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Possible spoilers: To hell with the Duckie vs. Blane question. Steff's the only interesting one.

1. He's fearless: Duckie's afraid to tell Andie he loves her, Blane's afraid of his friends, but Steff walks up and hits on her right in front of his friends without caring what they'll think. He exploits Blane's shame about Andie but clearly feels no shame himself.

2. Duckie's suffering puppy love, Blane's just curious, but Steff has been after Andie for years. When he says it's "not *only* for sex," he's probably telling the truth, in his own sarcastic way. Key scene, when Blane and Andie walk in on Steff and Benny Bimbo, and Steff clearly wishes he were with the hot geeky girl, instead of the vapid blonde, even if Benny is better-looking, sexually available, and approved by his friends. And it's not only the challenge attracts him to Andie: despite his arrogance, he's probably been turned down before. He just suspects that with Andie, he'd have something real, and with Benny, whether her ecstasy is real or faked, it will be conducted according to "Cosmo."

3. He's willing to fight for what he wants, i.e., sabotaging Andie's relationship with Blane. OK, he's fighting dirty--but he's fighting at all. The others are about as decisive as Hamlet.

Right, enough deep thought devoted to what should probably be regarded as another teen movie. I give full credit to Spader, who fleshed out what could have been a one-dimensional baddie by making him really interested in Andie in his own sociopathic way, instead giving lip-service to a script that could have been played with the character being vicious solely out of hurt pride and snobbery.

One last collaboration for John Hughes and Molly Ringwald, whose creative partnership dissolved after this film. Somewhat softer and more self-serious than the preceding teen epics Sixteen Candles and The Breakfast Club, it tackles social cliques and classism from various perspectives. Ringwald and leading man Andrew McCarthy, akin to Romeo and Juliet, find their young relationship stressed by the negative influence of friends who insist they find someone closer to their own status. There really isn't much sparkle to the pairing, though, apart from a few awkward make-out scenes, and they both come off as especially wet noodles in comparison to the vibrant, brash supporting cast. Jon Cryer is most memorable of these as Duckie, a flamboyant mod who's been carrying a torch for Ringwald all his life, and nearly steals the film with an abrupt dance/lip-sync number just before everything gets overly angsty. Most of the third act is wasted on hand-wringing and moping, though, and the ending (changed at the last minute, much to Hughes's chagrin) feels disingenuous even if it does make a better fit for the movie's theme. The window dressings are drowned in '80s flavor, too, from the appropriately synthy soundtrack to the Halloween-grade costume choices. Looks like everyone at this school was either Don Johnson, Sid Vicious or Morrissey.

Okay, I understand that John Hughes apparently changed the ending to this film at the last minute because he didn't want to send the message that rich people and poor people don't belong together or something. Now, I'm not saying that the supposed point of the movie as it stands isn't a good one--that social and financial differences should not come between two people in love. The problem here was simply that the whole film up to the very end was designed with Duckie in mind as Andie's final choice, and that influenced the plot and characters greatly.

For the current ending to work, the director would have needed to alter both the male leads a bit, adding a stronger character to Blane and making Duckie a little less endearing and a little more annoying (and perhaps putting a little more effort into finding him a substitute love interest...that thing with the blonde at the prom just came off as kind of annoying). I don't know about anyone else, but I was too busy feeling sorry for Duckie to really enjoy the relationship between Andie and Blane, although it might have had some potential otherwise.

Writer John Hughes has the 80's pegged. But this story could have been set in the 50's or 60's and still worked well. That is why I think this movie is so relevant. Devotion, friendship, and self worth are quizzed. The young actors were better than expected. I have watched this over a dozen times and I don't care if some people refer to this as a "chick flick".

A young girl falls in love with a boy from the other side of the tracks. Problems occur when his peers think the object of his desires is socially beneath him.

Molly Ringwald was very good. Andrew McCarthy and Jon Cryer seemed to feel their part more than the rest of the cast. But James Spader was such a realistic jerk, you want to get up and punch his face in. Harry Dean Stanton and Annie Potts play the adult roles of substance. Have you ever seen Stanton so sympathetic?

A very upbeat soundtrack keeps the movie flowing and helps you feel the atmosphere. Don't write this off as just another teen movie. Highly recommended.

An 80's movie. You have to love them. This is one of the few that do have a slight twist on the ending though. I like this film for many reasons. Molly Ringwald is the queen of the teen movies in the 80's. She is a must watch in all of these classic films. I also loved the fact that you got to see some later on famous stars appear in this film like Kristy Swanson and Gina Gershon. Neither really had any lines but they were in it. Make sure to see this movie if you get a chance. Romance or not, it is a good film.