graffitti- blowup
OK in american graffitti:
when dj wolfman jack gives curt a popsickle cos the fridge is broken. curt came to the omniscient dj voice wolfman in seach of guidance & life wisdom. the entire film is punctuated by the wolfman's voiceover & playimng endless 50s/60s radio hits. the wolfman says 'Im not the wolfman, thats a guy hundreds of miles away in mexico.' as curt is leaving he peeks in again & of course that IS the wolfman announcing another record. also curt is driving by and suzaane sommers [looking the best she ever did] mouths 'i love you' to him from a passing car.
also when Toad tries to buy booze at a 24 hour store. the way the cashier says 'you got an ID for that liquor?' is priceless. of course Toad does score the booze & he gets drunk w/super hottie candy clark. also when Milner the hotrod supercool stud looks at his date & its mackenzie phillips, looking all of 12 years old. normally milner wouild date a 17 or 18 year old. he is chivalrous and keeps her in the car, but makes her keep her head down whenever fellow 'coolsters' pass by. milner also says 'the beach boys are kids stuff' and mackenzie says 'the beach boys are boss!!' thats another of my fave lines ever in a movie. and at the end when the beach boys' 'all summer long' plays over the closing credits, the way the text comes on the screen out the airplane window to the beat of the xylophone in the song is another genius movie moment [imo american graffitti, by george lucas, far surpasses any of the star wars films.]
in blow up, when hemmings & veruschka are at the london party, everybody is drunk & high, and he says to her 'I thought you were in paris?' and she drags on a doob and says 'I am.'
when hemmings returns from shooting the bums & prison inmates & he tosses a few rolls of film at his assistant and says to print them. his super cavalier acting is so hot. also his uniform of white jeans, a light blue oxford shirt, a navy velvet jacket & beatle boots. when he buys a huge airplane propellar at a junk shop & throws it in the back of his rolls royce convertible. irs sticking out the sides of this ultra-luxe car & he acts like its nothing.
the way the clowns & pierroths joy ride through london so unfettered among uptight business squares. the way hemmings joins the clowns & mines in the imaginary game of tennis at the end of the film, even though you hear a tennis ball pplop, its not there, a visual symbol of the films theme of reality vs unreality & perception being untrustworthy.
when hemmings photographs vanessa redgrave in the park with her lover, the way she comes chasing up to him afterwards all out of breath.
when hemmings meets his art dealer at the cafe, the dealer is served an eggs & beans brunch. hemmings inspects it, and instead of ordering a meal in the traditional waym, he points at the eggs & points at his mouth with his finger. the primordial, unspoken way he does that is incredibly sexy.
hemmings observes his downstairs artist neighbour paint these abstract paintings taht are really messy. hemmings drools over them to the guy & wants to buy some, buit you just know he thinks they suck and he is atually laughing at them. the dual level to hemmings performance there is brilliant, he convinces the artist he likes them but you can totally tell he thinks the paintings are crap. once again questioning reality in word & event.
when the 2 teenage groupies show up at his studio & he has his way with them like the lustiest rockstar. their screams & noises as their mod dresses are ripped off.
have you seen the film? it won the palm d'or at cannes 1967.