John Hughes In-Depth: A Sneak Peak

Probably the most appealing thing about John Hughes's teen movies (with the exception of 1985's Weird Science) is that they're not just teen movies for their own sake. These are films that feature real characters with real problems. And they are stories that transcend the genre and make said films believable.



Sixteen Candles



For instance, Sixteen Candles (1984) deals with the contrast between expectations and disappointments (not to mention familial embarrassments), in addition to romantic idealism (i.e., Jake Ryan) and relationships. In The Breakfast Club (1985), there are differences as well, only in the form of high school cliques (the brain, the jock, the princess, the rebel, the recluse). Along with said differences are characters' pressures from different angles, within family and within society. The film also challenges its viewers in standing up for friendships and committing to them.



Ferris Bueller's Day Off



Like Sixteen Candles, Ferris Bueller's Day Off (1986) is played for laughs, but it regards one's notion of freedom and, more specifically, making the most of life instead of missing out on it. It could be debated about the intention of this message and whether or not we should empathize with the title character (that's just my opinion). Even so, it presents an insight into how one develops courage and willingness (in this case, Cameron) to "take a stand" against the very things that are weighing on him (e.g., Cameron's dad's pressure and neglect on him and his mother).



Lastly, there's Pretty and Pink (1986) and Some Kind of Wonderful (1987)--two films that are similar in plot, but reversed in terms of gender, social, and sexual identity. Both films also deal with the notion of teen romance and idealism, such as the way Molly Ringwald's Andie views Andrew McCarthy's Blaine (Pink) and the way Eric Stoltz's Keith views Lea Thompson's Amanda (Wonderful). On the other side of each triangle is the outcast that has a hidden admiration for the central character--in Pink's case, it's Jon Cryer's Duckie, and in Wonderful's case, it's Mary Stuart Masterson's Watts.

Each film, in many ways, is the same. On the other hand, they arguably deal with different themes, such as social class, sexual identity (i.e., the way Watts dresses and acts), and choices in life (i.e., Keith's decision to hold off on college). With these ideas in mind, Pink and Wonderful could be viewed as John Hughes's most dramatic and thematic pieces (alongside The Breakfast Club). They also stand as landmarks in an era where such stories carried an exceptional quality that allowed intended viewers (teenagers) to identify with their characters and each took their subject matter seriously. It is also one of the many reasons John Hughes's legacy and influence lives.

The Necessity (and Discernment) of Criticism

I used to think movie critics were just snobs, that they didn't really care about movies, and more specifically those that people loved. When I watched or listened to reviews by Roger Ebert and Richard Roeper in high school, I would either hope their views or opinions on certain movies would go along with my own, or I would boo either critic (or bother) that snubbed a film they hated and I liked, or I would applaud either critic (or both) for a film they (and myself) thought was equally great.

In retrospect (and to paraphrase writer Jeffrey Overstreet), I have come to understand that film critics (and critics in general) actually serve many purposes and levels of significance in our culture and in our world. And although we may not always agree with critics for different or specific reasons, it’s interesting to hear their perspectives and opinions. It is also a good way to practice defending our own views, discerning which views to follow or support, and so forth.

It also recalls the difference between what is “popular” and what is considered, quite appropriately and honestly, “good”. Look at the box office, for instance. What kinds of films make the top of these lists? What does that tell you? Does said list make these films worth seeing?

What about films that are good for many, many appropriate reasons? Look at Pixar, for example. In the last fifteen to twenty years, perhaps no other studio has achieved the kind of success and has maintained and progressed on a legacy that began with the Disney Studio (from with many of the original Pixar animators started out). Looking back at their 80s animated shorts (Luxo Jr., 1986; Tin Toy, 1988), their first feature film (Toy Story, 1995), and more specifically their last four films (2007’s Ratatouille to last year’s record-breaking Toy Story 3), Pixar has sustained a rare quality that has garnered universal appeal and praise from both audiences and critics with great characters and stories that always managed to give them their money’s worth.

Overall, don’t believe everything you hear from critics. On the other hand, you can still learn from them, as well as practice defending or supporting your own views. And remember to be wise and discerning when it comes to such.

Updates, and John Hughes

I'll be honest, when I'm on the computer and feel some interest in blogging/writting about recent things, I tend to surf the Internet more than write about what I read on the Internet. And it should come as no surprise, on the same note, that the Internet sidetracks me (as it sidetracks all of us from time to time). Like tonight, for instance: I typed a few sentences and paragraphs/sections from Susannah Gora's 2010 biography text, titled "You Couldn't Ignore Me If You Tried." This book talks about influential teen movies from the 1980s, specifically the films of the late John Hughes. For the last few weeks, I have focused part of my attention and research on Mr. Hughes's work and biography. Within that time, I've watched just about every teen movie he's ever made--from Sixteen Candles (1984) to Some Kind of Wonderful (1987)--and just about every film he's directed--minus 1987's Planes, Trains & Automobiles (which is one of the next films on my list, along with Home Alone [1990] and a few of the family comedies Hughes wrote and produced in the 90s). Anyway, after I typed some notes from said text, I ended up surfing You Tube and watching trailer and videos for some of the latter films. And believe me, I can certainly overwhelm myself with such surfing and mental digesting.

However, this is not to say that I am not careful about what I watch, listen to, or look at online. I have become a very discerning person over the last two year, in all honesty! At the same time, some people may question my motives, regarding recent films I've reviewed on Facebook, or a recent song I've heard on the radio, for instance. But being the film buff and (now-growing) intellectual person I'm becoming, I remind myself at times to prepare myself for discussing something with somebody (even though I;ve only had very few opportunies with friends and relatives, and not with people I haven't met and such).

Furthermore, I am generally not for absolutes--that is, things done for thier own sake, such as swearing or "mindless" entertainment. I want to be able to talk about things and discuss them with people. This is especially essential for movies, on my part.

(l to r) Judd Nelson, Emilio Estevez, Ally Sheedy,
Molly Ringwald, and Anthony Michael Hall
in The Breakfast Club

In the case of John Hughes, his teen movies are not just teen movies for their own sake. His portrayals of young people growing up into new phases of life remains influential. I am inspired by the honesty and sincerity he brought to his original stories and characters--their emotions, their angst, their conflicts, their hearts. Even more, the depth and realism he gave his characters are part of the reason his films are exceptional. The Breakfast Club (1985), in my opinion, is his best work, because of the way the characters talk, the way they dress, the music they listen to, where they come from, who they are, and where their hearts are at. This is not to say that John Hughes's films are wholesome; they do have their problems when it comes to certain content such as occassional language, sexual-related issues/themes, teen-angst, and specific conflicts. Those elements notwithstanding, a majority of Hughes's teen films present authentic and honest portraits of American teens in the 80s.

WRITER'S NOTE: UPDATED July 7, 2014

Allegorical symbolism in The Lion King

This is one of the reasons I love the medium of animation, and furthermore believe that it isn't just a kid's medium or art form. This is a fascinating and compelling understanding of the essence of story in the filmmaking process, whether live action or animated.

News of new "Winnie the Pooh" feature

I've read some pretty amazing recent news regarding the new Winnie the Pooh movie coming out this summer. I don't know about you, but this is one of the movies I'm excited about this year. For one thing, it's a hand-drawn animated feature, done the old-fashioned way as the Disney Studio used to make. But more importantly, I'm very proud that Disney has been returning to its roots within the last few years. Even though this is only the second 2D Disney feature since 2009's The Princess and the Frog, it promises to be a nostalgic, entertaining film for everybody. And given the amazing progress the studio has made since the mid-2000s (including Pixar co-founder John Lasseter's role as Chief Creative Officer for both studios), others may agree as well.


Winnie the Pooh characters from the late-1960s/1970s.


The following is a recent video interview with singer-actress Zooey Deschanel (Elf, Yes Man, 500 Days of Summer), who contributes a few songs to the film. She has a really amazing voice, and seems like a perfect fit to contribute to the world of the Hundred Acre Wood.

http://moviesblog.mtv.com/2011/03/31/zooey-deschanel-winnie-the-pooh-music-video/


Characters in the new movie

Winnie the Pooh is rated G, and opens July 16th in theaters everywhere.

Disney Memories, and Notes

The following is another piece I wrote this past fall. For some reason, I couldn't find my original jump-drive copy, so what is written below is from a printed copy. Long story short, it's based on childhood memories, which, I'm sure (hopefully), many of us grew up with as well. Enjoy.

Disney Memories

In the movie section on the west side of the library there are
three shelves full of VHS tapes, all
Disney classics. I pull out titles at random
and recall:

Alice in Wonderland - High school art class,
sitting at my desk,
drawing and painting.

Aladdin - Kindergarden, laughing along
with my classmates as we
clap hands and sing songs.
That classroom bacame an art room.

Toy Story - My dad's house
out in the country in Iowa, in the snow
with my brothers and sisters,
sledding, making snowmen, having snowball fights.

101 Dalmatians - Day care, running and playing
toy guitars and drums with friends.

Sleeping Beauty - My babysitter's house, sitting
in front of her T.V., eating a bowl
of Kraft Mac & Cheese.

Fantasia - On the couch in front of the T.V., sitting next to
my brother and sister; they can't take their eyes off it, especially when
Mickey brings the broom to life.

Disney Sing-Along-Songs - My friend Brandon's house, the blue one
with the round window on the second floor.

The Lion King - My mom and I walk
passed the poster at the theater
as I quote Timon's lines.

Snow White - The back row of the theater,
I call my teacher who took me that day,
"The dwarfs are on!"

Beauty and the Beast - Auditorium
at the Arts Center, I dance
as a utensil, or "dingle-hopper," as Ariel would call it.

Dumbo - I haven't really seen this yet, just
a clip or two at Grandma's house. I think
I'd like to see an elephant fly.

Written by B.E. Kerian, on 12/15/2010



What I noticed as I re-read this piece this afternoon is that there's a lot of interesting, visual transition going on. I initially developed this idea of going from one place to a similar-yet-different place in each stanza. As I'm re-reading it, I'm visualizing the type of camera movements or shots that would work if this were a short film. (I, for one, think it has potential.)

In my opinion, the Disney Classics on VHS are probably the most ideal and memorable of the videocassette era. For one thing, it was a whole new medium at the time (remember, this was the 1980s that this started). And two, because they are simply timeless movies that will live on; the videocassettes may not, but at least they are a reminder of a nostalgic, innocent, and simple technological time. I'm not dissing the technology that we have today; I respect the DVD and Blu-ray mediums and all that. What I am saying is that the VHS, I hope, will be remembered as the medium that first brought these timeless films to our living rooms. For me, they are my first memories of these films and will always have a special place in my heart.

B.E.

REVIEW: "Bright Star" (2009)

Bright Star is the kind of film I really appreciate. It reminds me why I love the arts, why I love writing, and how I have come to respect poetry and literature more than I thought I could. It is also the kind of film that is genuinely beautiful, well-written, well-acted, and respects the period it presents. The costume design, for one thing, is fantastic. Personally, this is the kind of period piece I'd love to be (and have been) involved in. And, it's a very restrained film, even though it does have sensual/intimate moments in it (more on the level of the Song of Songs, which the story does reference). Ben Whishaw's portrayal of Keats is patient, honest, and believable, but it is Abbie Cornish's performance as Fanny Brawne that stands out. She has such a strength, look, and posture that makes her an exquisite actress. Her portrayal also has layers of tenderness, sympathy, sadness, subtle bitterness, regret, and beauty, that help us understand not only her character but also her reaction and gradual understanding of Keats' writings, poems, and character. This is a wonderful showcase for her and Whishaw, as it is for writer-director Jane Campion (who also made 1993's The Piano). A beautiful, well-restrained period piece. The poem recited at the end is Keats' own "Ode to a Nightingale".

(Also posted on my Facebook Movie Application at http://apps.facebook.com/flixster/u/782656341.)