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Molly Ringwald has written a rather overlong piece for the New Yorker, and while the film of hers I remember most from John Hughes is The Breakfast Club, I don’t think she really can apply that to the #MeToo movement.
John Bender was, initially, a despicable character who takes sexual advantage of her, but she is shown to fight back and so doesn’t just take it lying down (aside from the fact that she’s sat upright in a chair at the time), and yes, they hook up at the end, but maybe he wasn’t really as despicable as is made out, and maybe he’s just one of those school bullies who – yes, needs a good punch to the face to sort him out – but on the other hand, maybe he’s just doing it all for show, and for attention.
I think the only one who really trashed John Hughes’ career is John Hughes. After great films like the aforementioned The Breakfast Club, Planes, Trains & Automobiles, Ferris Bueller’s Day Off and Uncle Buck, he made complete junk like Curly Sue – clearly taking the ‘cute kids’ concept one step too far, after his script for Home Alone.
He never did direct again after Curly Sue, but while I did enjoy Home Alone 2: Lost In New York, he just wrote a number of crappy scripts for crappy movies like Home Alone 3 and Baby’s Day Out.
On the plus side, when I saw Molly Ringwald was trending, I was just glad to read it was NOT because of the reason a celeb usually trends – they’ve died.
You can read her article in the New Yorker here.
Reviewer of movies, videogames and music since 1994. Aortic valve operation survivor from the same year. Running DVDfever.co.uk since 2000. Nobel Peace Prize winner 2021.