Some Kind of Wonderful Director

The first ever ‘date movie’ I experienced was John Hughes’ Pretty in Pink. I don’t know if I can aver that the film changed my life at that time. I was in junior high, so, for one thing, this double date excursion had to be chauffeured. For another, I wasn’t quite mature enough to understand higher complexities of love and social strata inherent in Hughes’ films. You’ll notice that I earlier called the film, “John Hughes’ Pretty in Pink.” This is one of the few times I can recall that a film, or series of films, is attributed to the writer, rather than director. True, he did direct a handful of the films he wrote, but Hughes was such a master of the high school film oeuvre, there is no way any associated director would ever get credit. (For the record, Pretty in Pink was directed by Howard Deutch). Hughes’ gifts were many, including, but not limited to, his ability to capture the angst of teenage life, but with humor and reverence. All the while, Hughes hired the best music supervisors for the job, marrying some of the best music of the generation with his turbulent teenage tales.

Although I can’t claim to have my world changed as a teenager, I can claim that John Hughes’ films were an important part of my life, and that I have been able to radically rediscover them as an adult. Now that I am nearly twenty years on from graduating high school, I can see these films in a completely different light. In a way, they become wish fulfillment, a portrait of what could have been, or possibly, at times, what actually was without my realizing it.

I’ve opined many times over, in other articles and music reviews, about how the music in John Hughes’ films drastically changed my life. Even though most of the music on the respective Hughes soundtracks could be lumped into the same genre, each collection sounds, to me, radically different than the next. And so, I give you my little tribute to an iconic filmmaker and my favorites amongst his work:

Sixteen Candles (1984)

Sixteen Candles is the first of Hughes’ high school comedies and would really start it all for an entire genre. It was one of many of Hughes’ films to be named after popular songs. It also began Hughes’ longtime professional partnerships with both Molly Ringwald and Anthony Michael Hall, the redheaded ingénue and typecast geek who would inhabit a good portion of his films. There was such magic between these two actors; it’s easy to see why Hughes cast them over and over again. Sophomore Samantha Baker reached what is supposed to be her ‘sweet sixteen’ birthday, only to realize her entire family forgot with the ensuing preparations for her sister’s wedding. On top of that, she’s the outsider in love with the most popular guy in school, and she’s in turn being pursued by the self-professed “king of the dorks,” a freshman who is actually never properly named, other than “Farmer Ted” or, as it is written in the script, “The Geek.”

What struck me upon reviewing Sixteen Candles again was how resilient Farmer Ted actually ended up to be. While Sam pines for Jake Ryan, and ends up crying in hallways for a good portion of the film, who’s to say that Ted isn’t as heartbroken as Sam? Ted actually exhibits a large amount of compassion for Sam during her emotional breakdowns, though his motives still remain suspect, constantly misinterpreting cues as consent for sexual advances. Ted even helps Sam and Jake get together, even though he harbors desires for Sam. Of course, Ted is rewarded for his efforts as exhibited by a hilarious post-coital scene with Jake’s popular ex. The social strata in Sixteen Candles is apparent, though maybe not as pronounced as in other films. Ted and his two geek buddies, one played by a young John Cusack, are easily the outcasts of the school. Not only are they portrayed as nerds, talking to each other over remote headsets though standing next to each other, but they are also freshmen. While Samantha might not be a social outcast, she is obviously not part of the social elite. Even so, while Samantha may not be accepted by Jake Ryan, his girlfriend and their collective friends, she is also a few rungs above Ted and his friends, able to hurl insults at him without reprisal. The part I found most refreshing about the social behaviors in Sixteen Candles is that ultimately, Samantha would talk to Ted and reveal her problems. Jake also talked to Ted and treated him with an amount of respect and friendship. This was more what my high school experience was like. Sure, there were friendship cliques, but for the most part, I was able to get along with most everyone.

The music in Sixteen Candles is quite possibly the most diverse out of all of Hughes’ films. The requisite KROQ fodder is represented by Oingo Boingo, The Vapors, Kajagoogoo, the Specials, Billy Idol, and the Stray Cats performing the cover title track. My favorites of that ilk are “Happy Birthday” by Altered Images, Wham’s “Young Guns (Go For It)” and Nick Heyward’s Whistle Down the Wind.” But a mix of other songs make this soundtrack something unique. Hughes’ use of source music started here, as he brilliantly edits in the Dragnet theme, the Peter Gunn theme, classics from Frank Sinatra and the Godfather theme. Of course, any movie with a high school dance can’t get away without using Spandau Ballet’s “True.” I think it might be against the law to not play “True” at a high school dance. Bowie’s “Young Americans” seemed to stand out as I view it today, but back then, he was just changing his style and wasn’t quite the legend he is now. And, as would become a signature trademark for Hughes’ films, the movie closes with a truly powerful song; this one being the Thompson Twins’ underrated “If You Were Here.”

The Breakfast Club (1985)

The Breakfast Club is, was, and forever shall be a phenomenon. It is rumored to have, along with St. Elmo’s Fire, spawned the term, “The Brat Pack.” The premise is simple: five students, from completely different cliques, end up in Saturday detention at Shermer High School (Hughes’ fictional Illinois town). They are, as narrated in the film, “in the simplest terms, the most convenient definitions: a brain, an athlete, a basket case, a princess and a criminal.” Over the course of their day, they clash and reveal truths about themselves which lead them to discover they’re not that different after all. Judd Nelson’s quotable turn as John Bender will most likely forever go down in teen film history as one of the most memorable performances ever given. That’s not to say the other four teen stars (3 of them were in their 20’s when they filmed, to be fair) were not remarkable.

Again, as in Sixteen Candles, by the end of the film, social demarcations seem to be shattered, but those lines were much stronger in this film, as that was somewhat the point. In fact, these characters say some of the most hurtful, yet truthful, things in this film regarding social mores. When Claire claims that she and Andrew wouldn’t greet Brian in the hallway on Monday, in my experience, I’d say she’s probably right. Now, I wasn’t of a particular clique that necessarily shunned anyone, but I’ve seen it happen. The five teens confront the stereotypes associated with them, and then both confirm and shatter those stereotypes at the same time. After Columbine, Virginia Tech, and a host of other school shootings, Brian’s revelation about brining a gun to school now carries an even heavier connotation. But, it also makes the revelation that it was a flare gun even funnier.

Far fewer pop songs were used in The Breakfast Club than in most of the other Hughes films. But, ironically, probably the biggest hit and most iconic song to spring from Hughes came from this film. Simple Minds’ “Don’t You (Forget About Me)” is the quintessential teen flick track. It’s been referenced, spoofed and used a thousand times over, and it was made specifically for this film. In fact, not many might know that Simple Minds didn’t write the song. It was written by Keith Forsey, the man who provides most of the instrumental music for the film. That music, in turn, later influenced M83’s great album, Saturdays=Youth. Other than maybe Wang Chung, most other incidental music is from relatively obscure artists, including E.G. Daily, better known for playing Dottie in Pee Wee’s Big Adventure and the voice of Tommy Pickles from Rugrats.

Weird Science (1985)

It had been done before, and even references those earlier films, but in Weird Science, two outcast nerds, naturally, create the ultimate woman. This woman, in turn, then goes about giving the two boys everything they desire, only to teach them that everything they desire isn’t everything its cracked up to be. What they eventually learn, as most Hughes characters eventually do, is that life is hard enough without trying to be something you’re not.

This is probably the one film from Hughes that just hasn’t held up as well as the rest. Sure, Anthony Michael Hall is back as his geeky self, having gone through a growth spurt and cracking voice, and his drunk scenes are easily some of the funniest moments of his career, but there is something lacking. Maybe it’s the weakness of Ilan Mitchell Smith’s character, or possibly even the miscasting of Kelly LeBrock. Either way, Weird Science became a cult hit, and it’s pure wish fulfillment. Every high school kid dreams of becoming the most popular kid in school, the one with the awesome car and hot significant other. It also brought two significant actors to the public’s attention, Bill Paxton, as the imitatable Chet, and Robert Downey, Jr. as one of the two main bullies.

Weird Science made a national name for what I call one of the biggest local bands in history. Oingo Boingo had been on soundtracks before, including Sixteen Candles, Bachelor Party and Fast Times at Ridgemont High, but it wasn’t until Weird Science and the next year’s Back to School that they started gaining any kind of national attention. A few random acts appear on the soundtrack, and names that don’t necessarily seem to go together on paper, but they seem to work in the movie. OMD would feature on the soundtrack, but wouldn’t gain the same notoriety they would a year later with Pretty in Pink. And aside from the title track, the most memorable song from the film would be General Public’s “Tenderness,” though it wouldn’t be the only English Beat related song to appear in a John Hughes film.

Pretty in Pink (1986)

A girl from the wrong side of the tracks falls for a guy from wealth and vice versa. But, would the pressures of social stigma keep them from getting together? It’s a simple premise, but John Hughes turned it into something altogether funny, heartbreaking and real in Pretty in Pink. Originally supposed to reunite Ringwald and Hall, the latter turned down the role, afraid of being typecast. Thankfully, that role went to Jon Cryer, who managed to turn “Duckie” into a character that can’t be pigeonholed into a stereotype. In fact, most girls I’ve talked to seemed to prefer Duckie over Andrew McCarthy’s pretty lead, Blaine. (“That’s not a name, that’s a major appliance!”) Hughes’ originally written ending had Andie, played by Ringwald, realizing that Duckie was her true love, but studio pressure forced him to change it so that she would end up with Blaine.

Once again, Hughes masterfully captures the pain and angst of clashing cultures and hormones in the teenage years. Even though Ringwald and McCarthy play the romantic leads, and they do so incredibly well, considering that just one year previous, Ringwald played the near opposite of Andie in The Breakfast Club’s Claire, the movie is nearly stolen by the side characters. Jon Cryer’s Duckie, James Spader’s Steff, Harry Dean Stanton’s Jack Walsh, and Annie Potts’ Iona shine in every scene they inhabit. In fact, I’ve harbored quite the crush on Iona for years. She’s hip, funny, beautiful and sassy all at the same time. It didn’t help that the man she ends up with at the end of the film is named Terrance, and he introduces himself as “Terrance. Well, Terry.” Ah, to dream. Also, look for early appearances of Gina Gershon, who plays one of the rich snobs in gym class, Kristy Swanson, who plays the girl at the dance interested in Duckie, and Kate Vernon, better known now as Ellen Tigh in Battlestar Galactica, who plays Steff’s girlfriend.

The soundtrack to Pretty in Pink is easily the best of the bunch. Its presence in 1986 changed the musical landscape, if not for the country, at least for me. The album spawned five singles, but that doesn’t tell the entire story by a long shot. The movie itself was named after the already existing Psychedelic Furs track, re-recorded for the film. Suzanne Vega teamed up with Joe Jackson to record “Left of Center.” New Order had one song on the soundtrack, but three in the film, including the instrumental version of “Thieves Like Us” and “Elegia,” two songs that are arguably better than “Shellshock,” the song that was chosen. The Smiths’ “Please Please Please Let Me Get What I Want” and Echo & the Bunnymen’s “Bring on the Dancing Horse” were hugely indicative of the sea change in music at the time, going from pure pop to intricate indie rock. But that’s not to say that pop didn’t have it’s place on Pretty in Pink. Danny Hutton’s cover of Nick Kershaw’s “Wouldn’t It Be Good” was a wonderful addition, and there’s no getting around the importance of OMD’s “If You Leave.” If one song could replace Spandau Ballet’s “True” as a school dance staple, this was it.

Ferris Bueller’s Day Off (1986)

FBDO is probably the most quotable movie in John Hughes’ collection. Ferris Bueller’s Day Off is a day in the life of the most popular kid in school, who decides to venture into Chicago for a day of fun and frolic away from his place of learning. The overall lesson of the film is summed up through Ferris’ words, “Life moves pretty fast. If you don’t stop to take a look around every once in a while, you’re gonna miss it.” Ferris is one of the few characters to go against Hughes’ normal archetypes. For one, he’s computer literate. In most films, this would classify him as a geek, but Ferris, without being an athlete or particularly rich (though his home is fairly palatial, but he doesn’t have a car), is popular, and popular to a nearly ridiculous degree. “The sportos, the motorheads, geeks, sluts, bloods, wasteoids, dweebies, dickheads, they all adore him. They think he’s a righteous dude.” And, he is. If nothing else, he cares about his friends, and he knows how to have a good time.

Ferris Bueller’s Day Off has always been one of my favorite films to watch again and again. Matthew Broderick’s delivery, and asides to the camera, make this film something special to experience. Alan Ruck’s Cameron is lovable and pitiful at the same time. And then there’s the gorgeous Mia Sara. The only lesson here is that, despite being a teenager, you can escape from your troubles and enjoy what life has to offer. There is a bit of drama with parents, as there was in The Breakfast Club, and with siblings, as there was in nearly every Hughes movie, but they take a backseat to Ferris’ charm and his ability to foil the principal at every turn, like the Roadrunner with Wile E. Coyote. It should be noted that Ferris also marks the first time that Hughes didn’t cast either Molly Ringwald or Anthony Michael Hall.

I’ve already written extensively about the non-existent soundtrack album for Ferris Bueller, so I’ll just reference that here.

Some Kind of Wonderful (1987)

Yet another John Hughes movie based on a song title, Some Kind of Wonderful is Hughes’ attempt to rectify the studio forced ending of Pretty in Pink. This time the sexes are reversed as well, with the boy part, played by Eric Stoltz, being from the wrong side of the tracks, and slight twist in that Lea Thompson is also from the poor part of town, but she associates with the rich kids. Mary Stuart Masterson plays the Duckie role in this one as Watts, and is brilliant as well as tomboyishly hot. Besides Annie Potts in Pink, Watts is another of my crushes. All of the main characters in the film are somehow named after Rolling Stones references including Stoltz’s Keith, Masterson’s Watts, and Thompson’s Amanda Jones.

Although Some Kind of Wonderful was not nearly as popular as Pretty in Pink, I find the ending far more satisfying. The kiss that Keith and Watts share, as she is teaching him how to woo a woman, is electric. Masterson plays Watts wonderfully rude, sassy and incredibly vulnerable all at the same time. Keith’s and Amanda’s arcs are also well constructed, with Keith standing up to his father in order to make his own life decisions and Amanda learning to stand on her own two feet without worrying about her ‘friends’ or status. Just as with Pretty in Pink, however, the show is nearly stolen by side characters. Elias Koteas is incredible as Duncan, the skinhead who at first torments Keith and Watts, then becomes their most powerful ally. Craig Sheffer is second only to maybe William Zabka as one of the more memorable villain characters from the 80’s.

The soundtrack to the film also seems to take a backseat to Pretty in Pink, though it does have some memorable moments. Hardcore college rock fans will enjoy tracks by obscure artists Furniture, the Apartments and Blue Room, while songs by Pete Shelley and the Jesus & Mary Chain will have broader appeal. The March Violets’ cover of “Miss Amanda Jones” and Lick the Tins’ cover of “Can’t Help Falling In Love” are incredibly well done, adding completely new spins to the classics, and adding a bit of bubbly charm. But I’ll always remember the soundtrack for Flesh for Lulu’s “I Go Crazy,” which is repeated several times in the film.

She’s Having a Baby (1988)

Now, this movie is certainly different from the rest in that it is not a high school comedy. Instead, it’s as if we’re seeing what the future has in store for our teenage friends once they’ve graduated, gone to college and moved on. Kevin Bacon is Jake, and Eliabeth McGovern is Kristi, his wife. Jake wants to be a novelist, but in order to pay the mortgage on a three-bedroom house, he takes a job in an advertising firm. Jake and Kristi soon find that marriage and the pursuit of a perfect life in the suburbs isn’t what they expected. Jobs, family, friends, neighbors, a social life, temptations and surprises all rear their ugly heads and threaten their union. The biggest surprise comes when, as the title intimates, Kristi reveals she’s pregnant. Most of Hughes’ films have personal overtones, but this one shares so many parallels to Hughes’ own life that it’s tough not to see it as autobiography.

There is so much truth within She’s Having a Baby; it’s hard to pick out individual moments. The issues with the in-laws particularly struck home, as well as Jake’s mourning of his past single life. Despite the fact that it’s an adult comedy, there are a few cameos from former Hughes films including John Ashton (SKOW), Edie McClurg (Ferris), and Paul Gleason (TBC).

Music, as usual, plays a more than central role within She’s Having a Baby. After Pretty in Pink, I think that She’s Having a Baby is my favorite Hughes soundtrack. Dave Wakeling makes yet another appearance, this time singing the theme song for the film, yet not a particularly memorable one. The rest of the album, divided into ‘He’ and ‘She’ sides, makes up for it. Love and Rockets’ “Haunted When the Minutes Drag” and Gene Loves Jezebel’s “Desire (Come and Get It)” are perfect examples of the mindset of the ‘He.’ There are a few, as always, classics and throwbacks that provide humor and time references such as Sam Cooke’s “Chain Gang” and Boston’s “More Than a Feelin’”. The ‘She’ songs are the true stars of the album, as well as the covers present here. Bryan Ferry delivers with his cover of Van Morrison’s “Crazy Love,” while Kirsty MacColl adds some whimsy to the Smiths’ “You Just Haven’t Earned it Yet, Baby.” Even though the film is narrated by Jake, and centers around his thoughts and experiences, the best moments of She’s Having a Baby, including musically, deal with Kristi. Everything But the Girl’s “Apron Strings” and Kate Bush’s “This Woman’s Work” could bring to tears to your ears even without the movie’s associations, but put them together and you’re due for a good cry.

The last lines of She's Having a Baby speak volumes, and put a nice bookend on the 'growing up' chapters of Hughes' films, as Kevin Bacon delivers, very Beatles-like, "And in the end, I realized that I took more than I gave, I was trusted more than I trusted, and I was loved more than I loved. And what I was looking for was not to be found but to be made." Then Ferris Bueller's parents suggest the name Terrance during the end credits....they bought it.