The sights and sounds of the '60s. There were bittersweet times. There were funny times. And it was all unforgettable.
College graduates deal with Vietnam and other issues of the late '60s.
College graduates deal with Vietnam and other issues of the late '60s.
Candy Clark Bo Hopkins Ron Howard Paul Le Mat Mackenzie Phillips Charles Martin Smith Richard Bradford Rosanna Arquette Scott Glenn Anna Bjorn James Houghton Joe Brent Mary Kay Place Doug Sahm Monica Tenner Ralph Wilcox Carol Ann Williams Wolfman Jack Cindy Williams Tom Ruben Will Seltzer Harrison Ford
American Graffiti, la suite, Noch mehr American Graffiti
Perversely, I like this (a tiny bit) better than the original, which has always struck me as charming but slight. Norton, who's clearly a far better director than Lucas (I'm very curious about Cisco Pike now), also has a lot more on his mind—indeed, I wouldn't hesitate to rank this among the most ambitious and innovative sequels ever made, even if it bites off considerably more than it can chew. Debbie's section is both the most formally adventurous—split-screen has rarely been employed with such exacting attention paid to the direction of movement in competing frames; to guiding the viewer's eye; to compositional balance—and the most apparently frivolous. The other three parallel narratives toy productively with our expectations while remaining…
I think this might have been unfairly treated a little bit.
The film is very different from American Graffiti and I understand why people looking for a similar film would be disappointed with More American Graffiti but it's better than the 22% on RT.
The photography by Caleb Deschanel in this is way better and much more interesting than the original. The use of different aspect ratios and unique editing were probably a little jarring in 1979 but when watching it now it's just comes off as well done and interesting. I'd be interested to hear how much of it was done by Marcia Lucas.
The content of the film is much darker than the original and to me felt…
Shocked that this is pretty good.
Love the aspect ratio changes & split screens and the soundtrack is damn good .
Wow, did not realize Scott Glenn was the bass player for the legendary Strawberry Prunes.
Love the split and triple screens, the black borders saying something about this weird and melancholic sequel that follows a wish-fulfillment path that just made me feel bad all over again.
I guess they could have done a Michael Apted thing, a Seven Up series of American Graffiti grown ups and their Generation X, Y, Z progenies, facing ever weirder unknowns (and known unknowns) along with all conceivable iterations of such. For the actual sequel to the 1973 mega-hit, we stop in ’67 before a slew of assassinations, Kent State, the ’68 Dem convention, and a very bad scene at Altamont. But really most of us have experienced Woodstock/Lollapalooza music fests and have therefore seen something close to the worst…
Have always acted like it doesn't exist because of how bad it's supposed to be.
Now, not only did I fall in love with Cisco Pike, so of course, I found out that Bill L. Norton wrote and directed More American Graffiti, highly peaking my interest, but I had already put it on my LB watchlist after Quentin Tarantino raved about it on a podcast.
American Graffiti is one of my life-long favorites. I cherish it to hell. So after, you know, revisiting it for umpteenth time, no longer being the cynical kid I used to be, hey, why not give the second one a shot? I mean, the entire cast comes back (minus Dreyfuss, but he doesn't really need…
So, on it's own merits, the film is ok. Interesting stylistic film making. The film is non linear and jumps all around the place, could be a bit confusing for some, but the music is great. The cast picking up where they left off in the original are also still very loveable. But the fact is, it is impossible to judge this film without comparing it to the original. In that it pales very badly. As great as the soundtrack is, it competes with greatest of all time. The stories are less compelling and Dreyfuss is missed here terribly.
Should it have been made, absolutely not, is it worth watching, yes, just to see these characters again, but temper your expectations.
I was not expecting this half-remembered follow-up to a stone-cold classic to be anywhere near as interesting or ambitious or compelling as it is. Look for an upcoming essay on this singular sequel during American Graffiti week over at The Dissolve.
everything that made me hate this on my first watch are the exact reasons I like this now. I like the fact that they spend no time at the main street of modesto, cause that shows theyve grown up and also drifted apart. I like how they have one meeting early on but its brief, cause this is much more about each individual [or pairing] were somehow involved in the mainstays of late 60s culture and more accurately than most period pieces reflecting on generations this movie accurately portrays how these characters would be in these positions [of course ron howard's incredibly annoying character steve would have voted for goldwater].
I think this in someways exceeds the first in terms of anthropological storytelling, and how it carries the sweet & funny moments but also the melodramatic, tragic moments with equal footing
I know I have a tendency towards hyperbole when I have just watched a film which I have loved, but More American Graffiti absolutely amazed me. It is so inventive, so ambitious. It mixes film techniques, has lengthy sequences in Vietnam, still ends with a gut-punch of poignancy. It takes the characters of American Graffiti but isn't defined by the plot of the first film. It doesn't try to recreate it, but it understands what made it special. It weaves together multiple single nights, plus a lengthy strand in Vietnam, into a tapestry of the 1960s. However, neither is it weighty, it is light and funny and full of warmth.
The performances throughout the cast are superb, with Charles Martin…
It's pointless of me to point out that More American Graffiti obviously isn't up there with its predecessor, but I'd be willing to argue that it's a very underrated and overlooked follow-up that didn't deserve the scorn that it received back in 1979, as it furthers the characters we knew and loved from the original in compelling ways and even offers some surprising visual ambition, making effective use of split-screen and multiple different aspect ratios.
More American Graffiti presents a jarring change from the original in terms of both narrative structure and visual treatment; unfortunately it is also missing its entertainment value and warmth, even if much of the original cast is back. For what it's worth, the usage of split screen and different film stock types for each of the narrative strands is a solid creative achievement, and well beyond a gimmick, but the stories being told seem to take forever to actually get going, and are tonally all over the place. By the end I had settled in well enough with the characters, but it was rough getting there. I speculate there might have been an attempt to cash in on National Lampoon's Animal House, but the hijinks here are rather joyless.
I would call this American Graffiti: The Last Jedi but that movie actually got good reviews and made money.
I really liked this though. It deserves a reappraisal but I feel like this is kind of lost to time. The way each time period is shot in a different way felt natural to me. I've seen some movies do a similar technique but here it feels like more than a gimmick, or at the very least, a gimmick that paid off.
I’m likely to be one of the only people in the world to see this, let alone before American Graffiti. And with it’s hybrid of gaudy split screen and flocks of classic melodies floundered, I can honestly say it’s actually quite hilarious at times. A piece of nonsense that welcomes mockery.
If your favorite part of American Graffiti was the epilogue stating the tragic fates of its three protagonists - including one becoming an insurance salesman - then boy have I got a movie for you.
Just like the first one, John Milner’s story is the best
Dieser Weg wird kein leichter sein
This film is completely based on the plot of the previous work. It basically follows the subtitles at the end of the previous work to rewrite the life journeys of the four protagonists. In fact, this film is pretty okay. It's not a good movie in the best sense, but it kept me entertained.
As a sequel, it's not as bad as expected. The difference from the first plot that basically took place on the same night is, that this part opens four adjacent years to describe the different situations of the protagonists on New Year’s Eve.
These guys have won the important game of life and gained love and watching. The ugliness of the Vietnam war and the freedom…
thanks for the closure ........ and redeeming toad. and love. and sorrow begat from love. what is that, it's better to have loved once....
As far back as 1979, George Lucas was producing very weird and experimental follow ups to his previous successes that alienated audiences. Gotta respect the refusal to rest on laurels for weird creative energy, even if it doesn't come together.
Absolutely did not expect to like this as much as I did. I really enjoyed the original American Graffiti, seen several decades after everyone I've ever known saw it for the first time, but treated seeing its long-tail sequel like an obligation, going to visit an especially boring acquaintance that you haven't seen for a while. To my delight and amazement, this film is doing back-flips and cartwheels, spinning plates and swallowing swords for the entire running time, just being 2000% more ambitious than it needed to be.
Using a David Mitchell-like structure, we get four sequential stories, the four final "where are they now?" wrapups from the original, here given full breath and life. We remembered that one died…
ron howard did get More hot good for him
A creative approach to follow up an iconic film. The distinction in film styles works surprisingly well. The problem is we know the fate of some characters from the postscript of the original, and the others are simply not interesting enough to justify anchoring a sequel. I wish they had expanded the AG universe a little bit rather than checking in with everyone we already met.
Staggeringly ambitious for something that was laughed off as a cash-in sequel at the time. Not only does it feel like a proto-Christopher Nolan movie as it intercuts between four different time periods, but each individual time period is shot in a different aspect ratio (and the 1966 one is shot in constant split-screen, apparently meant as a pastiche of documentaries like WOODSTOCK).
Whereas the original AMERICAN GRAFFITI was just trying to capture the feeling of a night out with friends in pre-Everything '60s, this is an attempt to distill all of that Everything into a series of ordeals the characters have to face. It's too much for one movie, probably, and the fact that each plot gets less than a half-hour of runtime means none of them (except maybe Toad's story, arguably the best of the four) ends up going somewhere unexpected. Still, this is way, way better than it should have been.
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