土曜の休日と言うのに学校に登校させられた高校生5人。彼等はさまざまな問題を起こした懲罰として自分についての作文を書かされるハメになった問題児ばかりだった。大きな図書館に軟禁状態にされ、何から書いていいのかわからないままだらだらと時間だけ過ぎて行く中、雑談からお互いの身の上話を交わし始めた彼等は次第に心を開かせて行く。＜ジョン・ヒューズ監督が、デビュー作「すてきな片想い」に続いてM・リングウォルドを起用し、その魅力を十二分に引きだして彼女の人気が大ブレイクするキッカケにもなった、いわゆる“ヤッピー映画”の傑作。＞
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FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
監督: John Hughes
脚本: John Hughes
音楽: Keith Forsey
制作: Ned Tanen / Gil Friesen / John Hughes
撮影監督: Thomas Del Ruth
制作会社: Universal Pictures / A&M Films / Channel Productions
Click here for a video version of this review: https://youtu.be/tCnm1BN1iAs The brain, the athlete, the princess, the basket case, and the criminal - yes we’re talking about _The Breakfast Club_. It’s been dubbed as a seminal film of the 1980s and takes a place as an intergenerational classic. _They were five students with nothing in common, faced with spending a Saturday detention together in their high school library. At 7.00am they had nothing to say, but by 4.00pm they had bared their souls to each other and become The Breakfast Club._ Directed by John Hughes and starring Judd Nelson, Molly Ringwald, Emilio Estevez, Anthony Michael Hall, and Ally Sheedy it rightly deserves that spot as a revered movie. It's very much a comedy-drama and is surprisingly deep in parts, like the scene toward the end where they are all explaining what they did to get the detention. The acting is brilliant, and even though there is a very small cast, its basically the five members of The Breakfast Club and the Vice Principal, they hold your attention because they are so good. What I particularly liked was how they took the standard college stereotypes and then slowly deconstructed them over the course of the movie, and showed that they actually all had a lot in common. They all had their loves and hates, their sensitivities, and the burden of expectation from their parents, the school, and society as a whole. It's funny, it's sad, and by the time it concludes, it's quite uplifting, and if it's been a while since you saw it, it might be time to load it up for another look. If you've never seen it, then I suggest you check it out for a great time capsule of a movie that has themes that still resonate today.
_**Forced, artificial dialogs with eye-rolling character arcs**_ Released in 1985 and written & directed by John Hughes, "The Breakfast Club" is a teen dramedy about five high school students from five different sub-cultures during an all-day detention over the weekend at their suburban Chicago school. Molly Ringwald plays the popular girl, Emilio Estevez the jock, Anthony Michael Hall the Brainiac nerd, Judd Nelson the dope-smoking rebel and Ally Sheedy the neurotic misfit. Paul Gleason and John Kapelos are on hand as the host principal and janitor respectively This movie has a big reputation as an 80's teen flick, but I was wholly disappointed. Most of the discussions between the five students from different cliques come across contrived and unconvincing. Some of the dialog is actually cringe-inducing. The hoodlum could've worked as a character, like the Fonz or Vinnie Barbarino, but he's such an annoying, loud-mouthed jerk that he loses all sympathy, particularly when he verbally rapes the redhead on multiple occasions for no ostensible reason. *** SPOILER ALERT*** The fact that the two end up together at the end adds insult to injury. ***END SPOILER*** Not to mention two others that unrealistically couple up. It's strange that "The Breakfast Club" is billed as a comedy because there's very little that's funny, although it's occasionally entertaining, like some of the music sequences. Unfortunately, Hughes wasn't into the heavier side of rock and so the soundtrack consists solely of bland 80's new wave bands, like his other 80's teen flicks (e.g. "Sixteen Candles," "Pretty in Pink" and "Ferris Bueller's Day Off"). Don't get me wrong, there are a couple of quality songs, like "We Are Not Alone" by Karla DeVito, but where are the heavier popular bands of 1984, like Van Halen, Scorpions, Judas Priest, Ratt, Dokken, Queensryche, Def Leppard, AC/DC or Motley Crue? Is it asking too much to have ONE song that actually rocks? But the music is the least of the movie's problems (and isn't really a problem at all, except that there aren't any heavy tracks). The actors are fine, but Hughes' dialog is unconvincing. As such, you don't buy the characters. The script needed a serious rewrite. The movie runs 97 minutes and was shot in the suburbs north of Chicago. GRADE: C-
An absolute classic, and no mistake. If you disagree, sorry, you're wrong. John Hughes was an utter genius.
I'd struggle to recall any other of Judd Nelson's films, but in this he really does shine. He's the obvious recalcitrant amongst five teenage youths who have been dragged into school on a Saturday for some seemingly rather pointless detention. This is manna from heaven for their headmaster "Vernon" (Paul Gleason), who takes pleasure in exercising his gradually dwindling authority over his charges. Whilst he leaves them to work, they set about assembling and disassembling each other's character. Nelson ("Bender") is the outlaw: loud, brash and a pain in the neck. "Andrew" (Emilio Estevez) is the high-school athlete; "Claire" (Molly Ringwald) the slightly aloof of the group; "Brian" (Anthony Michael Hall) is the swat and "Allison" (Ally Sheedy) - well she's the enigma of the group, rarely deigning to contribute as "Bender" begins an hour and a half that allows each of them to expose - sometimes more willingly than not, some of the more private and contentious aspects of their personalities. Whilst their supervisor becomes distracted in the basement with caretaker "Carl" (John Kapelos) this erstwhile disparate group of reprobates start to realise they have way more in common than they'd initially thought and thanks to a really quite potent script and some very natural performances, we begin to see something far less predicable emerging from these folks. Sure, there are some traditional stories of failed families or outrageous parental aspirations or rebellion, but they are presented here with plenty of humour and more of a degree of plausibility than in many films that just trot out the same old story arcs as if they were college lectures. There's little off limits, but nothing at all graphic as they try to find a new focus for their lives. John Hughes mixes the comedy with the more earnest engagingly here and these actors deliver something just a bit different.
I absolutely love this film. When I saw that Ster-Kinekor was having a throwback screening, I immediately went to book my tickets to see it on the big screen. I still think The Breakfast Club is an incredible film, and the core message it presents remains deeply important and relevant even today. I love the premise: a group of seemingly random students in detention: the jock, the emo kid, the popular girl, the nerd, the rule-breaker, all thrown together. As the day unfolds, the labels fall away, and they begin to form a bond. They come to realise that everyone is dealing with their own struggles, that everyone has a voice, a goal, and a place in the world. That sense of unity and empathy, of coming together despite differences, is what I adore most. The film sends such a powerful message: no matter who you are, you are enough. You belong. And I love that.
