Innocence Found: Tom Petty’s “American Girl” in the Movies
There’s nothing like the 1977 Tom Petty & The Heartbreakers’ song, “American Girl” to inspire a feeling of carefree, sing-along abandon in its fans. Appearing on their debut album, this popular track from the late ‘70s had enough staying power to go from radio to film, making appearances in the 1982 classic, Fast Times at Ridgemont High and the 1991 masterpiece, The Silence of the Lambs.
In Fast Times, “American Girl” plays over a montage of the first day of school. For some it’s a return to another year of popularity; for others, like Stacy (Jennifer Jason Leigh), it’s the start of a challenge. As soon as Stacy appears in this montage, the lyrics begin: “Well, she was an American girl/raised under promises/She couldn’t help thinking that there was a little more to life/somewhere else.”
She meets a handsome older guy named Ron (D.W. Brown), a stereo salesman in the mall. Stacy lies about her age and agrees to a date with him, 26. Stacy has abandoned her rule-following American girl. She sneaks out and runs to meet Ron on a street corner, who picks her up in his car. As Petty sang: “After all, it was a great big world/with lots of place to run to.”
As this young girl in Fast Times wanted to quickly become a young woman, the placement of the song in The Silence of the Lambs, shows how a young woman can quickly revert to being a young girl. Catherine (Brooke Smith) is driving by herself, singing along to “American Girl” on her stereo, her familiar nature bonding the viewer to her. Catherine pounds along on the steering wheel and not only sings the lyric, “Make it last all night,” but also tries to sing the backup at the same time, which only makes her all the more endearing. She stops singing, and the camera remains focused on her face, allowing for a final look, warning the invested observer that this carefree American girl, safe in her protective environment, will soon be anything but. She helps a man (Ted Levine) outside her apartment, her heart in the right place, yet her naivety gets her in serious trouble.
Although both films are different—Fast Times, a sharp, slightly unnerving comedy, Silence, a chilling, totally disturbing thriller—the choice to include “American Girl” is a testament to how well the song works in capturing wide-eyed innocence. Thankfully, both characters come out the other side as stronger American women.
A Brief Stint with Synth: Tom Petty & The Heartbreakers: “You Got Lucky”
Similar to disco in the ‘70s, which had just about everyone, including a brief stint by The Rolling Stones (“Miss You”), “disco-fying” their sound, this new-wave MTV era now had a rock group synthesizing their sound to fit into the musical landscape. Florida rockers Tom Petty & The Heartbreakers, known for ‘70s FM-radio hits embraced adaptability with 1982’s “You Got Lucky.”
Whether you were already a fan of their car-radio favorites or discovered the band via the Mad Max-inspired music video for “You Got Lucky,” it was this openness to explore that introduced the group to an even bigger audience. However, the band’s visit to this alien land of synth was (intentionally?) ephemeral. In the apocalyptic video, the Heartbreakers play rough, yet wary space cowboys, stumbling upon a lost desert station, presumably on Earth, filled with technological artifacts and fads. Note at the end that the only item they take with them is the electric guitar, which Mike Campbell loads into his shuttle. They leave behind the jackpot of coins, the arcade games, TV sets and the cassette-tape player; the guitar the only real thing of value, interest and relevance, symbolic of the band’s loyalty to their traditional rock lineage and the only necessary instrument for where the band was headed… back home.
It’s also noteworthy that Petty’s futuristic character, ironically wearing old-west attire, almost takes the tape player, yet decides to leave it behind, not only foreshadowing its obsolescence, but perhaps serving as another indication of Petty’s affinity for the traditional, i.e., the vinyl record. The band did manage to welcome one important innovation: the music video. They continued to embrace the marketing tool, becoming one of the most creative bands to push the concept forward, so much so, their videos became short four-minute films. Three years later “Don’t Come Around Here No More” became one of the best, albeit surreal and disturbing, videos of the MTV ‘80s. Just as the Stones followed up “Miss You” with their return to form, “Beast of Burden,” Tom and the gang soon issued the familiar-sounding “Change of Heart,” an aptly titled release, considering from where they just came.