If you can finish the sentences spoken by the characters in John Hughes’ films, Susannah Gora has a book for you: YOU COULDN’T IGNORE ME IF YOU TRIED: THE BRAT PACK, JOHN HUGHES, AND THEIR IMPACT ON A GENERATION. It tells the behind-the-scenes stories of his teen films that were so unlike others in the genre, they were embraced by and defined an entire age group.
Hughes lucked into the film world via advertising and his days writing for NATIONAL LAMPOON, penning a number of screenplays before being allowed to make his directorial debut with the comedy SIXTEEN CANDLES. Although not a huge hit, its impact was felt immediately.
Through conversations with Hughes’ actors, crew members and peers, Garo gives a rich portrait of his creative process, respect for young people, and diligence in achieving his vision, studio heads be damned. The bonds he formed with Molly Ringwald and Anthony Michael Hall carried over into THE BREAKFAST CLUB, but FERRIS BUELLER’S DAY OFF marked the end of a short era. Hughes didn’t direct some of his later teen films, like PRETTY IN PINK and SOME KIND OF WONDERFUL, before moving away from the genre for good.
And while he abandoned it for greener pastures (i.e. HOME ALONE) and pure paycheck assignments that made millions more dollars (i.e. 101 DALMATIANS), it’s his teen movies that enjoy a healthy life. Although his death last year reminded us of the home the films have in our hearts, it’s likely we didn’t need the prompting. I could quote Hughes’ screenplays in my sleep.
Gora’s chapters — one film per — also give the same treatment to Joel Schumacher’s ST. ELMO’S FIRE and Cameron Crowe’s SAY ANYTHING … . The inclusion of Crowe’s film makes sense; I remember thinking on opening day how much of it felt like Hughes’ golden age. But ST. ELMO’S FIRE perplexes me, foremost because it’s a piece of crap full of abhorrent, self-absorbed characters and false emotions. Hughes’ work struck such a chord because so much of it was honest. I’d much rather see FIRE jettisoned in favor of WEIRD SCIENCE, which the author skips, citing lack of influence. I can’t agree with that — ask someone to quote WEIRD SCIENCE and count the results. Then ask him or her to do the same to ELMO and listen for the cricket chirps.
Detours are taken to discuss David Blum’s infamous “Brat Pack” article for NEW YORK magazine, which several actors — Judd Nelson and Ally Sheedy included — blame for harming their careers, and for the role music played in Hughes’ movies.
But it’s the stories of those movies that drive Gora’s book to the heights it hits. With Hughes now gone and only one DVD commentary to his name, this may be the most complete account we ever get. And I do mean complete — despite Gora’s obvious love for the films, too, Hughes doesn’t escape criticism, particularly for his tendency to drop friends like hot potatoes for the most minor infractions.
Warts and all, however, I love him. If you share that sentiment, you’ll likely want to read this in one sitting as I did. —Rod Lott
Related posts:
- The John Varley Reader: Thirty Years of Short Fiction
- Cameron Hughes’ 10 Best Novels of 2008
- The Stewardess Is Flying the Plane!: American Films of the 1970s
- Q&A with LONDON HORROR COMIC’s John-Paul Kamath
- Swamp Thing: Spontaneous Generation
{ 7 comments… read them below or add one }
I saw this book in a new article, and was immediately intrigued my it. Your review maks me even more interested. Thanks!
The only memory I have of St. Elmo’s Fire is Rob Lowe with long hair and maybe a bandana playing a saxophone, or something to that effect. I also vaguely picture a pinkish neon sign. That’s it.
But I still occasionally quote lines from Weird Science in my daily life, “Gimme da keys” being the most frequent. Who in the world would expect me to believe that St. Elmo’s Fire had more influence than Weird Science? I’m not a moron, you know.*
* Another quote
Funny, but sax-playing Rob Lowe with an ’80s mullet and maybe a bandana is all I remember about the movie, too. But WEIRD SCIENCE? I could diagram it.
I repeat, this author hates Kelly LeBrock because she’s beautiful.
http://www.youtube.com/watch?v=hz8ul-gmLyA
It’s not politically correct to say this, but this author chose ST. ELMO’S FIRE over WEIRD SCIENCE because she’s a lady-type person with boobs and girl parts where a man-thingee would be. A dude would not make this mistake. The mid-80s hotness of Kelly LeBrock MUST BE RECOGNIZED!
I’m going to be the lone voice in support of the author and against the reviewer’s comment: I can recite nearly all of St. Elmo’s Fire verbatim, but I’ve not even SEEN Weird Science, nor have I ever wanted to. And as for Allan’s comment above, what I’ve said is true despite the fact that I’m a heterosexual DUDE, so there goes your premise. (But yes, Kelly LeBrock is a hottie.)
I’m reading this book now and loving every minute of it. The backstories to the making of these films reads like a print version of a DVD commentary track; lots of factoids about the behind-the-scenes stuff. (Who knew the making of Some Kind of Wonderful was so full of firings and melodrama? Who knew where Alan Ruck got that voice for Sloane’s father when making the phony phone call? Eric Gurry [look him up] was originally up for the Anthony Michael Hall roles? Etc.) If you grew up in the 80s and/or love John Hughes movies, you’ll love this book.
BTW, I must agree with the orginal reviewer regarding the bad side of Hughes. Yes, it seems he’d drop people for ridiculously minor infractions. The music supervisor for “Ferris Bueller” (who was previously the music supervisor on “Pink” and a good friend of Hughes) was dropped by Hughes as both supervisor and friend for simply refusing one of Hughes’ irrational requests. Hughes never spoke to him again. So much for friendship! And what about his remarkably “close relationship” to Ringwald when she was 16 and he a married 30-something-year-old? And his later thing for phoning producer Ned Tanen’s teenage daughter Sloane (where have we heard THAT name before?) and having long conversations? Seems like creepy and unnatural behavior for a married man in his thirties.