Say Anything – Bitch Flicks

Ladies of the 1980s Week: The Roundup

Check out all of the posts from our Ladies of the 1980s Week here.

‘Pretty in Pink’: A Desire for Autonomy by Siobhan Denton

Re-watching the film recently, it seems apparent that rather than Andie allowing herself to submit to Blane and all that he represents, her narrative arc is really a search for a sense of autonomy rather than a desire to transition into a world of privilege. … Andie is not happy, despite outward appearances, and it is clear that for her, Blane represents an opportunity to take control of her life, to become increasingly autonomous in her decisions.

‘A Different World’ Shook Up My World by Shara D. Taylor

A Different World will forever hold a special place in my life. Set at the fictional, historically Black school Hillman College, it became my North Star to an experience largely foreign to me — undergraduate life. It gave me insight into the strength gained from friendships with Black women. … Seeing images of young, gifted, and Black women pursuing higher education at a historically Black college or university (HBCU) shaped my vision for my life.

Historical vs. Modern Abortion Narratives in ‘Dirty Dancing’ and ‘Fast Times at Ridgemont High’ by Tessa Racked

Given this climate, it is somewhat surprising that two mainstream Hollywood films, Dirty Dancing and Fast Times at Ridgemont High, would take progressive approaches to a topic like reproductive justice. While Dirty Dancing remembers the realities of abortion pre-Roe v. Wade and illustrates the role that class plays in access to abortion, Fast Times at Ridgemont High shows a main character who exercises her right to choose without trauma or punishment, while managing to keep a relatively light tone.

Feminism and Classism in ‘The Legend of Billie Jean’ by Horrorella

The Legend of Billie Jean addresses questions of gender and class that are as real today as they were in 1985 and sets its story within the struggles against the patriarchy and the ruling wealthy class by people who all too often fall victim to those oppressions. … As the story progresses, Billie Jean’s flight becomes more than just the desire to escape from a situation that sees her and her friends unfairly on the wrong side of the law. She wants wrongs to be set right. … She wants dignity, and respect – truly, what she is after is equality.

10 of the Best Feminist Comedies of the 1980s by Jessica Quiroli

9 to 5. If I may, this is the greatest women’s comedy of all-time. So perfect on every level, it’s hard to know where to begin; but how about with the three main characters? … Played by Jane Fonda, Dolly Parton, and Lilly Tomlin, this wild ride is a classic in any era, but a rare, feminist gem of the 80s.

“You Have No Power Over Me”: Female Agency and Empowerment in ‘Labyrinth’ by Kelcie Mattson

So what distinguishes Labyrinth from the Hero’s Journey tropes it so closely follows? Its protagonist. Sarah is the hero of the story. She doesn’t need to be saved because she’s the rescuer, and she carries the plot forward with her resourcefulness, tenacity, and self-actualization. … But Labyrinth’s dramatic tension is centered entirely in a young woman’s mind as she navigates a tricky tightrope between fantasy and reality, dreams and goals, past and future, and discovers the kind of woman she wants to be.

‘Working Girl’ and the Female Gaze by Allyson Johnson

We so often view films through the Male Gaze with camera shots that are more interested in capturing the way a woman’s body looks under the guise of “sex sells” that it’s become somewhat of the norm. While Working Girl is appreciative of the beauty between Sigourney Weaver and Melanie Griffith, it employs a “female gaze” so to speak with Harrison Ford. … Also a change of pace is the fact that by the end of the film, Katharine and Tess aren’t fighting over Jack. They’re fighting over their place in the working world and, to narrow it down to a single moment, they’re fighting over a great idea that Tess had, one Katharine wishes she could have come up with and resents Tess for.

‘Videodrome’ and the Pornographic Femme Fatale by Dr. Stefan Sereda

Blade Runner (1982) featured two fembots-turned-fatale (and another faux–fatale) whereas David Cronenberg’s sci-fi-horror-noir Videodrome updated the femme fatale as a response to media-saturated late twentieth-century culture. … Regardless, in Cronenberg’s prophetic film, the femme fatale is reborn and unleashed to warn of contemporary dangers, including how women’s media representation as sex objects is connected to capitalist propaganda, often with the intent of making a violent agenda seem pleasurable.

The Feminisms of ‘Born in Flames’ by Heather Brown

It’s no coincidence to me that three years later Lizzie Borden would direct Born in Flames, a film that depicts a collection of different feminist voices all aligned in a common goal of resisting what bell hooks terms the white-supremacist-capitalist-patriarchy. … Instead of acting out carceral feminism, which relies on law enforcement and state violence to combat violence against women, the feminisms of Born in Flames create justice rather than restore “order.”

Did Gender Alter the Tone of the ‘Alien’ Franchise? Implications of Narrative Femininity by Kayleigh Watson

It is science fiction fact however, that Ellen Ripley should not have been “Ellen Ripley” at all. Dan O’Bannon’s original script for Alien stated: “The crew is unisex and all parts are interchangeable for men and women.” …In Aliens – the 1986 sequel directed by James Cameron – both Ripley and the alien are further solidified as female. Cameron pushed the series into being specifically feminist, having Weaver reprise the role in more extreme circumstances. She gained a surrogate daughter – Newt – to protect, more men to fight, and an Alien Queen – one who breeds – to defeat. … Through the course of the film, we come to an implied understanding that is wholly complicit in their both being mothers, adding a subliminal layer that would not have been present had either Ripley or the alien been male.

‘She’s Gotta Have It’: The Audacity of Sex and the Black Women Who Have It by Reginée Ceaser

Looking back on the film today, I appreciate this film now because it centers on a Black woman who unabashedly is exploring and thoroughly enjoying her sexuality. By doing this, Spike Lee took long held beliefs and perceptions of Black women and pushed back on the constrictions and perceptions of society.

‘Jem and the Holograms’: Diversity and Female Empowerment by Horrorella

What I didn’t remember, and was pleasantly surprised by, was all of the diversity present in the show and the incredibly positive female role models that it presented to its young viewers. … It offered a positive statement on cultural acceptance and feminine strength at a time when children’s programming was lacking in both areas (and often still is today). The Holograms celebrated an ethnically and culturally diverse group of characters who came from a variety of different backgrounds.

Reagan’s America: Waiting to Die in ‘Testament’s Radiation Zone by Angela Beauchamp

[Atomic Bomb Cinema author] Jerome Shapiro disregards Testament because it is primarily about women’s suffering, yet this very acknowledgement of women’s powerlessness in a world that patriarchal governments have just blown up is feminist at its core. … This 1983 film created by women gave the audience such a grim picture of the near future, without the excitement of special effects or the hope brought by overcoming obstacles, that it was a call to action, a message to avoid this outcome at all costs.

‘Crossing Delancey’: Isabelle Needs a New Perspective on Life and Love by Susan Cosby Ronnenberg

This romantic comedy has always been more of a cult classic. But it was unusual in its female writer and director, along with its distinctly Jewish cultural setting, its generational custom-clash regarding matchmaking, and its conflicted independent protagonist, Isabelle, who could be read as a late 1980s precursor to ‘Sex and the City’s protagonist Carrie Bradshaw. An independent, straight single woman with a successful career, Isabelle has professional and romantic options, ambitions, and flawed preconceptions about the incompatibility of those options and ambitions as she tries to decide between an internationally acclaimed poet or a neighborhood.

Women Muscians in the 80s Used Music Videos to Expand Notions of Womanhood by Gwen Hofmann

…Women in music broadened visual representations of gender as their cacophony of voices inoculated the population to women of all ages, races, and socioeconomic backgrounds. Most intriguing about this “kaleidoscopic” decade is the way women in 80s music videos displayed these distinct portraits of womanhood. … The ladies of 80s music video brought forth new visual representations of women including: experiences in the workforce, issues of class, messages of power, and unique expressions of love and sex.

‘The Golden Girls’: The Legacy of a Lifetime of Wisdom and Laughter by Adina Bernstein

In 1985, television audiences were reminded that women of a certain age are just as vibrant, sexual, and as full of life as women half their age. They may also share a few life lessons along the way. The TV series ‘The Golden Girls’ — which aired for seven seasons — reminded audiences of all ages that life does not end at fifty for women.

‘Fast Times at Ridgemont High’: The Wisdom and Confidence of Linda Barrett by Angela Morrison

Phoebe Cates brings life to the energetic, worldly, confident-yet-vulnerable Linda. Her character is the heart and soul of the movie, as she gives Stacy (Jennifer Jason Leigh) advice on sex, relationships, and navigating her way through high school. … Linda’s attitude toward sex – which she passes on to Stacy – is that it needn’t be a big deal, but rather, should be seen as a fun and pleasurable activity for young women such as themselves. … She urges Stacy to make her own decisions, letting her know that she has the power to decide who she wants to have sex with, and when. The film never takes a judgmental attitude towards these young women, their sexual activities, and their frank discussions of sex.

The Vietnam War Through a Teen Girl’s Eyes in ‘In Country’ by Caroline Madden

Sam is an underrated, if not widely unknown 1980s heroine. She serves as a symbol for America’s 1980s attempt to reconcile with its most controversial war. The 1980s experienced a boom in Vietnam War films, as the temporal distance from the war allowed filmmakers to fully deconstruct the experience. Rarely is the locus of these films a woman. Sam’s character manages to break through the barriers of a primarily masculine film genre. In Country uniquely explores both the female and child experience of the Vietnam War and its aftermath. This is a departure from the wide variety of films depicting the male veteran’s assimilation into post-Vietnam life, such as Born on the Fourth of July (1989) or First Blood (1982).

Revisiting ‘Desert Hearts’ and Its Lesbian Romance by Angela Beauchamp

For heterosexual women, movies and television series show them every day what a loving relationship is and what the expectations are to grow up, fall in love, and find a handsome prince (however flawed that may be). For lesbians prior to Donna Deitch’s Desert Hearts, nothing of the kind existed on-screen. … It is a conventional romance, which is one of the reasons that it is so successful.

‘Pretty in Pink’: The Only Team to Be on Is Team Andie by Isabella Garcia

I fixated on the Team Duckie vs. Team Blane aspect of the film so much that I entirely missed the point. I was so Team Duckie that I blamed Andie for not choosing him. … It wasn’t until I grew up some more, graduated high school, and went through several re-watches that I realized I had fallen into a trap that society has conditioned us to fall into: the dreaded sexist “friend zone.” … It was wild to me that Andie didn’t like Duckie back, but after recently re-watching the film I don’t know why I ever blamed her. She stuck true to what she wanted.

How ‘Big Business’ Made Big Business with Two Women Big in the Business by Kyle Sanders

Yet what sets this 80s flick apart from most films of that era is the fact that the four protagonists are all women AND completely independent. … Ultimately, it is Midler and Tomlin who save the film from being just another forgotten comedy of the 1980s. The two stars bring a certain gravitas to the screen — a perfect combination of comedic timing and contagious chemistry in scenes that might otherwise fall flat in the hands of other capable actresses.

‘The Stepfather,’ Toppling Patriarchy, and Love of 80s Horror Ladies by Eva Phillips

Stephanie emerges as a poised, perspicacious, and resilient female lead. She is a wonderfully surprising alternative from most of the panoply of horror heroines who are tortured, fight, and scream their way through the terrifying films of the 80s. … Stephanie embodies what each of the archetypally male characters in the film fails to, and in doing so transcends the clutches of gender expectations in the film and in a genre that is so often besotted by explicit or implicit gendered presumptions.

Sheila E.’s Agency as an Artist in ‘Krush Groove’ and Beyond by Tara Betts

But Sheila E. represents a woman’s creative musical power in an early hip hop film dominated by male artists. … As we consider hip hop’s presence in U.S. films and documentaries spanning the globe, it is also reasonable to consider that Sheila E. has one of the biggest roles for a woman that was written in the spate of films that began portraying hip hop culture.

Ripley, Sexism, and Classism in ‘Aliens’ by Adam Sherman

One of the most enduring female action heroes in the 80s is Ellen Ripley. In the 1979 movie Alien, we were introduced to her as a competent, no-nonsense space trucker who survived where the rest of her crew did not. However, it was not until 1986 that her status as a female badass was truly confirmed in the follow-up, Aliens. Yet, in-universe, it took Ripley much of the movie to gain any respect. The mix of classism and sexism Ripley faced is something that I think made many women identify with her even more.

‘The Fog’: 5 Women, an Environmental Crisis, and No Forecast for Friendship by ThoughtPusher

Before watching the movie with a more critical lens, I reminisced that these strong female characters drove the community response to crisis as they began to interact and even came to depend on each other. … But upon further examination, these characters only come together in a geographic sense rather than develop significant strength through the social bonds of supporting each other. … It seems like The Fog exposes the idea that strong women can’t have any meaningful relationships that might endure and even help them survive and understand themselves better through tough times.

Rethinking ‘Say Anything’ and the Film’s Actual Protagonist Diane Court by Charlotte Orzel

The problem isn’t that audiences misremember Lloyd Dobler; it’s that they forget about Diane Court. Even though the two characters share the screen more or less equally, Diane (Ione Skye) is often treated more as a love interest than a romantic lead. … Not only is Diane an equal player in the action; she’s the film’s protagonist. While we spend a great deal of time with Lloyd, the movie’s story is structured around Diane’s life. … While Diane has a clear narrative of growth, Lloyd is a static character.

Black Women in 1980s Horror Films: Tokenism and Regression by Ashlee Blackwell

However, I do thoroughly enjoy and sometimes defend 80s horror and the Black (female) characters I can find, but it’s crucial to examine the narrow confines of their characterization. … The 80s opened up a dialogue about where Black women’s place was not only in society, but in horror. Katrina demonstrates a stark fear of “the Other” who dwells beyond the parameters of the safe, White institutions, Sheila is a marker of assimilation and the rise of the Black middle class with a Huxtable like allure, while also being a Black girl nerd we like, and Epiphany is rooted in a past that Reagan’s message to America desired; a return to the good ‘ole days when miscegenation was taboo if not illegal.

Rethinking ‘Say Anything’ and the Film’s Actual Protagonist Diane Court

The problem isn’t that audiences misremember Lloyd Dobler; it’s that they forget about Diane Court. … Not only is Diane an equal player in the action; she’s the film’s protagonist. … While Diane has a clear narrative of growth, Lloyd is a static character.

This guest post written by Charlotte Orzel appears as part of our theme week on Ladies of the 80s. | Spoilers ahead.

In the fall of 2014, an early example of “peak nostalgia” saw a television adaptation of Cameron Crowe’s 1989 rom-com Say Anything announced and then canceled within twenty-four hours at NBC. According to Deadline, the series would have continued where the film left off:

“Set in present day, the Say Anything series picks up ten years later. Lloyd has long since been dumped by Diane and life hasn’t exactly turned out like he thought. But when Diane surprisingly returns home, Lloyd is inspired to ‘dare to be great’ once again, get Diane back and reboot his life.”

This pitch gets straight to the core of the troublesome way Say Anything has been remembered. People think of the film as synonymous with its iconic image of Lloyd Dobler (John Cusack) holding a boombox over his head with his heart on his sleeve. Audiences remember Lloyd as the rare romantic lead who approaches the girl he loves with respect, earnestness, and unshakable optimism. They appreciate the way love let Lloyd “dare to be great.”

The problem isn’t that audiences misremember Lloyd Dobler; it’s that they forget about Diane Court.

Even though the two characters share the screen more or less equally, Diane (Ione Skye) is often treated more as a love interest than a romantic lead. Take this example from Total Film’s 50 Best Romantic Comedies:

“The sweet Lloyd Dobler (John Cusack) might be an average student, but he aims high when he asks valedictorian Diane Court (Ione Skye) out on a date. Her affluent lifestyle and his humble upbringing make the two a perfect ‘opposites attract’ pair as he helps her overcome her shyness and the ability to drive a stick shift, and she… well, loves him.”

From this summary, and others like it that have been published since the film’s release, you get the picture of a romance that sees Lloyd Dobler as a sweet, earnest slacker, rise to his potential to win the heart of a beautiful, sheltered girl. He teaches her how to live, and she is eventually won by his charm, wit, and ability to raise a boombox over his head for the entire length of “In Your Eyes” (an admittedly impressive five and a half minutes).

What really happens is quite different. Not only is Diane an equal player in the action; she’s the film’s protagonist. While we spend a great deal of time with Lloyd, the movie’s story is structured around Diane’s life. In the summer after graduation, she has much more on her plate than Lloyd, who when asked about what his summer job is, replies, “I want to see you as much as possible before you leave.” Lloyd’s future is uncertain, but he’s not too worried about it, as long as it includes Diane. Diane, on the other hand, is incredibly anxious about what lies ahead — she has been offered a prestigious fellowship to England and her father is being investigated by the IRS — and her growing feelings for Lloyd complicate things considerably. We watch her navigate her fears for the future and reconcile them with Lloyd’s idealism which, despite her crushing sense of responsibility, she finds incredibly appealing. These issues are not merely set dressing for the romance, like many romantic comedies that give their heroines a wisp of a life to differentiate them from one another, like a set of Career Barbies. Her father’s investigation forms a solid B-plot that is frequently left out of retellings.

In the first few minutes we spend with Diane, she gives a valedictory speech which communicates not only the tremendous expectations on her shoulders, but her own ambivalence about life after high school. It becomes immediately apparent that Diane’s fears run far deeper than a kiss from Lloyd can soothe. In a later scene with her father, when she learns that she’s won a competitive fellowship in England, her initial response is to sink to the ground, worrying: “I’ll have to go on a plane” (we later learn that she has been afraid of flying since she was young). Diane is not only brilliant, shy, and beautiful, but desperately afraid of what the future holds.

Meeting Lloyd opens Diane up to the possibilities of life outside the rigor of constant achievement. Their first date is not a swoony, candlelit affair or a twee romp, but a bustling graduation party where they spend little time together, but keep track of each other over the heads of their classmates. Diane, initially asking if it would be “terrible if [she] wanted to go home early,” enjoys herself and talks eagerly, if awkwardly, with the other students, eventually calling her father to tell him that she’ll be home before dawn.

In the car on the way back from the party, the two finally connect in a conversation about how their classmates perceive them. Unlike her father, who constantly and almost unconsciously affirms her, Lloyd listens with a kind ear to Diane’s insecurities and doubts. Lloyd represents more than the potential for romance, which Diane has in the droves of suitors (and their droves of cars) her father fields on the phone. He offers her a chance to be afraid, imperfect, and vulnerable, to reach out and connect genuinely with other people, and, most importantly, to be known in turn.

Rather than holding Lloyd at a distance, Diane brings him into her world, introducing him to her father and showing him around the nursing home where she works. He teaches her to drive stick shift, gently letting her be bad at something for what might be the first time in her life. They share their first kiss. Inseparable after that, they soon have sex, which Diane awkwardly has to explain to her worried father when she doesn’t come home that night. Tentative but sure, she pushes at the boundaries of her old life, neglecting to call her father and unable to reason her way out of her attraction to Lloyd.

Then, with her fellowship in England looming on the horizon and the IRS investigation growing ugly, Diane breaks it off suddenly when Lloyd tells her he loves her. She shares her feelings, but begs him not to “put things on this level.” The seriousness of their relationship seems to only deepen her worries about the murky future. Both parties despair, Lloyd leaving Diane a string of voicemails that she screens anxiously, clearly longing for him. Though she is touched by his attempts to change her mind, including the iconic boombox scene, these gestures are not what eventually move her to return to him. Far from the popular idea of Lloyd as the persistent, charming guy who wins the girl through earnest passion, he doesn’t win her back at all. Instead, she turns to him when she discovers her father is guilty of tax fraud. This revelation not only shatters any hope of her returning to her sheltered life, but reminds her of the value of her relationship with Lloyd, who is as open and honest with her as she is with him.

Confronting her father, she is devastated that he lied to her and shrinks from the idea that he wants to use his illegal gains to “set [her] up so [she] doesn’t have to depend on anybody.” When she goes back to Lloyd, she tells him that she needs him. Lloyd asks, “Are you here because you need someone, or because you need me?” following it up by telling her, “Forget it. I don’t care.” But Diane does. The girl who kept everyone at arm’s length has finally found someone she truly knows and can rely on.

The final scene of the film seals this realization, as Diane embraces the uncertainty of her future in England with Lloyd by taking on her major fear: flying. Diane confronts the doubts surrounding her relationship with Lloyd and her fear of flying by accepting the potential for failure. Like Diane, the ding of the smoking light that signals the most dangerous part of the flight is over reassures us, but doesn’t eliminate our worries about the couple’s fate. We don’t know what their future holds, only that the scariest part is over. The plane could still crash. It’s just more likely that it won’t, and that’s enough.

While Diane has a clear narrative of growth, Lloyd is a static character. The film opens on him declaring his intention to win Diane’s heart, and closes on him having achieved his goal, but he remains earnest, steadfast, and optimistic throughout. Diane’s choices, not his, push the story forward. The movie flirts with remedying his lack of career ambition, having first his guidance counselor and then Diane’s father scorn his refusal to commit to a plan for the future. However, he ultimately concludes that his relationship with Diane is enough to sustain him. The movie cheekily points out his lack of development in a scene when he visits her father in prison, and tells him that he probably should start working on his own goals, but has decided to go to England with Diane instead.

This lack of ambition is what has led some to argue that Lloyd and Diane never would have made it work in the long run. In what may be the most cynical article of all time, Dustin Rowles speculates about how things turned out for the characters, concluding that Lloyd’s slacker attitude would wear on Diane and sooner rather than later, she would have cut him loose to go after a graduate student. The NBC pitch also suggests that a breakup between the two was inevitable. But assuming that Lloyd and Diane would split reveals a fundamental misunderstanding of what brought them together in the first place. Lloyd doesn’t win Diane with his wit and laid-back attitude; his honesty and warmth encourage her to open up and make herself vulnerable enough to forge a real connection. Eventually, she chooses him because his unflagging optimism balances out her stymieing fear of the unknown. If we imagine that Lloyd won Diane over with his persistence, it’s easy to imagine her becoming disillusioned later on. If we remember that she chose him, and in doing so, took a step forward in becoming the kind of person she wanted to be, writing off their relationship as misguided becomes much harder.

In light of Diane’s place at the center of the story, why is Lloyd given so much more prominence when we talk about Say Anything?

In the years before and since the movie’s release, John Cusack’s star has burned brighter than Ione Skye’s. Since the two actors have almost an equal amount of screentime, that may make it slightly easier to imagine Cusack as the lead. While one could conceivably argue that Lloyd is a more unique and fully realized (or better acted) character, a close look at Diane suggests that conclusion is unfair. Not only is Diane’s shy, anxious braniac just as uncommon a sight onscreen as Lloyd’s witty, earnest slacker, but Crowe and Skye fill her in with loving detail. Diane is just as complex and interesting a character as Lloyd. However, for the audience of teen romance, imagined by marketing executives as young, female, and heterosexual, the male character is often made the object of desire and attention in both marketing and the film itself. This is particularly true in a genre that often makes its female characters bland and one-dimensional on the assumption that it will allow female viewers to more easily insert themselves into the story. And naturally, when male protagonists are more common and valued more highly than female ones, many viewers are already in the habit of bending over backwards to sympathize with the male perspective. These ways of watching are so ingrained that we may end up imposing them ourselves, even when films like Say Anything offer us a more nuanced alternative.

The NBC series pitch leans on these viewing habits by setting Lloyd up as the main character of the show. He is the one whose “life hasn’t turned out like he thought,” who must “reboot” to regain his old energy and idealism. But the movie worked in the first place by watching Diane grow out of her fear of the future. By undermining the ambiguity of the original ending, the TV pitch ignores the way that accepting both the hope of success and the possibility of failure was an essential resolution for Diane’s character arc. The pitch assumes that Diane was a catalyst for change in Lloyd once before and will be again, even though the movie works precisely the other way around. Say Anything didn’t dare Lloyd to be great. It dared Diane to embrace her greatness, and let us watch as she rose to the challenge.

Charlotte Orzel spent a few formative years scooping popcorn at an independent movie theatre, and in the process fell in love with film, television, and criticism of all kinds. She is a Master’s student in Media Studies at Concordia University in Montreal where she studies new initiatives in film exhibition. She tweets about her interests and adventures in writing and academia at @charlotteorzel.

A Brain, an Athlete, a Basket Case, a Princess, and a Criminal: How ‘The Breakfast Club’ Archetypes Set Standards for High School in Brat Pack Cinema and Beyond

While today’s entertainment sources a lot of inspiration from Brat Pack Cinema, especially the high school-coming-of-age era of Brat Pack Cinema, we have to be very aware that we do not fall into the trap of embracing multifaceted male characters and yet only providing a Princess/Oddball dynamic with female characters. Not all of us fall into The Brain, The Athlete, The Basket Case, The Princess, and The Criminal, and while we can look to Brat Pack Cinema for inspiration to create new projects for our generation and generations to come, archetypes are suggestions, not the end-all be-all for characters in entertainment.

Breakfast Club Cast Photo — *The Breakfast Club*

This guest post by Kylie Sparks appears as part of our theme week on the Brat Pack.

We all remember the first time we saw The Breakfast Club, that wonderful John Hughes ode to Saturday morning detention at Shermer High School (and as a full disclaimer, it’s one of my favorite films).

At first, we saw five teenagers as the Brain, the Athlete, the Basket Case, the Princess, and the Criminal–perfectly neat archetypes in the basic high school caste system, but they actually were five kids who saw the world more than just through their own designated lens. As Brian Johnson (Anthony Michael Hall, or the “Brain”) narrates, “You see us as you want to see us – in the simplest terms, in the most convenient definitions.” At the end of the film, each character grew to explore what would happen across party lines (the Athlete and the Basket Case, the Princess and the Criminal, the Brain becoming his own entity of independence, and the Basket Case being “made over” by the Princess to become another Princess) and we knew their lives were forever changed by that one Saturday in detention.

It’s awesome to see teenagers explore their own identities and not conform to their own archetypes, but if we examine Brat Pack Cinema and how archetypes are portrayed throughout the 1980s coming-of-age films, there is a common trend. High school boys in Brat Pack films are allowed to be the jock, the nerd, the best friend, the weirdo, the leading male, and any other category a person would see themselves in and be multifaceted, while high school girls in Brat Pack Cinema fell under two categories: the Princess or the Oddball. While The Breakfast Club is a classic example of defining the Princess and the Oddball, several other films in Brat Pack Cinema cling to this dynamic, only showcasing that high school girls fall into these two categories with no in between.

Cast Still from Sixteen Candles — *Sixteen Candles*

Sixteen Candles, which starred Breakfast Club alums Molly Ringwald and Anthony Michael Hall, as well as Michael Shoeffling, Gedde Watanabe, and Brat Pack regulars John Cusack and Haviland Morris, showcases classic archetypes in Brat Pack Cinema: the Athlete/All-American (Shoeffling), the Awkward Princess (Ringwald), the Prom Queen (Morris), the Geek (Hall, Cusack), the Exchange Student/Geek (Watanabe), and the female Oddball (Deborah Pollack, playing The Donger’s girlfriend Marlene or “Lumberjack”). While Ringwald’s character is supposed to be an “awkward” girl on the verge of turning 16, she is cast as our Girl Next Door Princess to be a contrast to Morris’ Prom Queen Princess as “everything she isn’t.”

Given Ringwald’s prominence in the Brat Pack as a leading lady (no matter if she is deemed “awkward,” “poor,” or the “every girl”), she is still viewed as a Princess. Ringwald’s sister in the film is also a classic Princess, as everyone is preparing for her beautiful wedding and forgets Ringwald’s birthday is at the same time. Our only female character who is not billed as a Princess is our Oddball, Marlene. Marlene is also called the “Lumberjack” as she is a strong female athlete who begins dating The Donger (Watanabe), but because of her stature and strength, she is not classified as a Princess, leaving her to be relegated to Oddball status.

While the argument can be made that Sixteen Candles came out a year before The Breakfast Club, the archetype lines are solid. You can categorize the men in various archetypes in Sixteen Candles, but women can only fit inside the boxes of Oddball or Princess with no in between. Pretty in Pink follows a similar archetype map to Sixteen Candles, with Ringwald as the “Poor Outcast” Princess and Andrew McCarthy as the “All-American,” James Spader as “The Douchebag/Criminal” and Jon Cryer as the “Best Friend/Brain.”

Still from Ferris Bueller's Day Off — *Ferris Bueller’s Day Off*

Other films in Brat Pack Cinema that don’t include The Breakfast Club stars and feel worlds apart from the triumvirate of The Breakfast Club, Sixteen Candles, and Pretty in Pink also follow this same archetype map of Princess/Oddball versus more diverse male archetypes in High School. Ferris Bueller’s Day Off is a classic example. Ferris Bueller (Matthew Broderick), although he’s viewed as a “snot-nosed punk” by Principal Rooney (Jeffrey Jones), actually also falls into the “Popular Everyman” archetype of the high school caste system, adored by all the students –“the sportos, the motorheads, geeks, sluts, bloods, wastoids, dweebies, dickheads…they think he’s a righteous dude” as Rooney’s assistant Grace (played by Edie McClurg) informs Rooney. Ferris’ best friend is Cameron Frye (Alan Ruck), who on first appearance would fall into the “Freak” archetype, also falls into different archetypes as the Rich Kid, and by being Ferris’ best friend, Popular by Association.

Charlie Sheen’s appearance as the kid in the police station falls under the classic “Criminal” archetype, but we don’t know the rest of his background and he could fall under different archetypes. While our male characters are multifaceted, our two prominent female high school characters, Jeanie (Jennifer Grey) and Sloane (Mia Sara) are seen solely as Princesses. Sloane is a classic Princess–pretty and popular. Jeanie, although misunderstood and somewhat of an outcast, is also a Princess falling in line with Ringwald’s classic “every girl” princesses she portrays in Sixteen Candles and Pretty in Pink. Neither one would be classified as Oddballs based on the criteria presented in Brat Pack Cinema, and Ferris Bueller’s Day Off does not provide any leading, prominent female characters in the high school caste system other than various forms of Princesses.

John Cusack as Lloyd Dobler from Say Anything — John Cusack as Lloyd Dobler from *Say Anything…*

Say Anything… is also an interesting film to look at in terms of male archetypes versus the Female Princess/Oddball structure since its male lead, John Cusack, played different high school archetypes in Brat Pack Cinema. In this case, in Say Anything… Cusack played iconic underachiever Lloyd Dobler, making millions of hearts break by lifting a boom box playing “In Your Eyes” by Peter Gabriel outside Diane Court (Ione Skye)’s window. Diane is a classic Princess–beautiful, rich, high school valedictorian, and the object of Lloyd Dobler’s dreams. Although Lloyd and Diane have a rocky relationship the summer after high school–between falling in love and breaking up, ultimately–Lloyd has crossed party lines, the Underachievers, to date and fall in love with the Princess, eventually going with her to London for her fellowship. Our female Oddballs are Lloyd’s fellow underachiever friends Corey Flood (Lili Taylor) and D.C. (Amy Brooks); however, with the focus of the film being the relationship between the Underachiever and the Princess as well as the Princess’ father being investigated by the IRS, this is a love story between two classic crossing archetypes we see in Brat Pack Cinema, especially since a few years before, we saw The Princess and The Criminal fall in love in The Breakfast Club.

While we examine character archetypes in High School Brat Pack Cinema, it is also important to examine the actors. Previously, Cusack played a geek (Bryce in Sixteen Candles) and the Artistic Romantic in One Crazy Summer, and with his role as the Underachiever in Say Anything…, it highlights a point that men in Brat Pack cinema may get the opportunity to portray different archetypes in the high school era. Only one female Brat Pack regular comes to mind in portraying both the Princess and the Oddball in High School: Ally Sheedy. Sheedy played Matthew Broderick’s girlfriend Jennifer in WarGames, but also played Allison Reynolds in The Breakfast Club. Every other female in the high school era of Brat Pack films plays either the Princess or the Oddball.

comparison of Allison Reynolds before and after the Princess makeover in The Breakfast Club — Comparison of Allison Reynolds before and after the Princess makeover in *The Breakfast Club*

After examining these four films (as well as looking at several others), there is the question of how we present teenagers in entertainment today so we do not fall into the trap of basing characters on the Brat Pack high school female archetypes of Princess and Oddball, especially since very rarely do we allow girls to cross these lines unless the Oddball is given a makeover into a Princess and not vice versa. While today’s entertainment sources a lot of inspiration from Brat Pack Cinema, especially the high school-coming-of-age era of Brat Pack Cinema, we have to be very aware that we do not fall into the trap of embracing multifaceted male characters and yet only providing a Princess/Oddball dynamic with female characters. Not all of us fall into the Brain, the Athlete, the Basket Case, the Princess, and the Criminal, and while we can look to Brat Pack Cinema for inspiration to create new projects for our generation and generations to come, archetypes are suggestions, not the end-all be-all for characters in entertainment.

Kylie Sparks is an actor, producer, writer, singer and USC Alumna living with a pug and a pug mix in Los Angeles. She’s passionate about entertainment, pancakes, pugs, coffee, college football and feminism. You can find her @kyliesparks on Twitter and her official website is kyliesparks.com.