'American Graffiti ' Still Rocks 1973

'American Graffiti' was George Lucas' love letter to coming of age in the early '60s.

I had only seen American Graffiti once before, and that's when the comedy-drama came out the summer of '73. I saw it at our local drive-in, where Mom took us five Gould kids. And I just saw the nostalgia classic again September 4, 2026 at that same drive-in, here in my Upper Peninsula hometown of Manistique, Michigan!

Watching Cindy Williams and Ron Howard in 1973's 'American Graffiti'
at my local drive-in theater in Manistique, MI.

Francis Ford Coppola produced American Graffiti as a favor to his friend George Lucas, then an up and coming director. I was surprised to learn how much studio resistance there was to making American Graffiti. Coppola was actually the big name attached to this project, with The Godfather just completed. Except for TV'S Ron Howard, the cast was all no-name newcomers. The storytelling didn't follow the usual formula, a coming of age story, one night before high school resumes September 2, 1962. BTW, dear readers, I turned 3 that day!

Where was I in '26? Watching 'American Graffiti,' set in '62! 

Ultimately, many young stars were born with this movie: Richard Dreyfuss, Harrison Ford, Paul LeMat, Bo Hopkins, Kathleen Quinlan, Mackenzie Phillips, Charles Martin Smith, Bo Hopkins, Kay Lenz, Wolfman Jack, and Debralee Scott. Ron Howard would soon get his own hit TV series, Happy Days, a sitcom take-off of American Graffiti's era. Cindy Williams would appear on that sitcom and then get her own hit series, Laverne and Shirley. And a few years later, the blonde in the Cadillac got a smash series, Suzanne Somers in Three's Company!

Mort Drucker of Mad magazine fame did the poster for 1973's 'American Graffiti.'

Universal Studio suits also didn't like that American Graffiti used hit pop music as a wall-to-wall soundtrack, one of the first movies to do so. The execs objected to the four main characters' parallel stories. They also disliked the movie's ending, with postscripts telling the fate of the main characters, also a first, and much imitated device. Heck, they even hated the movie's title! Basically, Hollywood studios hate anything that's different, always wanting a copy of the latest trend. George Lucas held firm, with the backing of Coppola. Ironically, it's all of the above things that make American Graffiti unique. 

Ron Howard as Steve in 1973's 'American Graffiti.' Happy Days were soon ahead!

The entire cast of newcomers are empathetic and naturalistic. Ron Howard's Steve is not totally likeable but realistic, as the big man on campus. Cindy Williams as his girlfriend Laurie, is the girl next door, but not cloying as depicted in films of that era. That's the tone of the movie, they are presented realistically, not just as a movie-movie type. Richard Dreyfuss as Curt, Laurie's brother and Steve's buddy, is obsessed with a blonde in the Thunderbird, Suzanne Somers. Curt later gets mixed up with Bo Hopkins' Joe and the Pharoah gang, which leads to a comic action scene. Paul LeMat is John, the greaser gets stuck with a kid sister, Mackenzie Phillips. Terry is the likeable geek who lucks out with good-hearted bimbo Debbie, played by Candy Clark. Kathleen Quinlan shows up as Meg, Laurie's pal, at the high school dance. Harrison Ford is older tough guy Bob, who drag races with John, in the movie's fiery finale. 

Paul LeMat as John, the greaser with a heart of gold, in 1973's 'American Graffiti.'

The cinematography is striking, especially considering that it was all filmed on location and mostly at night, and not on the Universal backlot. Lucas chose Petaluma which was mostly untouched and still looked the era from a decade before. Plus, the local bigwigs were receptive to a month of night shooting. Renowned cinematographer Haskell Wexler was the visual consultant, who came up with solutions on how to light the night streets. Equally respected Verna Fields edited American Graffiti, with Marcia Lucas. 

Harrison Ford is the tough guy who meets his match in 1973's 'American Graffiti.'

The wall to wall soundtrack was curated from Lucas' collection of 45's from his teen years, and his wife Marcia winnowed them down to match the scenes.The music is often blended with the ambient noise, and sometimes sounding as if it's playing on the radio. Since there was no budget left for a score, after the cost of music rights, natural noise was amplified for dramatic effect. 

Cindy Williams played Laurie, Steve's rightfully ticked off girlfriend, in 1973's 'American Graffiti.'

Director Lucas didn't want this to play like a '60s teen movie with Sandra Dee and Troy Donahue. Or be a youth exploitation flick filled with sex and violence. This was a coming of age story from his own teen years in Modesto, and the California cruising culture, with rock and roll. This is especially bittersweet since it soon gave way to the British invasion and Vietnam, to name just a few culture shocks of the era. 

Suzanne Somers got a lot of mileage as the blonde in the Thunderbird, in 1973's 'American Graffiti.' Stardom was just around the corner!

The night-long vignettes are a slice of life from 1962. Dazed and Confused covered the next decade's '70s smokin' era. The Big Chill covered a weekend of 30-somethings reuniting for a friend's funeral in 1981, and recalling their late '60s college-age ideals. Both used American Graffiti's continuous soundtrack format to evoke their eras. 

 Among the highlights: the scene where nerdy Terry is trying to get someone to buy alcohol for him and Debbie outside the liquor store, with its hilarious payoff. Or the exuberant scene where a carload of girls lob a water balloon in LeMat's greaser's car, hitting Phillips' pre-teen Carol's face, and their sweet revenge at the stoplight. Or the comic love scene between Terry and Debbie in the backseat of Steve's treasured car. And especially, the scene where Curt goes to the radio station to request an on-air message for the blonde in a Thunderbird. Wolfman Jack, who gives some wise advice, grants Curt his request without admitting that he is the legendary disc jockey. The ending, with Curt spotting the white Thunderbird one more time as he flies off to a new life, is a sweet grace note.

American Graffiti is still great, a loving but clear-eyed look around the end of an era. 

Richard Dreyfuss as Curt, the young guy obsessed with that blonde in the Thunderbird in 1973's 'American Graffiti,'

10 Things I Love About 'To Catch a Thief’ 1955

 

Golden beauty Grace Kelly and darkly handsome Cary Grant make a
sizzling screen team in Alfred Hitchcock's 1955 hit "To Catch a Thief."

I’ve only seen clips of Alfred Hitchcock's To Catch a Thief over the years, until I wrote this post. Released in August 1955, the romance heist film seemed fluffy to me, compared to his other '50s classics. Well, I was right… and wrong. 

Alfred Hitchcock's 1955 hit, "To Catch a Thief," was light comedy and suspense, 

with great style and romance.

Hitch’s To Catch a Thief IS total fluff, but it's also stylish, smart, sexy, and totally FUN fluff. Here’s at least 10 reasons why!

Great director, stars, & scenery made '55's "To Catch a Thief" a picnic to film.

Grace Kelly looks ravishing in her Edith Head gowns, as she seduces Cary Grant, 

in 1955's "To Catch a Thief."

#1: Grace Kelly as Francie Stevens, a game rich girl on holiday, is a pleasure. Kelly pursues Cary Grant’s reformed thief, and she is confident, bright, funny, and coolly sexy while doing so. Tan and very blonde, Kelly looks stunning in her Edith Head costumes. Like another timeless '50s film icon, Audrey Hepburn, Grace followed her own style sense. Aside from classic clothes, Grace's hair and makeup are subtle. No stiff, matronly hairdos or stenciled, overstated makeup, which was so common in post-war Hollywood films, even with young actresses. Grace's golden locks aren't brassy, like the other blonde bombshells. Kelly's gowns are stellar and her '50s casual wear is fun, not frumpy or fugly. In a word, Grace looks magnificent. Kelly is also fun and relaxed, classy but not pretentious, and she and Cary Grant have a great rapport and chemistry.

Cary Grant as suspected jewel burglar John Robie, in Hitchcock's 1955 hit,
 "To Catch a Thief."

 Grace Kelly gowned by Edith Head & Cary Grant looking handsome in a tux.
 Hitchcock's 1955 hit, "To Catch a Thief."

#2: Cary Grant at 50 is at the very peak of his leading man persona in To Catch a Thief, as one-time jewel thief John Robie. Cary's charm was contrasted with his enigmatic side, used well by Hitchcock, especially in darker roles, such as Notorious and North by Northwest. Here, Hitch and Cary play the Grant-type character mostly for light humor. And Cary's gift for physical comedy is on display, like the chase scene through a farmer’s market floral display. Grant is effortlessly bemused and amusing, as the former thief suspected by everyone as up to his old tricks again. Cary's fit, graceful, and super-stylish. Cary looks like a million and has a deep tan that George Hamilton would kill for! Grant had impeccable taste and Hitchcock was fine with him selecting is own wardrobe.

Alfred Hitchcock's 1955 hit, "To Catch a Thief."

#3: In To Catch a Thief, actually filmed the summer of '54, Alfred Hitchcock's storytelling was tight, the mix of exterior and interior filming seamless, the notion that a blonde actress could be sexy and smart was fresh, and escapist romance didn't have to be mindless. Hitchcock was quoted as saying that he didn't make films that were a slice of life, but piece of cake. To Catch a Thief is one tasty slice of cinematic cake.

Cary Grant's suspected thief escapes by bus, only to end up seated next to 

director Alfred Hitchcock,  in 1955's "To Catch a Thief."

I think Alfred Hitchcock was at his very peak in the first half of the 1950s. Films like Strangers on a Train, Rear Window, Dial ‘M’ for Murder, and To Catch a Thief were all precise and taut storytelling. Hitch had some big hits after Thief , but they became longer and eventually more repetitive and belabored—Marnie is the perfect example of what torpedoed his film director standing. The notable exception was 1960's Psycho, which was Hitchcock's rebuttal to critics that he could indeed make down and dirty thrillers, with just as much directorial style. Then it was right back to leisurely suspense films, while trying to create a new Hitchcock blonde—all of which was swiftly becoming passé.

Grace looking chic in Edith Head fashions, in Hitchcock's stylish
1955 hit "To Catch a Thief."

#4: Edith Head designs some gorgeous gowns for Grace Kelly, and assembles some classic day looks as well. Head was at her zenith in the 1950s, dressing seemingly every star, but notably three top young actresses: Grace Kelly, Audrey Hepburn, and Elizabeth Taylor.

Grace Kelly in a gown fit for a future princess and Jessie Royce Landis
as her outspoken mother, in 1955's "To Catch a Thief."

Head gets dinged by some critics as a prolific rather than inspired designer. I think she walked the fine line of pleasing her studios (Paramount and then Universal), directors, and stars very well, while developing an enduring reputation. Head's career lasted 5 decades and won her 8 Oscars, which should speak for itself.  Hitchcock loved Head because she understood what he wanted. Edith liked working with Hitch because he trusted her to do her job. 

Michelle Auber as the French girt with an eye for Cary Grant's "The Cat,"
in 1955's "To Catch a Thief."

#5: The supporting cast is all in great form: Jessie Royce Landis as Kelly’s blunt mother; John Williams as the insurance detective; and Brigitte Auber, who played tomboyish Danielle, is still alive at 101! The international cast mixes well with the American and British stars.

The beautiful scenery and stars were a huge part of Hitchcock's 1955 smash hit, 

"To Catch a Thief."

#6: The French locales, selected from various parts of the southern France coast, are breathtaking. One of the reasons that some of the location shooting was so eye-catching is that To Catch a Thief was one of the first films to use a helicopter for filming. Most of the interiors were shot back on Paramount's lot. The sets are gorgeous and they are seamlessly woven with the location outdoor shots.

"It's true, Cary. Fireworks are '50s film symbolism for sex!"

#7: The cinematography, the score, and all the production values are top notch. Paramount’s color in Vista Vision is lovely and superior to the color films of mid-century MGM and WB. Hitch was now working with some of his favorite people, in front of and behind the camera. And the final results showed onscreen.

#8: Thief’s script by John Michael Hayes is witty and fun. Some risqué lines and the lovers acting like grownups are refreshing to see in a mid-1950s film are refreshing. 

To wake up in this French villa every day with Cary Grant would be heavenly!

 1955's "To Catch a Thief."

#9: The home of Grant's reformed burglar is most impressive, inside and out. I imagined living there while watching To Catch a Thief!

Grace Kelly's rich girl embraces the splendors around her: the Riviera, Cary
 Grant, and her Sunbeam Alpine sports car! From 1955's "To Catch a Thief."

#10: Kelly’s rich girl’s car is a gunmetal blue Sunbeam Alpine that would pair perfectly with John Robie’s villa.

Grace Kelly wet and wonderful here as the rich girl who is after Cary Grant's
 smooth ex-criminal, in 1955's "Too Catch a Thief."

Some things that I didn’t love about To Catch a Thief are minor quibbles: Grant trying to pass himself as a business man from Oregon—seriously! Or Hitch trying to palm Auber off as younger than Kelly. She's 3 years older and looks even more so! Grace’s Francie treated as an old maid and handed off to a stranger 25 years her senior by mother Landis was patently ridiculous—though he WAS played by Cary Grant. And though Kelly herself found older men attractive off-camera—but that's another story! Finally, this gorgeous movie begins with a huge close-up of a frumpy matron in the morning, hairnet and all, shrieking that her jewels are gone, is so repulsive. An example of Hitch's perverse sense of humor?

Cary Grant at 50 was in fine form, in 1955's "To Catch a Thief."

To Catch a Thief may not be the most suspenseful Alfred Hitchcock film, but it's one of his most stylish, a perfect light entertainment. Enjoy!

Grace Kelly gets the last word, but Cary Grant gives the final reaction, 
in 1955's "To Catch a Thief."

North by Northwest 1959

The Alfred Hitchcock catch me if you can classic, North by Northwest, was the film forerunner to the modern summer blockbuster. My take: https://ricksrealreel.blogspot.com/2020/08/north-by-northwest-1959.html

Rear Window 1954

Rear Window remains one of Alfred Hitchcock’s best Technicolor blockbusters. My take:

https://ricksrealreel.blogspot.com/2017/06/hitchcocks-rear-window-still-thrills.html

‘Fame is the Name of the Game’ Cool or Campy '60s TV?

 

Tony Franciosa flashes a grin and his chest as randy reporter Jeff Dillon
in 1966's "Fame is the Name of the Game." 

 

Fame is the Name of the Game is one of the many TV movies that Universal Pictures cranked out in the '60s and '70s. This 1966 offering was later reworked as the much superior TV series, The Name of the Game. 

"Fame is the Name of the Game" was a Universal Pictures TV movie that
 evolved into the TV series "The Name of the Game." 

Tony Franciosa plays cocky reporter Jeff Dillon at Fame magazine. He takes up the case of a young woman’s death, a high class call girl, which results in multiple threats.  The reason why Dillon is so driven in pursuing a story that he literally stumbled upon—a gut feeling—seems weak. Especially as he's getting grief from all quarters, every person he talks to drops dead, plus a few beat downs for his troubles. Fame is the Name of the Game feels very TV hero, instead of real. That doesn't stop our star reporter, or him flirting with every woman he encounters, including a sexy artist, portrayed by Jill St. John.

Just another Casual Friday at Fame magazine! 

Franciosa was one of those actors who played sexy and sexist jerks, flying in the face of the liberated late '60s, and acting more akin to the early ‘60s Playboy era. Tony was segueing into TV at this point in his career. A little too pretty, glib, and affected to be a top movie leading man, he was more George Peppard than Paul Newman. Flashing his chest and Chiclets smile, while spouting sexist come-ons and put-downs, was Tony's stock and trade opposite sex bombs like Jill St. John, Ann-Margret, Raquel Welch, and Jacqueline Bisset. And natch, they were all a dozen years younger than Tony. While Franciosa was indeed attractive, his smarmy delivery wouldn't get him to first base today. 

Tony Franciosa as Jeff Dillon, with a souvenir from his last journalism jaunt,
 in "Fame is the Name of the Game." 

Jill St. John fared best when she spoofed her sex bomb image, whether opposite Sinatra, James Bond, or Tony's Jeff Dillon. As Leona Purdy, whose artist's pad looks like a swanky bordello, Jill's style today looks like an Austin Powers fembot. The finale's a hoot, with villain Jack Klugman shooting at Tony and Jill in a parking garage, with St. John sporting a black and white hound’s-tooth mini, a clear plastic jacket, and yes, white go-go boots!

Imagine being chased by two gun men and you have Jill St. John
in THIS get-up?! From 1966's "Fame is the Name of the Game."

From the back side!

Jill St. John had her redhead bombshell look down at this point. On the '60s bimbo bombshell scale, Jill St. John was below Raquel Welch and Ann-Margret, but above Joey Heatherton, on the ‘60s sex bomb food chain!

Jill St. John and views of her 'do! 1966's "Fame is the Name of the Game."

Yet, Jill was becoming increasingly fun in spoofing her image and is quite funny as Leona, who figures in this mystery and falls instantly for Jeff. Jill sports different hair and costumes in every scene and is outrageous in her flirting with Tony’s Jeff. Unfortunately, Game’s aging male screenwriter gives her some clinker chauvinistic lines, making her seem a husband-hunter, when she could have her pick. Thrown in for a finale twist is a nod to The Maltese Falcon, making her a femme fatale. Thankfully, St. John’s natural intelligence and humor off-set all this!

At first, I thought this jumpsuit was a Bob Mackie. Close! Ray Aghayan
 designed number, originally worn by Angie Dickinson for "The Art of Love."

Susan Saint James was just 20 when she made her film debut in 1966's
"Fame is the Name of the Game." 

Susan Saint James made her screen debut here as quirky editorial assistant Peggy—Chan here, later Maxwell in the TV series. Though she's the butt of smarmy Dillon’s barbs, Susan's Peggy is plucky and smart, if inexperienced.  Susan sports some unfortunate styles and unflattering '60s makeup. But those big brown eyes and husky voice come through. Susan went on to have a long TV career, starring in three series: The Name of the Game; McMillan and Wife; and Kate and Allie. She became a top comic actress, with warmth and charm.

Susan Saint James sporting heavy duty '60s eye makeup in 1966's
"Fame is the Name of the Game." 

Fame is the Name of the Game boasts a strong guest star lineup: Jack Klugman as the eccentric, sadistic, baddie; rat-a-tat-tat voiced George Macready as the original publisher Glenn Howard (later played by Gene Barry); Robert Duval as the grieving hubby of the dead woman; and Jack Weston as Tony's boss. Lee Bowman, and especially Jay C. Flippen, offer strong characters that Dillon encounters. Nanette Fabray has a bit as a flirty hotel phone operator—she was also married to Game’s producer/writer Ranald MacDougall.

Jack Klugman as the daylight-hating villain in 1966's
"Fame is the Name of the Game." Dr. Evil's grouchy brother?

Jack Klugman as the daylight-hating bad guy is good, but his dour demeanor had already typecast him as a comic grump. As a James Bond-esque villain, Jack barely seems mobile, much less imposing. 

Director Stuart Rosenberg became a big name shortly after this Game, due to his association with Paul Newman. Cool Hand Luke was the most successful of their collaborations. Here, Rosenberg goes in for some showy camera shots that border on the absurd.

No, Jill St. John's artist doesn't paint this way! From 1966's "Fame is the Name of the Game."

For a lunch date, Jill St. John makes yet another costume change,
from a bikini to a fur hat! 1966's "Fame is the Name of the Game."

The script is convoluted but also clichéd, given a hip surface veneer, typical of aging screenwriters like Ranald MacDougall in the increasingly permissive era. The comedic moments’ sensibilities are on par with a ‘60s Bob Hope movie.

The plot is run of the mill, convoluted, and too tedious to describe! When The Name of the Game later made its debut, the stories were more unique and stylishly presented, with younger writers, instead of dated studio writers like MacDougall. The downside was the three rotating male leads were all insufferable: smarmy Tony, pompous Gene Barry, and stiff Robert Stack. Thankfully, Susan Saint James reprised her role of Peggy Maxwell. And the series boasted excellent guest stars and up and coming directors like Steven Spielberg. 

Tony Franciosa as globetrotting reporter Jeff Dillon 

in 1966's "Fame is the Name of the Game." Tony was 38 at the time.

As for Fame is the Name of the Game, it's fun for star watching and as a '60s flashback. And Jill’s groovy fashion parade! Finally, if the story seems familiar, it’s a loose remake of Alan Ladd’s Chicago Deadline, from 1949.

Jill St. John as an artist with a checkered past! 1966's "Fame is the Name of the Game."

Watch The Name of the Game’s most famous episode, LA 2017, for the combined imagination of Steven Spielberg and the knowledge of Philip Wylie, for a look at the future that is mostly on-target—sadly. My take: https://ricksrealreel.blogspot.com/2020/09/the-name-of-game-la-2017-1971.html

When I was a grade school-age kid, The Name of the Game was one of those "grown up" TV shows that I loved. This episode, titled Ordeal, starred regular Robert Stack as hard-nosed Dan Farrell, Crime magazine reporter. Jessica Walter guest stars, in a showcase, sort of a mini-I Want to Live! My look:

https://ricksrealreel.blogspot.com/2020/05/the-name-of-game-ordeal-for-jessica.html