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I was 12 years old when "American Graffiti" (1973) was released, and just like with "Animal House" (1978) when I was 17, I think both movies meant more to me then than they do now - they're both, in a sense, "coming-of-age" films, and I think coming-of-age films have a greater influence if you're about to go through that period in your life: With American Graffiti, I was 5-years away, with Animal House, I was only 1-2 years away, and that's probably why I loved both movies at the time. Like with "Blackboard Jungle," I didn't realize that "Rock Around the Clock" was the opening theme song of this film - it makes a lot more sense here than there, since American Graffiti is so gentrified and set up to be a movie for upper-middle-class white people - it's almost like you're watching the pilot episode of "Happy Days" (which *also* used it as its opening theme song for awhile). Is American Graffiti the first of the "50s retro-movies" to look back upon it tenderly, as an innocent era? I can't think of any that came before this, so maybe that was the appeal to society (likewise with Happy Days). It all seems so harmless and naive - I wonder if anyone can think of any pre-1973 films that gave the early Rock-n-Roll era the same, sanitized treatment? I guess there's nothing wrong with this; it just comes across to me as a little bit sappy right now, not that sappy is bad. Ha! 45-years later, I still remember laughing at the line, "File that under 'CS' over there" when John Milner (Paul Le Mat) gets a traffic ticket. Oh my goodness! I had no idea Debralee Scott (who played Rosalie "Hotsie" Totsie in "Welcome Back Kotter") was in this movie. Not to mention the fact that she's Bob Falfa's (Harrison Ford's) date. The number of famous people in this movie is absolutely incredible, and I think that, for the most part, it was the movie which made them famous, and not vice-versa. I remember so well the line when Steve Bolander (Ron Howard) is in the car with Laurie Henderson (Cindy Williams) trying to get one more session in before going off to college - she refuses him, and he arrogantly says, "You want it, and you know it." Even at a pre-pubescent age 12, I thought to myself how ridiculous it was for *Ron Howard* to be saying that to such a pretty girl - it's funny the things you remember (and the things you don't) after nearly 45 years. By the way, the leader of "The Pharaohs" - the physically intimidating Bo Hopkins - is someone I recognized, but didn't remember from where. If you've ever seen "Midnight Express" (1978), he plays Tex, who's the one who says to Brad Davis - after Davis tries to escape - "You seem like a nice enough kid to me, Billy, but try it and I'll blow your fucking brains out." With just over thirty minutes left in the movie, I'm finally getting into American Graffiti - with "slice-of-life" movies, you have to immerse yourself into their atmosphere to enjoy them (cf: "The Last Picture Show," the impossibly beautiful Cybill Shepherd on the diving board notwithstanding). Finally, I feel like I'm watching a longer, edgier version of "Happy Days," which I enjoyed as a teenager, so I've started to feel at home with American Graffiti - but I just can't get over how young Richard Dreyfuss looks, no matter how long the movie goes on. I'm not sure I've ever seen a movie with more famous people in it than American Graffiti.