This weekend, the alcohol, drug, and sex-filled Project X takes a glimpse at the world of teenagers that most parents wouldnt even want to peek in to. But if we flash back 26 years ago, another teenage romp hit theaters, but with a much more wholesome, less wince-worthy subject matter. That film is last of the John Hughes/Brat Pack trilogy Pretty in Pink.
Before I continue, I must make the confession that I have never seen this movie before. Sixteen Candles, The Breakfast Club, Vacation, and Ferris Buellers Day Off are all Hughes-ian films I have seen multiple times (more so the last three), yet Pink has never made it onto my radar until now.
Since this is a film almost everyone (besides me) has seen before, I will keep the plot summary brief. Molly Ringwald stars as the book-smart, diamond-in-the-rough, Andie Walsh. With an unemployed father (Harry Dean Stanton) and a runaway mother, Andie is a thrift-store queen. Considered an outcast by the rich students at her high school, Andie is shocked when her rich dream crush Blane (Andrew McCarthy) asks her to be his Senior Prom date. The dream ends quickly, though, once the couple succumbs to their friends sharp opinions. Unsure if she is being used as a social experiment, Andie must choose between the rich and sweet Blane or Duckie (Jon Cryer), a goofy Casanova-at-heart who has an unreciprocated love for Andie.
Released almost a year after the hit The Breakfast Club, Pretty in Pink would wind up with $5 million less at the overall box office. Opening at $6 million, Pink wrapped up with a tidy $40.5 million ($86.5 million adjusted). However, only a few short months later, the John Hughes-directed Ferris Buellers Day Off overshadowed Pretty in Pink by almost doubling its box office.
While earning good notes from the press (the film sits at a pretty 81% fresh on Rottentomatoes.com), it is the weakest reviewed Hughes-written Brat Pack film and my least favorite of the three. I must agree. Certainly not a bad film, Pretty in Pink just feels flighty compared to the stronger efforts of Sixteen Candles and The Breakfast Club. Pinks commentary on class seems been there, done that and the romantic triangle, while interesting, doesnt draw in much audience investment.
Ringwald is the highlight of the film, bringing naturalness to her teen angst. A magnetic performer, Ringwald feels like the freshest thing about the stale rich boy/poor girl in love plotline. Cryer is loose-limbed in a performance that is slightly too big for reality, but rakes in the laughs to keep the film chugging along its worn out path. McCarthy impressed me as the kind-hearted rich kid who balances being rich without being a douche, and being nice without being a sap, with such ease that he has truly been overlooked.
While Hughes only produces and writes Pretty in Pink, his fingerprints can be seen all over the film. Directed by Howard Deutch (his resume reads like bad films of forgotten flops), Pretty in Pink is a pleasant and empty romp that falls mid-road amongst the countless reiterations of the plot.
Pretty in Pink acted as a marker for many things. For one, it was the end of Ringwalds leading lady career. Roger Ebert compared her to Elizabeth Taylor in his review for Pretty in Pink. Unfortunately, Hughes broke it off with Ringwald after she turned down a role he offered her in Some Kind of Wonderful. Unhappy with the ending of Pink, Hughes essentially remade the film as Wonderful and released it a year later. While hitting the mark with critics, it raked in less than half of Pinks box office.
As Hughes went on to success (minus Some Kind of Wonderful), Ringwald faltered without his guidance. Although getting leading roles, her next five major releases were trashed by critics and all failed to crack $20 million; some couldnt even muster more than $10 million. By the 90s, Ringwald was all but written off.
Pretty in Pink also signified the end of the Brat Pack. The next few films (with the exception of About Last Night) were embarrassing flops that barely made more than the opening weekends of their earlier efforts.
Although the weakest out of Candles and Breakfast, Pink still has redeeming factors - namely the soundtrack, which launched OMD's hit If You Leave. An eclectic mix of synth-pop, soul, and dance, I wished the movie was as risky as the tunes that it included.
With Project X being a stark high school contrast to Pretty in Pink, this weeks film reminded me what was so special about the Hughes era of filmmaking you didnt need an R-rating to be a hit. There is something sweet about not needing to be raunchy. While this isnt a knock against the hilarious Project X, it is my little PSA to studio heads that a movie can appeal to the teen-set without being whitewashed or laden with swears.
Criticized for being unoriginal and slightly shoddy, there is a reason why this plot gets retold time after time the story is just a relatable classic. With charismatic performances and being a part of a trio of films that elevates its status, Pretty in Pink is certainly with us.
While Blane is suave and cool, Duckie is scattered and quirky. Being recycled countless times, Pretty in Pink isnt the best version of this story, but it has its own characteristic charm with its idiosyncratic cast and side plots. So essentially, this film ended up being a Duckie; being loved for its awkward spots and not over polished values.
Fascinating article. They don't make movies like they used to...and why does AM have to be so darn cute in this movie? Guess what I'm watching tomorrow?
Great article. I had a very similar discussion with a few friends just today. We all grew up in the 1980s and were lamenting the fact that Hollywood doesn't seem interested in making 'authentic' films about teens anymore. That died along wih John Hughes, sadly.
I find myself getting very nostalgic for the 80s all the time, when Hughes cranked out one great film after another, radio was listenable and the world seemed a better place than it is today. Meh....I'm getting old :)
I so love those people who made my teen years so memorable...Hughes, Ringwald, McCarthy, Cryer, Cusack, Hall, Estevez, etc. and to those wonderful musicians who provided an unforgettable soundtrack to that decade. Sincerest thanks to all of them.
Hughes' films are so much more than mere "movies" to me, and the actors and musicians included in those masterpieces transcend anyone who has come along since.
I totally agree with Lynn's comment, especially she mentioned about "authentic" films: there were no CG(maybe a little?) and those actors were great. Lynn, you are not alone. I'm getting/feeling old :)
Take the Dirty Dancing remake. When I heard about this, I first thought... oh no.... I bet Johnny will be a skinhead drug dealer with a dangerous criminal past and about 20 years younger than the original Johnny was, and Baby will probably be more like a character off sex and the city of something.
I agree. Hollywood needs to come up with original films and stop remaking classics from the 80s (and before). You cannot improve upon these films, so why destroy them by producing a pathetic copy?
Leave them alone, Hollywood. I won't spend a cent to see any of them.
You know, the 80's were irreplaceable. My husband and I lament all the time about how neat it was to grow up in that decade! And I think the reason why Hollywood is remaking those great 80's film is because they can't reproduce that magic on their own with original material. Sign...I'm off to listen to OMD and Simple Minds!
Oh yeah, thumbs up for 80s music! The soundtrack of my life! I've got a glut of 80s CDs that I jam to in the car - I seldom actually listen to the radio. When I'm on the computer, I'm jammin' to Pandora radio (the Cure channel plays lots of the 80s Alt music I'm partial to)
It is so cute to see my son's friends doing their Lip Sync performances to Journey and Duran Duran...as their parents break out into dance mode. My son thought I had 3 heads!
