mackenzie phillips was the blonde in the thunderbird in american graffiti.
who was the blonde in the thunderbird in american graffiti?
mackenzie phillips
american graffiti





























american graffiti is a 1973 american coming-of-age comedy film directed and co-written by george lucas starring richard dreyfuss, ron howard, paul le mat, harrison ford, charles martin smith, cindy williams, candy clark, mackenzie phillips, bo hopkins, and wolfman jack. suzanne somers and joe spano also appear in the film.
american graffiti
"american graffiti" received widespread critical acclaim. based on 47 reviews collected by rotten tomatoes, 96% of the critics enjoyed the film with an average score of 8.43/10. the consensus reads: "one of the most influential of all teen films, "american graffiti" is a funny, nostalgic, and bittersweet look at a group of recent high school grads' last days of innocence". roger ebert gave the film a full four stars and praised it for being "not only a great movie but a brilliant work of historical fiction; no sociological treatise could duplicate the movie's success in remembering exactly how it was to be alive at that cultural instant". gene siskel awarded three-and-a-half stars out of four, writing that although the film suffered from an "overkill" of nostalgia, particularly with regards to a soundtrack so overstuffed that it amounted to "one of those golden-oldie tv blurbs," it was still "well-made, does achieve moments of genuine emotion, and does provide a sock (hop) full of memories." vincent canby of "the new york times" wrote, "'american graffiti' is such a funny, accurate movie, so controlled and efficient in its narrative, that it stands to be overpraised to the point where seeing it will be an anticlimax." a.d. murphy from "variety" felt "american graffiti" was a vivid "recall of teenage attitudes and morals, told with outstanding empathy and compassion through an exceptionally talented cast of unknown actors". charles champlin of "the new york times" called it a "masterfully executed and profoundly affecting movie." jay cocks of "time" magazine wrote that "american graffiti" "reveals a new and welcome depth of feeling. few films have shown quite so well the eagerness, the sadness, the ambitions and small defeats of a generation of young americans." pauline kael of "the new yorker" was less enthused, writing that the film "fails to be anything more than a warm, nice, draggy comedy, because there's nothing to back up the style. the images aren't as visually striking as they would be if only there were a mind behind them; the movie has no resonance except from the jukebox sound and the eerie, nocturnal jukebox look." she also noted with disdain that the epilogue did not bother to mention the fates of any of the women characters.
american graffiti