WRITER'S NOTE: The following is a collection of reviews posted on my Instagram account (@be.kerian) throughout the past twelve months. They’ve been organized--and will be posted--by specific categories, in chronological order based on initial (theatrical) release dates, and have been slightly edited.
Today's profile: the late writer-director-producer JOHN HUGHES
The Breakfast Club (1985)
Of all of the films John Hughes made as a writer-director, this angst-ridden, coming-of-age, ensemble comedy-drama from 1985 is most certainly one of his best, most unforgettable, and most challenging. An unconventional filmmaking approach, considering its singular high school setting and its dynamic and raw characters (who have more layers and commonalities than we think). You couldn't ignore it if you tried. (1/14/2021)
Pretty in Pink (1986)
Pretty in Pink certainly wasn't the first movie that Hughes wrote but didn't direct. But his sensibilities are certainly evident and this 1986 coming-of-age story about economic class differences and anxieties, including a love triangle with more layers than most other related stories put together (I'm looking at you, She's All That). Personally I didn't identify with the culture of rich kids. But the emotional struggles and anxiety these characters generally go through are relatable and understanding (especially Molly Ringwald's Andie and Jon Cryer's Duckie). "His name is Blaine?! That's a major appliance, that's not a name!" The film's ending remains controversial, and a reason why Hughes reportedly wrote the similarly-themed although tonally-different Some Kind of Wonderful in 1987.
Fun fact: Wonderful's Eric Stoltz was originally cast (and filmed some scenes) as Marty McFly in Back to the Future before being replaced by Michael J. Fox. He did eventually work alongside actress Lea Thompson, who, after starring in the critically- and commercially-disastrous Howard the Duck in '86, had something of a career-saving role as popular girl Amanda Jones. (1/17/2021)
Ferris Bueller’s Day Off (1986)
"Bueller? . . . Bueller?" Regarded by many as the best film written and directed by John Hughes, Ferris Bueller's Day Off not only boasts a hysterical and hilarious fourth-wall comedy crusade, featuring an irreplaceable Matthew Broderick as the iconic hooky-playing high schooler (even though nobody's really this free-spirited), Alan Ruck as best friend Cameron, and Mia Sara as girlfriend Sloane. And let's not forget Jeffrey Jones' hard-nosed principal Ed Rooney, Jennifer Grey's envious Jeanie, and Ben Stein's droll economics teacher. This classic example of fantastical realism (a trademark of Hughes' filmography) also stands as something of a travelogue for the city of Chicago, Illinois. I mean, who could ever forget the art museum tour, or the parade-crashing sequence? If you haven't seen it yet but will soon ("Anyone? Anyone?"), stay through the credits!
Fun fact: This film and The Breakfast Club are the only John Hughes titles selected into the National Film Registry by the Library of Congress for being "historically, culturally, and aesthetically significant". (1/17/2021)
Planes, Trains & Automobiles (1987)
Watching and reflecting on Planes, Trains & Automobiles this week reminded me of how cinematic the late John Hughes was in the 1980s, in a very unconventional, down-to-earth, non-Hollywood way. He also happened to make some of the most unforgettable movies that have since become holiday staples every year. For Christmas, we have Home Alone and, well, National Lampoon’s Christmas Vacation. For Thanksgiving, we have this film. And in terms of working with the late John Candy, Hughes really knew how to play to the beloved actor's strengths and bring out the qualities that made Candy such an admirable actor and person. Cheers, and happy Thanksgiving, everybody. (11/26/2020)
She’s Having a Baby (1988)
Before Planes, Trains & Automobiles, Hughes technically made the transition from stories about teenage adolescence into adulthood with She's Having a Baby (released in February 1988, three months after Planes). Narrated and headlined by Kevin Bacon, Baby received mixed to negative reviews from critics and did poor at the box-office, likely due to its polarizing, often-dark take on marriage, love, sex, and childbearing.
Even though it features some clever surreal/fantasy moments (such as a neighborhood song-and-dance number, complete with lawnmowers and sprinklers) and various celebrity cameo appearances during the credits, it will more often than not have viewers scratching their heads in depression and wondering, "What are we to make of this film?" Nevertheless, Hughes did recuperate with subsequent and successful hit movies starring John Candy, including 1988's The Great Outdoors and our next film. (1/19/2021)
Uncle Buck (1989)
John Hughes directed the John Candy in one of his most unforgettable roles, as an obnoxious but endearing uncle who looks after his nieces and nephew during a family crisis. If released today, this 1989 not-really-family-friendly comedy would likely be rated PG-13, due to some surprisingly crass content. Still, this has what most comedies lack today: a genuine balance of humor, heart, and heightened laughs. (Honestly, nobody cooks pancakes or does laundry like Buck Russell!) And nobody but Candy could've pulled off such a tailor-made performance so seamlessly. At its heart, it's a story about an estranged relative who gets a second chance to know his family again, particularly during a complex dynamic with his niece (a brief return to teenage angst for Hughes).
Fun fact #1: Uncle Buck introduced Hughes to a then-unknown child actor named Macaulay Culkin (who plays nephew Miles). Reportedly, Hughes was inspired to write 1990's Home Alone specifically for Culkin, based on a scene where Miles interrogates a potential babysitter through a front door mail slot.
Fun fact #2: This is one of two films from 1989 that featured actresses Amy Madigan and Gaby Hoffman (the other being Field of Dreams). (1/19/2021)
No comments:
Post a Comment