RadioBDC Logo
| Listen Live
 
 
< Back to front page Text size +

John Hughes 1950-2009

Posted by Wesley Morris  August 6, 2009 08:12 PM

E-mail this article

Invalid E-mail address
Invalid E-mail address

Sending your article

pretty_in_pink.jpg

John Hughes didn’t make the smartest, wisest, most hilarious movies about American teenagers. Cameron Crowe and Amy Heckerling did. He didn’t make the sexiest. Those would be Francis Ford Coppola’s “Rumble Fish” and “The Outsiders.” He didn't make the drunkest and druggiest as Richard Linklater did with "Dazed and Confused." He made neither the most feeling (I like either “American Graffiti” or “Valley Girl” for that) nor the most volcanic (see “Rebel without a Cause”).

Hughes, who died today, made the most paradigmatically popular. In three years, he either wrote or wrote and directed “Sixteen Candles,” “Weird Science,” “Pretty in Pink,” “The Breakfast Club,” “Ferris Bueller’s Day Off,” and “Some Kind of Wonderful”– part living suburban diary, part generational scripture. Without saying anything new or even necessarily true (“It’s so hard being cute, white, middle- American, and middle-class”), he changed a segment of the movies by giving us aspirational emotional archetypes. Molly Ringwald, Ally Sheedy, Jon Cryer, Anthony Michael Hall, Judd Nelson, Charlie Sheen, Matthew Broderick. Speaking conventionally, they weren’t stars. Their attitudes were. Nobody wanted to be those actors per se, they wanted to be what those actors felt. I grew up in a poor, black Philadelphia neighborhood. Hughes's movies were like a nature special whose only corollary was a rare, exotic field trip to the Cherry Hill Mall.

John%20Hughes.jpg Few directors made glibness seem as urgent as Hughes did. He sanded away the edges of lust, angst, and rebellion until what remained were anodyne anthems for the MTV era. He didn’t invent the movie soundtrack. He was just the first director to perfect it visually. Classic and original pop songs became the life force of a new mainstream moviemaking: the American musical as long-form music video. These movies made you want to dance to them, and the songs were where most of the soul came from – Jon Cryer pantomiming “Try a Little Tenderness” in “Pretty in Pink,” Matthew Broderick doing the same to “Twist and Shout” in “Ferris Bueller.” I know who Sigue Sigue Sputnik and the Psychedelic Furs are because of Hughes. And Yello’s totally dada “Oh Yeah” is as memorable a comic device as anything else in “Ferris Bueller.” (“Chick. Chicka-Chickaaaaah.”)

What enhanced the movies' resonance – and, to a certain extent, made them bogus – was Hughes’s exaltation of adolescent resistance. His PG-13 generational fights were never fair. He merged the worst parts of “The Catcher in the Rye” and the best parts of “Rebel Without a Cause” into proto-hipster cartoons. Emilio Estevez and the gang trying to break out of detention might have been exhilarating at 15 years old – or, in my case, 10. But they were all in detention for unambiguous infractions. By the time it’s all over, though, they’re exonerated for everything. You see, the kids come from dysfunctional families.

The oppression of parental expectation, the tyranny of divorce: Broken homes were breaking them down. Although not enough to stop them from crawling though air ducts and sliding down the school halls as if they were Duran Duran. “The Exorcist” made Satanic possession the punishment for divorce. Hughes made self-pity and entitlement a consequence for having any parents at all. His movies turned adults and authority figures into buffoons – Jeffrey Jones and Edie McClurg in “Bueller,” Paul Gleason in “The Breakfast Club” - or bullies (John Ashton in "Some Kind of Wonderful.") Part of the fairy tale of Hughes was that grownups suffer at the hands of kids who get away with everything. Harry Dean Stanton and Annie Potts in "Pretty in Pink" stand as affectionate aberrations.

breakfast_club.jpg

There was no war, no sweeping social movement during this period. Just Ronald Reagan and sad-old Grenada. No one talked about race or AIDS. The world revolved around detention, crushes, and proms. It was "Petty in Pink."But what redeemed these movies was their sideways cool. Eric Stoltz and Mary Stuart Masterson were sexier misfits than I'd ever seen. And on his uneven playing field, Hughes did come up with true, human characters. They were always on the sidelines or reluctant to get in the game - even their own. Ringwald's Samantha in "Sixteen Candles" Cryer's Duckie in “Pretty in Pink.” Masterson's Watts in “Some Kind of Wonderful.” And, best of all, Jeannie Bueller and Cameron Frye in “Ferris Bueller.” Jennifer Grey was the seething Cassandra of that movie, desperately trying to expose the little brother as the brat Broderick so star-makingly was. Alan Ruck, meanwhile, was the hopelessly congested Sal Mineo to Broderick’s weasely James Dean.

That movie was on a couple of months ago, and I still think, despite its being rigged against Jeannie and Principal Rooney, that it's Hughes’s best. The shots of his native Chicago and the music that accompanies them give the film a sense of place missing from almost every teen movie that followed. (Visually, the suburbs are a void.) Also: it’s the wisdom that comes from casting. Ruck was almost 30 when the movie came out, and he’s playing the part with the gradual truculence of a grown man still carrying a little boy’s grudge. "Ferris Bueller" is actually about Cameron.

It’s right here that anyone thinking about Hughes responsibly interrupts to ask, “What about ‘Planes, Trains, and Automobiles.’” It’s a fair question about a fine movie. It’s Hughes trying on street-level Jacques Tati with John Candy and Steve Martin doing Jack Lemmon and Walter Matthau. The result is a dyspeptic comic strip with moments of riotous screwball comedy and real tenderness.

some-kind-of-wonderful.jpg

But it was also the beginning of the end for Hughes, who would next try a full-blown grownup comedy with “She’s Having a Baby,” a sitcom that had its moments. He then reverted to movies centered around children – the last two of the eight comedies he directed were “Uncle Buck” in 1989 and “Curly Sue” in 1991. (Hughes also wrote “Mr. Mom” and three of the National Lampoon’s “Vacation” movies, the first of which is a crude minor classic.) In the dozens of scripts he wrote, either under his name (“101 Dalmatians,” “Home Alone,” “Baby’s Day Out,” to name but three) or under the pseudonym Edmond Dantès (“Beethoven”), adults became inconsequential, impotent, or villainous.

He was to the 1980s what Judd Apatow has been to the second half of this decade: comedy’s biggest influence and the reason it remains gathered safely in the middle, away from the edge. He’s actually still giving Apatow a run for his money. What else is “(500) Days of Summer” but art-school Hughes - the movie Ally Sheedy's "Breakfast Club" character might have made? But American moviemakers who were raised on Hughes’s movies took the wrong lessons from them: his progeny are glib and complacent.

Hughes gradually withdrew from public life. There would be no kind of comeback or exit from the shadows. If he couldn’t achieve being J.D. Salinger as a moviemaker, he would be him as a man. As my friend Alex put it in a text message to me a couple of hours ago: The greatest ungettable film story is now totally ungettable. In death, at 59, Hughes calls to mind Michael Jackson, who died in June at 50. They’re two men of the MTV-era who, later in life, seemed happier personally or professionally surrounded by tokens of adolescence and childhood (or actual children). They were different men from the middle of the country who provided a decade with a lifetime of nostalgia-inducing memories. It’s difficult not to imagine them sharing a corn dog at the big food court in the sky.

E-mail this article

Invalid E-mail address
Invalid E-mail address

Sending your article

11 comments so far...
  1. Great piece Wesley, and dead on about the effect Hughes had on a generation.

    I take issue with one point on The Breakfast Club however: "By the time it’s all over, though, they’re exonerated for everything. " I always took it their exoneration as a result of finding commonality in their fears and shortcomings, not in the fact their parents were to blame. I think the parents were used by the students as an excuse, but in the film, it's really the fact that they can forgive one another for their sins that they find peace.

    Just my two cents. :) [And you are so right to call out Planes, Trains, and Automobiles!!]

    Posted by Andrew August 7, 09 09:59 AM
  1. I think there are a good number of us who shared that heyday. The truly great movies and pieces of music are those that people enjoy and want to watch or listen to again and again. I'd take The Breakfast Club over Slumdog Millionaire any day.

    Posted by Monique Defarge VonDeSoaker August 7, 09 10:13 AM
  1. Marty moose!

    Posted by Paul August 7, 09 01:54 PM
  1. Beautifully written and informative. Thank you.

    Posted by Sam August 7, 09 01:56 PM
  1. Agreed - great, honest piece. But period or not, I'd argue that the smartest, wisest, most hilarious movie about American teenagers is Richard Linklater's Dazed and Confused.

    Posted by Mark August 7, 09 03:31 PM
  1. Well said!
    As a teenager through the 80s, these movies were some of my favorites then (and still are memorable). These movies we all could relate to in some way. Maybe you didn't have the jocks vs nerds or the rich vs. poor kids but there was always something relevant you could get from these movies. Glad he gave them to us.
    By the way, the Boston.com poll on which John Hughes movie is your favorite.... It's almost impossible to pick one. Several of them are included in my favorites.

    Posted by pussycat August 7, 09 03:54 PM
  1. Man with the Sox losing...and now that John Hughes is dead...Cue up "Bad Day" song.

    Posted by plattsburghsox August 7, 09 04:20 PM
  1. Mark you're right. I forgot that one.

    Posted by Wesley August 7, 09 05:04 PM
  1. Good critique Wes, (other than for one chronological disjoint?) Amazed you can come up with something so good on a deadline

    Posted by Phillip Somerville August 7, 09 10:54 PM
  1. I thought Some Kind of Wonderful the best of his bunch, the less like a sitcom, and the best acted.

    Most of the rest haven't aged that well for me.

    Thanks for this piece!

    Posted by Jane August 9, 09 05:50 PM
  1. Thanks for including Some Kind of Wonderful - it seems to be missing from a lot of the other articles. Must be because someone else directed . . . Anyway, by far my Hughes favorite, and one of my favorite soundtracks. I will have to load it onto my iPod . . .

    Posted by Mary Anne August 10, 09 10:49 AM
 

About Movie Nation

Movie news, reviews, and more.

Contributors

Ty Burr is a film critic with The Boston Globe.

Mark Feeney is an arts writer for The Boston Globe.

Janice Page is movies editor for The Boston Globe.

Tom Russo is a regular correspondent for the Movies section and writes a weekly column on DVD releases.

Katie McLeod is Boston.com's features editor.

Rachel Raczka is a producer for Lifestyle and Arts & Entertainment at Boston.com.

Emily Wright is an Arts & Entertainment producer for Boston.com.

Video: Movie reviews

Take 2 Movie Reviews
Take 2 reviews and podcast
Look for new reviews by Ty Burr and Wesley Morris at the end of each week in multiple formats.
  • AUDIO PODCAST:
  • VIDEO PODCAST:
archives

Browse this blog

by category