actually the biggest piece [TS]

01:31:33   of hope there is that it's never too [TS]

01:31:35   late to to try something new and become [TS]

01:31:38   a person you didn't expect to be yeah [TS]

01:31:40   and Paul Dooley is younger than all of [TS]

01:31:42   us in this movie isn't he like it's [TS]

01:31:43   nothing watching at him i'm looking at [TS]

01:31:44   his hair is like his hair is all black [TS]

01:31:46   how old is he made this movie I don't [TS]

01:31:48   know but I feel like he's younger than [TS]

01:31:49   me in this movie and I'm watching that [TS]

01:31:51   doesn't feel good all I know he was 50 [TS]

01:31:55   he was he was in his early 50s all right [TS]

01:31:58   yeah a little bit better than he's using [TS]

01:31:59   hair do it yeah I so I I agree with what [TS]

01:32:03   everybody is saying here I there is one [TS]

01:32:04   thing I wanted to point out here so this [TS]

01:32:05   this movie was nominated for four [TS]

01:32:09   screenplay won the Academy Award for [TS]

01:32:11   Best Screenplay um and you know [TS]

01:32:15   sometimes the Academy Award is not the [TS]

01:32:19   best thing and sometimes the best thing [TS]

01:32:21   isn't that great but I'm going to say [TS]

01:32:22   this I'm shocked that this movie won an [TS]

01:32:25   award for the screenplay if only because [TS]

01:32:26   I find essentially everything Dennis [TS]

01:32:29   Quaid says into this movie to be [TS]

01:32:31   painfully awful writing there is no the [TS]

01:32:36   opposite of show not tell this movie [TS]

01:32:37   tells you does not show it's too yeah I [TS]

01:32:39   in fact John my note says Dennis Quaid [TS]

01:32:42   speech at the stadium is the classic [TS]

01:32:44   example of tell not show he literally [TS]

01:32:47   just says everything he's feeling and [TS]

01:32:49   everything that's going to happen and [TS]

01:32:51   what his internal conflict is and that's [TS]

01:32:53   not the only scene in which especially [TS]

01:32:54   the Dennis Quaid character says oh I'm a [TS]

01:32:57   symbol of somebody who peaked in high [TS]

01:32:59   school and now doesn't know what to do [TS]

01:33:00   I'm never gonna be the quarterback [TS]

01:33:02   anymore it's like oh my god it is so bad [TS]

01:33:05   I mean so I think it one for writing [TS]

01:33:06   because like it is telling it is telling [TS]

01:33:08   truths right but it's having characters [TS]

01:33:10   actually say them and when I watch this [TS]

01:33:11   as a kid show the show don't tell thing [TS]

01:33:14   was not a glimmer [TS]

01:33:15   you know in the corner of my eye I had [TS]

01:33:17   no idea about that whole concept so it [TS]

01:33:19   was delivering to me directly in a way [TS]

01:33:21   that I couldn't picked up it was more [TS]

01:33:22   subtle and watching it again as an adult [TS]

01:33:24   having seen it a million times as a kid [TS]

01:33:26   I'm like oh this movie doesn't [TS]

01:33:28   understand show not tell I'm willing to [TS]

01:33:30   forgive it though because it's such a [TS]

01:33:31   beloved movie from my childhood but yeah [TS]

01:33:33   that's one what once you get past Dennis [TS]

01:33:35   quite Quaid's abs which are again [TS]

01:33:39   spectacular edit shredded like lettuce [TS]

01:33:41   oh just still not passed them he is the [TS]

01:33:44   weakest character I think of all the [TS]

01:33:47   ones he's an idea more than a character [TS]

01:33:49   on his acting scenes where he's not [TS]

01:33:51   speaking the expressions on his face and [TS]

01:33:54   the few outbursts that he does have that [TS]

01:33:56   aren't you know George Lucas on the nose [TS]

01:33:58   the style dialog I think he he does I [TS]

01:34:03   mean there's a reason he went on to [TS]

01:34:04   further stardom in this movie I think he [TS]

01:34:06   does a good job of it but if you got to [TS]

01:34:08   read the lines you gotta read the lines [TS]

01:34:09   and he's a he's a mood he's a movie [TS]

01:34:10   stern on the nectar but the the the the [TS]

01:34:14   the other four movies up for Best [TS]

01:34:16   Original Screenplay that year were and [TS]

01:34:18   justice for all all that jazz the China [TS]

01:34:20   Syndrome and Manhattan and you know yeah [TS]

01:34:25   so you know maybe not the strongest i [TS]

01:34:28   like this movie better than any of those [TS]

01:34:29   movies as yeah maybe the best of those [TS]

01:34:32   and it may not have been as strong year [TS]

01:34:34   for screenplays i just i had that moment [TS]

01:34:35   where I kind of was like wait a second [TS]

01:34:36   this one for the screenplay because the [TS]

01:34:38   Quaid dialogue is just awful it is in [TS]

01:34:40   fact if I if you wipe my memory of this [TS]

01:34:42   movie in American Graffiti and then you [TS]

01:34:45   you play them both for me and said which [TS]

01:34:46   one was written by George Lucas I would [TS]

01:34:48   say this one because this dialogue is [TS]

01:34:51   prequel level dialogue from dennis quaid [TS]

01:34:54   it is just there's nothing there no I i [TS]

01:34:56   think the the expressions are [TS]

01:34:58   sophisticated and well put together the [TS]

01:35:01   fact is he's saying them out loud is the [TS]

01:35:02   process like said that thats exactly [TS]

01:35:04   this would have simplistic ideas [TS]

01:35:07   expressed that loud at least this i feel [TS]

01:35:09   like this he's saying the subtext oh [TS]

01:35:10   yeah the subtext is is good he's one [TS]

01:35:13   he's one of four characters that all [TS]

01:35:15   have that all have plot lines it's it's [TS]

01:35:17   true actually five if you count the dead [TS]

01:35:18   so I mean you got to put some [TS]

01:35:20   short-handed I wish Quaid yeah I wish [TS]

01:35:22   Dennis Quaid had been given more to do [TS]

01:35:23   to show us his feelings about this [TS]

01:35:27   matter but instead he like literally [TS]

01:35:28   goes [TS]

01:35:28   to the stadium and points down and says [TS]

01:35:30   I will never be that quarterback what [TS]

01:35:32   got it got it oh yeah like they can fit [TS]

01:35:34   that in there he can't have one line [TS]

01:35:35   about them stay in this is simple man [TS]

01:35:37   he's gonna have like four madam school [TS]

01:35:39   the worst is when he talks about the [TS]

01:35:40   unlit cigarettes like just haven't do [TS]

01:35:43   that for the whole movie and we'll [TS]

01:35:44   figure it out instead it's like I even I [TS]

01:35:46   can't bring myself to live cigarette [TS]

01:35:47   because I think I'm gonna have to go [TS]

01:35:48   back into training like that's a perfect [TS]

01:35:50   thing for you to write in the margins of [TS]

01:35:51   your script while you're riding it was [TS]

01:35:53   just look inside we can add the [TS]

01:35:54   characters say it yeah his best moments [TS]

01:35:56   by far are like the scene where he's at [TS]

01:35:58   the quarry and the college kids show up [TS]

01:36:00   and he just looks at him yeah right yeah [TS]

01:36:02   he's very good at that Quaid is not the [TS]

01:36:04   problem right it's the lines that he's [TS]

01:36:06   given that I think are the problem in a [TS]

01:36:07   movie that I like but that's just that [TS]

01:36:09   for me that was the false note [TS]

01:36:10   especially I think the second half of [TS]

01:36:12   this film is way stronger than the first [TS]

01:36:14   half because I don't like the early [TS]

01:36:15   scenes with the dad and I don't like [TS]

01:36:16   those speeches from dennis quaid and [TS]

01:36:19   then I think it gets a lot better later [TS]

01:36:20   I don't know what what that means but [TS]

01:36:22   that's that's right now I think you can [TS]

01:36:23   let Dennis Quaid do it like the line i [TS]

01:36:25   quoted in the slacker layers like when [TS]

01:36:27   he's angry you can have him snap like [TS]

01:36:29   you're not the quarterback here Mike [TS]

01:36:30   well at least I was once you get that [TS]

01:36:32   one outbursts what you get at least I [TS]

01:36:33   was once you get one outbursts you don't [TS]

01:36:35   get him sight and for the rest of the [TS]

01:36:37   movie I will continue to speak the [TS]

01:36:38   subtext of my plot of the four friends [TS]

01:36:41   though the one that really i think does [TS]

01:36:43   the has the best thing going for him is [TS]

01:36:46   the the the daniel stern character [TS]

01:36:49   because um uh he he has a few lines [TS]

01:36:54   where it's okay yeah you're you're [TS]

01:36:56   you're showing not telling but what I [TS]

01:36:58   really love about him is in the bike [TS]

01:37:00   race um you know gross gross Jackie [TS]

01:37:04   Earle Haley has his wife to hug and he's [TS]

01:37:07   just looking around Dennis Christopher [TS]

01:37:09   gets to hug his parents and um uh Dennis [TS]

01:37:12   Quaid gets dug his brother the cop right [TS]

01:37:14   to Daniel Stern has a smoke where he's [TS]

01:37:18   looking around for someone to hug and [TS]

01:37:19   gets no one enjoys yeah so heartbreaking [TS]

01:37:23   that CIA sir really heartbreaking but [TS]

01:37:25   they allude to it earlier when they say [TS]

01:37:27   well Cyril's dad remember one when [TS]

01:37:29   Dave's dad talks about well so you're [TS]

01:37:30   like he is you know yeah he's the one [TS]

01:37:33   obviously as an East Coast neurotic you [TS]

01:37:36   identify with the most because he was [TS]

01:37:38   the most like inside his own head and [TS]

01:37:40   seemingly doesn't fit in anywhere and [TS]

01:37:42   never will and probably will be the [TS]

01:37:44   loser of this group forever well he [TS]

01:37:46   picked up that guitar quick though see [TS]

01:37:47   him just drift in the wind like he's [TS]

01:37:49   trying to be happy he's but like there's [TS]

01:37:51   nothing yeah well this is the reason I [TS]

01:37:53   like Dave's dead as he seems to sense [TS]

01:37:54   that a lot of Dave's friends need to be [TS]

01:37:57   parented I mean there's a reason why [TS]

01:37:59   mooch is at that table a lot and I get [TS]

01:38:02   the sense that Dave's dad probably also [TS]

01:38:04   is it is a gruff ear for cereal every [TS]

01:38:07   once in a while too because cereals dad [TS]

01:38:08   is well established as a jerk store and [TS]

01:38:10   Tom yeah you don't get the sense that [TS]

01:38:12   that Dave's friends are very well [TS]

01:38:14   parented at all and that his his parents [TS]

01:38:15   are the only ones who are involved in [TS]

01:38:17   that all of his friends like that and [TS]

01:38:18   kind of need that on some level as well [TS]

01:38:19   well moochers dad took off to Chicago [TS]

01:38:21   and left him in the house yeah expecting [TS]

01:38:24   him to sell its own oh yeah the house [TS]

01:38:25   that's for sale you got the first sale [TS]

01:38:26   so so we've been I mean then what we [TS]

01:38:28   does does have bits it's not like they [TS]

01:38:30   all the subtext is on the screen of the [TS]

01:38:32   dialogue well some of the news but yeah [TS]

01:38:33   the rest of the movie is is pretty [TS]

01:38:35   strong it's just that like idea of that [TS]

01:38:37   you have to have shorthand because [TS]

01:38:38   you've got a lot of characters you gotta [TS]

01:38:39   fit all and that's the art of screen [TS]

01:38:40   right you gotta find a way to get the [TS]

01:38:43   five because i think this does a really [TS]

01:38:44   good job of weaving together the arcs [TS]

01:38:46   and having a bunch of good scenes like a [TS]

01:38:48   bunch of good ideas for cinema like when [TS]

01:38:50   he's driving his beat-up automobile [TS]

01:38:52   backwards next to the mercedes you know [TS]

01:38:54   and there are sort of hot rodding around [TS]

01:38:55   trying to chase after the college kids [TS]

01:38:57   and everything lots of good things that [TS]

01:38:59   work as movies is just that you know a [TS]

01:39:01   few dialogue scenes they feel like you [TS]

01:39:04   have to give these seven ideas in and we [TS]

01:39:05   need to get in and out in this amount of [TS]

01:39:07   time and it was like all right well I'm [TS]

01:39:09   just gonna say it I'm just gonna say [TS]

01:39:10   what's mostly going on I throw up my [TS]

01:39:11   hands at this boy yeah but again as a [TS]

01:39:13   kid um this never occurred to make [TS]

01:39:15   watching this movie the many many many [TS]

01:39:17   times it never occurred to me that they [TS]

01:39:18   were saying is out like is it because [TS]

01:39:19   that because that's what I needed to you [TS]

01:39:21   know as a kid you're not going to pick [TS]

01:39:22   up on this stuff if they don't like [TS]

01:39:23   literally come out and tell you in the [TS]

01:39:25   same way that you read you know books [TS]

01:39:26   when you're in middle school in the [TS]

01:39:27   English teacher has to explain to you [TS]

01:39:28   this is what this means because if the [TS]

01:39:30   English teacher doesn't explain it to [TS]

01:39:31   you you will have a dim vague distant [TS]

01:39:33   awareness of it but not really ever put [TS]

01:39:35   two and two together and this would we [TS]

01:39:36   just comes out and says it yes I feel [TS]

01:39:39   time to thank you movie for saying that [TS]

01:39:40   I do want to call out as it as a [TS]

01:39:42   plus the the scene where he's racing [TS]

01:39:44   with the Italians and they Jam a rod [TS]

01:39:47   through his back his back wheel sending [TS]

01:39:50   him into the dirt I actually had a hard [TS]

01:39:52   time watching it the second time because [TS]

01:39:54   it is so heartbreaking I don't watch his [TS]

01:39:56   dreams just Schatz right what that's why [TS]

01:39:59   when you're a kid you're like yes yes [TS]

01:40:01   life life is terrible never meet your [TS]

01:40:04   idols is the lesson although i will say [TS]

01:40:06   that when the guy messes with his [TS]

01:40:08   shifters the look of sheer outrage on [TS]

01:40:10   his face is absolutely hysterical i [TS]

01:40:12   laughed and laughed but then he's in [TS]

01:40:14   he's in the gutter and that's it he's [TS]

01:40:16   done that posters are coming down yeah [TS]

01:40:18   that he has that that that chilling line [TS]

01:40:22   where he just lays out everybody cheats [TS]

01:40:24   I just didn't know yeah that's it his [TS]

01:40:27   life so this is unfair the professional [TS]

01:40:29   bike riders would never do that of any [TS]

01:40:31   nationality let's say I gotta say though [TS]

01:40:34   you have to say that chin zono is a [TS]

01:40:36   apparently really really good sports or [TS]

01:40:39   they apparently just never saw this film [TS]

01:40:41   because they are thanked in the credits [TS]

01:40:43   while they are thanked in the credits [TS]

01:40:44   there's the truck is a chin zano truck [TS]

01:40:46   it is like product placement before [TS]

01:40:49   there was product placement yes fortunes [TS]

01:40:52   but then the point of the the Italian [TS]

01:40:55   racers from shin zato is uh they're [TS]

01:40:57   jerks Peters yep also phil when you [TS]

01:41:02   mentioned peter yates you you didn't [TS]

01:41:04   mention the most interesting thing about [TS]

01:41:05   him which is that in 1983 he he two of [TS]

01:41:09   his movies that he directed were [TS]

01:41:11   released one of them multiple award [TS]

01:41:14   nominee and winner the dresser the [TS]

01:41:17   dresser yeah other eight movie crow and [TS]

01:41:22   i just am fascinated that the same man [TS]

01:41:23   made both crow and the dresser and also [TS]

01:41:26   that the man who made crawl also made [TS]

01:41:28   bullet and breaking away and the dresser [TS]

01:41:30   yes I don't know how that is possible [TS]

01:41:32   but it is well this is sort of similar [TS]

01:41:34   to the John Boorman trajectory I think [TS]

01:41:37   there's a deeper story there that we [TS]

01:41:38   need to explore well they can't all be [TS]

01:41:42   gems nothing can all be jealous can't [TS]

01:41:44   amazing though just got released two [TS]

01:41:47   movies this year period says one is the [TS]

01:41:50   dresser I've heard of it yes well many [TS]

01:41:52   Academy Award nominations for the [TS]

01:41:54   dresser yes oh I liked it what was your [TS]

01:41:55   other [TS]

01:41:56   movie theater crow oh that thing with [TS]

01:41:58   ken what's his name in the glades a [TS]

01:42:00   glaive sure breaking a glaive anyway um [TS]

01:42:03   I like breaking away i like i like i [TS]

01:42:06   enjoy both these movies I like Steve I'm [TS]

01:42:08   not sure I would say like I would rush [TS]

01:42:10   back to watch either of them but in in a [TS]

01:42:13   certain mood I think I could enjoy [TS]

01:42:15   either of them as this you know nice [TS]

01:42:18   kind of nostalgia trip of the [TS]

01:42:21   coming-of-age stories are nice the [TS]

01:42:23   ensembles are interesting I like that [TS]

01:42:25   these are mostly both featuring actors [TS]

01:42:28   who would go on to do other things and [TS]

01:42:30   are recognizable and so young that is a [TS]

01:42:32   big that is a big win too so that [TS]

01:42:35   they're both charming in their own way [TS]

01:42:36   you get pj soles in this one stirring [TS]

01:42:38   stuff up as usual another 70s 80s movies [TS]

01:42:41   mainstay Halloween's PJ stalls Breaking [TS]

01:42:45   Away also ahead of a time ends on a [TS]

01:42:46   freeze frame oh and it's such a freeze [TS]

01:42:48   frame it is it's right because he turns [TS]

01:42:50   back when he is a son singing in French [TS]

01:42:51   yes speaking French now what Oh babies [TS]

01:42:55   for men and then the Indiana fight song [TS]

01:42:57   which went on to become another trope [TS]

01:42:59   you know every movie in 1981-82 ended [TS]

01:43:02   with the India yeah that's right uh [TS]

01:43:04   anything we have not covered about these [TS]

01:43:07   films that now we look we got it all [TS]

01:43:10   right well I'm going to close up the old [TS]

01:43:13   Movie Club then and thank our guests [TS]

01:43:15   Lisa Schmeisser thank you for being here [TS]

01:43:17   free grub thank you it's a pleasure to [TS]

01:43:19   be invited John siracusa thank you I [TS]

01:43:21   can't believe that I had to be on here [TS]

01:43:23   with all you old people but I'll get [TS]

01:43:24   over it yeah Oh movies Steve let's thank [TS]

01:43:28   you stop the hell you doing those are my [TS]

01:43:30   french fries hey no more Eenie in this [TS]

01:43:32   house and of course Phillip Michaels who [TS]

01:43:36   chooses the movies thanks these are [TS]

01:43:37   enjoyed watching these movies Phil [TS]

01:43:39   thanks for choosing them so I've been [TS]

01:43:40   tried to do [TS]

01:43:43   you can write these lines George but you [TS]

01:43:46   can't say them and I've been your host [TS]

01:43:47   Jason snow we will see you next week on [TS]

01:43:49   the incomparable thanks for listening [TS]

01:43:50   bye everybody [TS]

01:43:56   you [TS]

01:43:58   [Music] [TS]