George Lucas receives the Palme d’Or for lifetime achievement at the Cannes Film Festival, a year after his friend Harrison Ford. We like to celebrate this artist and entrepreneur, just a few days old in his eighties, with a scene that is particularly dear to us. Star Wars or Indiana Jones? Neither one nor the other. Yes it can.
George Lucas, 80 years old a few days ago, he received the Palme d’Or for Lifetime Achievement to the Cannes Film Festival 2024: It’s time for celebration for the creator of Star Wars And Indiana Jones. Also suggested by the similar recognition received by Harrison Ford last year, it would be very easy and instinctive to look for scenes from the sagas mentioned, for a summary of his creative thinking with a dazzling image. Yet – and I swear that I am not writing this to go against the grain – for decades, out of gratitude, I have only one sequence in the head. I always choose it without hesitation, and I’ll tell you about it.
George Lucas, American Graffiti, a young man in crisis and the myth of the Lone Wolf
We are at the beginning of 60’syoung Curt has finished high school and would have a scholarship to create himself a life in the big city. There night before departure he is thirsty for life, full of requestshe doesn’t know whether to leave seriously and leave what remains of his identity. He decides to carry out an action that will mark you for life, halfway between inner growth and self-destruction. In short, those actions you take at the age of eighteen. He decides to reach the place from which he transmits the mysterious Lone Wolf (Wolfman Jack in the original, as himself!): a politically incorrect DJ, myth of many carefree evenings. He wants to give him a dedication, to track down a mysterious woman. He only meets one sound technicianan average man struggling with a broken fridge that’s melting his popsicles. Lone Wolf isn’t here, send the pre-recorded tapes. Guessing Curt’s crisis, the man allows himself to speak on Lone Wolf’s behalf, suggesting that he “move your ass” and discover the fantasy world “that’s out there“. Curt walks away disappointed and perplexed, but in the corridor he glimpses the truth: the man she has just met, that melancholy and lonely person, thinking of not being seen, begins to speak into the microphone… and transforms into Lone Wolf. It was him! Curt walks away thoughtfully, perhaps assessing the weight of reality.
The film I’m talking about is obviously American Graffiti from 1973, George’s second work. Curt was the funny and believable one Richard Dreyfuss. When I think back to that scene, I’m amazed by his densityof what you tell me and the way in which It moves me every single time. And I get hit by a question: why doesn’t Lone Wolf present himself as such?
I provide for myself two interpretationsboth linked to the concept of mythwhich Lone Wolf is, indisputably.
The first interpretation is pietistic: the man doesn’t feel like admitting his own to Curt inadequacy with this myth. He tells Curt to “don’t be young anymore“, he knows he appears like a total loser (a crime in the eyes of an eighteen year old), he complains that he didn’t have the courage to travel, to embrace life. Lone Wolf, however, did it: he doesn’t exist, so he doesn’t make a single mistake.
The second interpretation, the one I prefer, is teaching: man is not ashamed of himself, but protects the myth for Curt. Everyone’s existence is destined for one long trail of melted popsicles in broken-down fridgesthe ultimate meaning of art is to give us the illusion that i our myths, our compasses, support our concrete imperfection with their ideal unassailability. If this boy will need all the courage possible to uproot himself, he will only be able to do it with blind faith in the poetry of illusion.
So no, Lone Wolf is not here, indeed, as the man rightly says: “Lone Wolf is everywhere.” Lone Wolf is a mission, to be embraced once you get it into focus. Curt maybe understood this concept and its importance, so much so that Lucas in the end credits – a key note – tells us that it will become writer.
At this point we could also talk about how Darth Vader or Indiana Jones are the our Lone Wolfof how George Lucas in the end he created those myths himself. How he allowed a handful of pioneers to create others in his name generational legends through the LucasfilmGames / LucasArtsstarting from 1982 (Monkey Island, over all). How he put the spotlight on the ancient art of visual effect, with the example ofIndustrial Light & Magic. We could fill lines thanking him for encouraging us to endure life with the magic of lighthearted entertainmenteven pushing some to create other myths or to tell those of others, as the writer has decided to do.
But all you have to do is close that door ajar and leave that corridor, with a mature smile like that of Dreyfuss: we now know that Luke Skywalker and Indiana Jones don’t exist.
That’s why I am immortal.
