THE BREAKFAST CLUB 1985 MOVIE FULL HOW TO

Here, then, is where the film's legions of fans and I part ways, because I don't really thing Hughes did it right. It's a fantastic trick, if you can do it right. The other thing that's so bloody brave is that Hughes effectively courts clichГ© by making his five characters embody the blandest stereotypes possible, so that he can shatter those stereotypes from within. And it's not the kind of editing you need to be a film junkie to appreciate to notice it, maybe, but that kind of shocking violation of an editing rhythm is something you feel intuitively, like music. It's a coup de montage that you would not expect from what is, after all, a genre picture, and though this is the most striking moment of all, it's not even slightly the only dazzling piece of editing.

THE BREAKFAST CLUB 1985 MOVIE FULL HOW TO

This lengthy scene consists almost solely of close-ups of individuals, and for the great bulk of it that fact nagged me like an itchy T-shirt tag: 'This is their big bonding moment!' I wanted to cry, 'use a fucking two-shot to demonstrate that visually! You're just reinforcing the paradigm that they don't know how to exist in each other's space!' And then the sequence ends with an oh-so-casual cut to the five of them in mystified silence, just a nice solid whack of a cut that made my heart stop for a few seconds.

Formally, at least, it's the editing where the film works the best, and where Hughes's shooting style is most evolved - late in the film, there is a big climactic sequence in which all of the characters are revealing their darkest truths, and finally breaking through the 'roles' that they're expected to play to find that they can, in fact, connect with people from outside of their pre-approved social units.

Even if only because of its defiantly uncinematic devotion to the Aristotelian unities, with some 80% of the film taking place in a single room, though thanks to some singularly tight editing (by the great Dede Allen, so no surprise there) it never even once registers that we're watching, in essence, a stage play. Structurally and conceptually, this is a fairly brilliant movie, or at least a colossally nervy one. Over the course of the day's nine hours and the movie's 98 minutes, those five individuals move from mutual incomprehension and loathing to a chain of soul-baring sessions by which they learn that they're too complex as people to be reduced to stereotypical labels. In case you have somehow managed to remain ignorant of the film's content, possibly by eschewing any and all contact with English-language cinema in the last 25 years, it's a bit like this: on 24 March, 1984, at Shermer High School in Shermer, Illinois (and thus does Hughes's fictional version of Northbrook, IL receive its permanent name in honor of that city's former name of Shermerville), five students are held for an all-Saturday detention: Brian Johnson (Anthony Michael Hall), Andrew Clark (Emilio Estevez), Allison Reynolds (Ally Sheedy), Claire Standish (Molly Ringwald), and John Bender (Judd Nelson), who are introduced in Brian's opening monologue as five archetypes of high school: the Brain, the Athlete, the Basket Case, * the Princess, and the Criminal. Long Duk Dong, who will haunt my nightmares until I die or The Hangover, Part III comes out, though I expect those two events will occur at about the same time). At any rate, I didn't find it at all as true as John Hughes's previous work, Sixteen Candles, though his sophomore effort as a director is undeniably more self-assured and mature in its craftsmanship, and lacks the outrageouness of his debut's most objectionable elements (viz. It is, however, a movie that has far more problems than its reputation would suggest, the kind of flaws that can be very readily glossed over in a fit of fond remembrance. In fact, I will own to being very, very surprised that it's not a bad movie. 15-18 years old, and have never quite shaken the feeling of how it spoke to them when they were at that tender, vulnerable age. I bring this up because being a breath away from the start of one's fourth decade on this Earth is a somewhat unfortunate time to make the acquaintance of a film that, even by the standards of the hyper-nostalgic world of '80s movies, seems to have entranced the vast majority of its hefty fanbase because those fans had the good fortune to watch the movie for the first time when they were about the same age as the characters depicted onscreen, i.e. The right thing is to first begin with the horrible admission, and it is that I was 29 years and 9 months and 7 days old the very first time that I saw John Hughes's iconic teensploitation picture The Breakfast Club, which happens to have been the day before writing this review.

The breakfast club 1985 movie full