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Like The Last Picture Show, George Lucas’s American Graffiti is a nostalgic return to an idealised America of the pre-Vietnam era.It takes place over one hot summer night in a small California town in the early 60s, where teenagers endlessly circle in their souped-up cars, racing, picking up dates and trying to score liquor.encapsulated the moment of 1968 with its story of students violently rebelling against the old world order typified by school, church and army.Three years before his turn as the vicious teen anti-hero of A Clockwork Orange (1971), Malcolm Mc Dowell made his screen debut as Mick Travis, a rebel with a cause who isn’t going to take the strictures and discipline of public school any longer.But, five years later, À nos amours made an even bigger impression, matter-of-factly confronting us with the promiscuity of 16-year-old Suzanne, played – in one of film’s most dazzling debuts – by Sandrine Bonnaire.Moving between a holiday in the country and her family life in Paris, the film charts Suzanne’s precocious sexual adventures alongside the turbulence she experiences at home.
Jim’s frustrations at his parents, his railing against society’s staid conventions, his feuding with the other kids in school, his scrapes with the law – all seem to wash away into cosmic insignificance in this melancholy, frightening moment.
With his second feature, which features star-making turns for Jeff Bridges and Cybill Shepherd, Bogdanovich brought the teen film kicking and screaming through its own puberty and into a new maturity, sensitively tracing the shifting hopes and anguishes of its protagonists as they face up to the responsibilities of growing older.
As Tom Huddleston writes in Time Out: “The different ways people become who they are – rich or poor, cultured or common, honest or treacherous, loving or hateful, sad or satisfied – were never more eloquently explored”.
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