George Lucas: A Biography. John Baxter
at 3 p.m., he rode his bike or took the school bus home, went straight to his room and spent the hours before dinner reading comics and playing rock’n’roll. Emerging, he’d eat in silence, watching the family’s Admiral TV, which, fashionably for the time, sat on a revolving ‘Lazy Susan’ mount that swivelled through 360 degrees. After that, it was back to his room again. Hoping to revive his son’s interest in construction, Lucas Sr designed a large box, with a glass top and front, in which he could continue to create his imaginary battlefields. He gave him a 35mm camera for his birthday, and turned the house’s second bathroom into a dark room. But while George fitfully pursued these enthusiasms, his heart was no longer in them. He was fifteen – in America, the age when a young man’s fancy lightly turns to thoughts of wheels.
When America went to war, the car industry was one of the first to be militarized. The Japanese bombed Pearl Harbor in December 1941. By February 1942, every automotive assembly line in America had been turned over to tanks. The government impounded any cars Detroit had in stock, and doled them out to the military and to people in protected occupations. By 1945, the supply of new cars was down to thirty thousand – three days’ worth by 1939 rates of sale. The shortage didn’t ease for five years, when the government permitted the importation of a few vehicles from Europe, almost entirely luxury cars like the Rolls-Royce, Jaguar, or Bentley, or, at the other end of the market, the Volkswagen and the Fiat Innocenti and the Autobianchi – the kind of ‘toy’ cars with which Detroit, still committed to the gas-guzzler, refused to soil its hands. (Curt Henderson in American Graffiti drives a clapped-out Citroën Deux Chevaux.) The occasional independent, like Preston Tucker, who tried to build and sell cars in competition with Detroit was ruthlessly put down.
‘If you didn’t have a car back then,’ says Modestan Marty Reiss, ‘basically you didn’t exist.’ Lucas agrees: ‘In the sixties, the social structure in high school was so strict it didn’t really lend itself to meeting new people. You had the football crowd and the government crowd and the society-country-club crowd, and the hoods that hung out over at the hamburger stand. You were in a crowd and that was it. You couldn’t go up and you couldn’t go down. But on the streets it was everyone for himself, and cars became a way of structuring the situation.’
If a kid couldn’t afford a VW or Fiat, he grabbed what he could, and adapted it. Four years of tinkering, repairing and making-do, added to the repair skills expected of kids who often needed to service farm machinery, had turned farm boys into fair auto mechanics. Prewar Detroit made its cars as simply as possible, to standardize spare parts. Two rusting wrecks might be cobbled together into one vehicle. During the war, undertakers could still buy hearses. Ranchers usually got a station wagon, farmers a pick-up. All were ingeniously adapted in the late forties and early fifties.
Surfers liked the long vehicles, ideal for carrying boards, but kids looking for something hot sought out the 1932 Ford Deuce Coupe and the ’47 Chevrolet, which they ‘chopped’ – lowering the roof as close to the hoodline as possible – and ‘channelled’ – dropping the body down between the wheels. Playing with the suspension could make the car look nose- or tail-heavy, or simply close to the ground in general: the ‘low rider’ look that signalled a driver looking for trouble. (In American Graffiti, John Milner reassures a cop that his front end is the regulation 12½ inches above the road.) Fitted with an engine souvenired from some much heavier car, with a ground-scraping new suspension, the low roofline giving the divided windscreen the look of threatening slit eyes, all the chrome stripped off, door handles removed, only the legal minimum of lights retained, and the whole thing repainted yellow, with flames down both sides, Grandpa’s 1932 Ford became that most ominous of post-war cultural artefacts, the hot-rod.
One end of the post-war car world was represented by customizers like George Barris, who turned Cadillacs into lavish display vehicles for Hollywood stars, with lashings of chrome, iridescent and multiple-layered lacquer finishes, and whorehouse interiors upholstered in animal skin, velvet or fur. At the other extreme was Junior Johnson, a North Carolina country boy who dominated the dirt-track circuits of the rural South, winning such a reputation that Detroit and the tire and gas companies began investing in the burgeoning worlds of stock cars and hot-rods.
Long, straight country roads offered the perfect laboratory for testing and perfecting often bizarrely adapted vehicles. The mythology of cars flourished particularly in predominantly white Northern California. Black musicians seldom sang about cars, but white ‘surfer’ groups like Jan and Dean and, particularly, the Beach Boys made them a staple. The latter’s ‘Little Deuce Coupe,’ ‘Shut Down’ and ‘409’ – named for the cubic-inch displacement of a Chevrolet engine – were major hits.
All over Stanislaus County, kids worked on their cars through the week and, on Saturdays, brought them to downtown Modesto, where they took advantage of the one-way system imposed by merchants to make a leisurely tour d’honneur along Tenth Street, across one block, down Eleventh and onto Tenth again.
Lucas said later, ‘When I was ten years old, I wanted to drive in Le Mans and Monte Carlo and Indianapolis,’ but his real interest in cars actually began when he was around fifteen, and became a ruling passion. On any Saturday from 1959 onwards, you could have found him on Tenth Street from around four in the afternoon to well after midnight.
Cruising in Modesto had a lot to do with sex, but, though Lucas claimed he lost his virginity in the back of a car with a girl from Modesto High, the tougher and more sexually active of the town’s two high schools, nobody has ever admitted to being his girl. John Plummer recognizes a lot of Lucas in the inept teenager played by Charles Martin Smith in American Graffiti: ‘There’s so much of George in Terry the Toad it’s unbelievable. The botching of events in terms of his life, his social ineptness in terms of dealing with women.’ His mother said, ‘George always wanted to have a blonde girl friend, but he never did quite find her.’ In Graffiti, Terry, who normally bumbles around on a Vespa scooter, inherits the car of his friend Steve Bolander when Steve goes off to college, and immediately snags Debbie (Candy Clark), the most bubble-headed blonde anyone could desire.
As cruising petered out in the early hours, more aggressive drivers peeled off and headed to the long, straight roads on the edge of town, where they could prove just whose car was the fastest. A mythology grew up around these dawn races, which Lucas celebrated in American Graffiti. In the film, they take place on Paradise Road – a real Modesto thoroughfare, but too twisty, locals agree, for racing. Dragsters preferred Mariposa Drive, Blue Gum Avenue, or, best of all, Rose Lane, where painted lines marked out a measured quarter-mile. The film showed drivers gambling their registration papers – ‘pink slips’ – though this was almost unknown: even a $20 side bet was daring. Most kids didn’t own the cars anyway: ‘You’re racing your daddy’s car tonight,’ was a favorite gibe – used by Harrison Ford as Bob Falfa in American Graffiti when he challenges John Milner. If parents bought a second car for their kids, they normally retained title. Most kids simply cruised in the family Chevy or Ford, the automatic transmissions of which they wrecked in a few months by intemperate ‘peeling out’ at high speed from the kerb, or by racing.
The bad boys of the car culture were the gangs. Modesto already had a hot-car club, the Century Toppers, which went back to 1947 and was led by Gene Wilder, later a prominent professional customizer. A car modelled on his chopped Mercury, the roof so low that the windscreen is barely a slit, features in American Graffiti, but Lucas preferred to confer immortality on a later and raunchier gang, the Faros, archetypal juvenile delinquents who hung out at a burger joint called the Round Table.
In American Graffiti, the Pharaos (sic) and their slow-talking, gum-chewing leader Joe, played by gangling Bo Hopkins, are every mother’s nightmare, in glitzy satin jackets and skin-tight jeans. They kidnap Curt (Richard Dreyfuss) and put him through an initiation rite that involves hooking a chain to a police car and ripping out its back axle.
Surviving Faros reject this characterization, and deny charges that they instigated fist-fights or poured gasoline onto roads and set it afire. ‘We never got in trouble,’ insists Ted Tedesco, one of three brothers, all foundation members of the Faros when the gang formed in 1959. To hear the Tedescos and other ex-members like Marty Reiss tell it, the Faros were just