El club de los cinco

We all remember being a teenager. A crazy, intense time when your high were higher and your lows were lower, and every experience was that much more significant.

John Hughes movie brilliantly captures that environment, that era in our lives, and all the social rifts that we all helped to create for ourselves. I have heard it said that "The Breakfast Club" is melodramatic, overacted, and simplistic. If you subscribe to that flippant perspective you might as well join Vernon in his office because you are doing the same thing that he did. Seeing the movie as you want to see it, in the simplest terms and the most convenient definitions.

If you really want to understand this film, think back to your own high school days. Think about your last year there. Dig out your old diary or book of angstful poems and reaquaint yourself with who you were then, when you felt things more deeply. "The Breakfast Club" does not exist not for highschool kids, as some suggest. Why would they need it? They live there. It exists for all of us who have already been through there, who feel that they are above it now. It exists so that we can remember what it was like and better understand ourselves, and the next generation. Because you can't dismiss something you understand.

Parents have never understood the youth of the world. Elvis used to be evil. Now he's too tame for modern music enthusiasts. Just imagine how tame Eminem will seem years from now. And as a scarier thought, who (or what) could be worse than some of the singers on today's market?

John Hughes is locked in a time capsule, still bearing the mind of a teenager, and he is able to tap into these feelings of teenage angst. That is what separates "The Breakfast Club" from, say, "The New Guy," or one of those other stupid teen films of recent years.

And the jerk, played by Judd Nelson, isn't meant to be cool. He is a jerk, and if older viewers took the time to pay attention to the film, they would perhaps realize that the point of the film, from the very beginning, is to establish that this so-called jerk is only acting like one to get attention. Because he is obviously shunned at home. He's an outcast. And unlike other films that refuse to establish their characters, "The Breakfast Club" introduces him as a jerk, and proceeds to explain why he is that way. This is what makes this movie tick.

I knew a kid like Bender (Nelson) once when I was in school, and generations of kids continue to go through the exact same things. Once they reach a certain age, though, it seems as though all adults suddenly break away from the teenage emotions. John Hughes never did, I guess. (Although he certainly tapped into adult behavior with his best film, "Planes, Trains and Automobiles" [1987], a welcome introduction to Hughes' adult comedy, hinted at in "Vacation" [1981], which he wrote.)

The film opens with a quote from David Bowie that just about sums the entire film up. We are introduced to five kids spending eight hours of detention at Shermer High School in Illinois. They are: Andrew the Jock (Emilio Estevez), Brian the Nerd (Anthony Michael Hall), Bender the Criminal (Judd Nelson), Claire the Princess (Molly Ringwald), and Allison the Basketcase (Ally Sheedy). They are looked over by the school principal (Paul Gleason), who assigns them the task of writing a report on why they are here in detention and what they did to get there.

To say that the outcome is predictable is an understatement. We know who's going to get together with whom from the beginning, but getting there's all the fun. Watching the characters come to appreciate their differences and learn that they're more than just billboard examples of angry teenagers is more than half the fun.

Teenagers are not as unaware of who they are as some people always think. John Hughes knew this, and deliberately tapped into this state of mind as no other director has done before -- or since, for that matter. Sure, they've tried. (Hughes' "Ferris Bueller's Day Off" was just about the only other film that tried to show teenagers as something more than stupid hormone-crazy rambunctious adolescents, but as young adults who were trying to grow up fast -- the scene where Ferris and Sloane pretend their water is wine is good evidence of this.)

Hughes' teenage characters were not the clichés they are now when "The Breakfast Club" came out in 1985 -- this film has proved to be the steeple of teen clichés (many of them poked fun at in "Not Another Teen Movie," which features a cameo by Ringwald). Think of "2001" or "Halloween" -- the drifting spaceships and psycho killers chasing sex-hungry teenagers is now routine, but it wasn't then. The Jock, The Nerd, The Criminal, The Princess, and The Basketcase weren't clichéd back then, either -- although Hughes purposely chose these references to the characters in order to let Brian, The Nerd, say that they were more than just that in the beginning of the film when he's reading his essay in voice-over narrative.

I seriously doubt whether this film is any better than the work of Coppola, Cortiz, Kurosawa, Scorsese, Welles, et al. If I were assembling a list of "the greatest movies ever made," I'd never include this.

But sometimes the greatest films aren't just the films that are technically perfect, but those that connect to you on one level or another. I know that my all-time favorite comedy ("Planes, Trains and Automobiles") may not be considered better than something such as "Some Like it Hot," but that film doesn't affect me the same way. I either don't connect with the story, the characters, the feelings, or I just don't appreciate the film as a whole. I appreciate "The Breakfast Club" in many ways, and for that reason it will always be considered one of my favorite films. Even if it is kinda sappy.

Depending on when you watched this first (or will watch it), it will determine how much impact this will have. Obviously if you've watched it back in the day, sentiment will kick in too. And while I wouldn't go as far as to say this hasn't aged well at all, there are some indicators that the impact today for some new viewers will not be the same as back then.

Having said that, the movie still holds up, as we get some missfits thrown in together and mixed up. All with different backgrounds, all with different issues and problems. All rebelling in their own way though. Against the "teacher" of course. But the authority figure here stands for more and the class struggle, the growing up struggle, the maturing struggle, the being in school struggle - all stand for something. So while you may not feel the biggest association with any of the characters, if you really dig into the movie, there is much to find here

After reading some of the negative comments made about this movie, i decided to make some of my own. Yes, to younger viewers,this movie will appear to be outdated. The only thing "outdated" is the clothing styles and the music. It doesnt matter what year you went to high school or what school you even went to, there will always be a "criminal", a "jock", a "princess", a "nerd", and a "basket case". This movie is the best teenage movie, no matter when you are a teenager!

One of the best if not the best brat pack flick. John Hughes writes and directs this dramatic comedy about five Chicago high school kids that are from different circles and stations in life being forced to spend a Saturday together in detention. Before the day is over this group finds out that they have more in common than they thought and even some friendships are created. The very impressive cast includes:Emilio Estevez, Ally Sheedy, Judd Nelson, Anthony Michael Hall and Molly Ringwald. Paul Gleason plays the hapless teacher trying to contain the group and then there is John Kapelos as the custodian. This is a don't miss and is fun to watch over and over again. Spit that gum out and remember to ask for a hall pass.