doesn’t even try; it’s as though Hughes knew his audience would automatically root for any underdog, bonus points if she’s a poor girl with mussed hair and unadorned beauty, double bonus points if she makes her own clothes and suffers the sneers of rich kids, triple bonus points if the poor girl has a goofy best friend who nips at her heels yet seems incapable of ever jumping into her lap.
Why does Molly Ringwald’s Andie pine so hard for Andrew Mc Carthy’s Blane and what, exactly, does James Spader’s Steff see in her? His performance makes the whole damn movie worth it.
These films are powerful because their creator, Hughes, understood the pain of teenhood while always presenting his young audience with a real sense of optimism, especially by story’s end.
From having her panties ogled by nerds in , Ringwald’s characters showed that contrary to the rosy view of teendom that grownups so often choose to remember (all make-out sessions, no mortgages), adolescence can be a thorny time. It seems “Pretty in Pink” guys Jon Cryer and Andrew Mc Carthy just can’t stop fighting over Molly Ringwald. As Zap2it reported, Cryer disagrees, saying, “I respectfully disagree.I want to stand up for all the slightly effeminate dorks that are actually heterosexual.Mc Carthy offers little more than ever-widening eyes; at least the cool banality of his performance in made sense in that L. Lost Generation way, but Blane is a Wasp without a stinger. Andie is equally vapid—a nod to class warfare being the only edge in her otherwise butter-knife-dull personality—yet we’re supposed to believe that men are willing to destroy themselves and each other in pursuit of Andie. He shuffles about in linen suits, unbuttoned oxfords, and Egyptian-cotton robes. He prowls the high-school halls, smoking a cigarette, a squinty flâneur who looks more like a hotshot real-estate developer casing the property than an 18-year-old waiting to hear back from his top three college choices. Safety school: Skidmore.) Spader is so unbelievable as a high-school senior that his performance nearly crosses over into farce—maybe it does, the writers left him no choice—but there’s something authentic, nearly gleeful, in his turn as a villainous cad.The non-Euclidean love triangle is thus: Blane loves Andie, Andie loves Blane, Steff lusts after Andie, Andie despises Steff, Steff tries to sabotage Andie and Blane. A best-supporting-actor nomination should have followed. Jon Cryer’s Duckie is an easy target, but I’m taking a shot anyway because he set back the high-school proletariat by 50 years.