Bella in rosa

John Hughes knows the 80's. And this proves it. The film is a drama/comedy about a teenage girl and her problems in social and family life. Though I am a guy, I identified with a lot of the problems and I thought there was so much to like in this film. It's just that this is a little softer than the other Hughes films. Maybe cause he didn't direct it. Molly Ringwald gives her best yet and Harry Dean Stanton has never been more tender. Good 80's film, but not in the best column. By the way, Andrew Dice Clay appears as a bouncer, so pay attention to his part which highlights the film for me. A

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.

It is hard to believe that this was 13 years ago. Has it really been that long since we said goodbye to the Brat-Pack? When I watched Pretty In Pink it made me laugh, but more importantly it brought me back to a time that was fun, had less pressure ( in some ways ), and there were a plethora of films that were made aimed at us teens. The early 80's will at least partly be remembered as a time when teen flicks ruled. Everything from Fast Times and Porky's to The Breakfast Club and Pretty In Pink, they were all there and they all tried to do the same thing. Entertain. Sure John Hughes always seemed to have some heavy issues in his films, but ultimately his films were there for us to enjoy for 90 minutes. Pretty In Pink is one of the best at accomplishing that.

What makes this film such the standout that it is, is everything really. The actors were fresh and cool. The dialogue was smart and easy for us to relate to. The situations of love covered areas that we have probably all been through. There was the unobtainable love that just seemed like a fantasy. There was the two really good friends, one male and one female, that just weren't meant to be lovers and the heartbreak that one is inevitably going to experience. There was perhaps not being accepted by your love interests peers and so on. Watching this film I could understand how Duckie felt. I could feel his anger when he watches his best friend, and his secret love interest, date the personification of what ( and Andie ) consider the personification of snobbery. She has probably complained many a night about how she is tired of being treated unfairly just because she wasn't born with a silver spoon in her mouth, and now she dates one. I could feel Ducky's pain. And that can be attributed to John Hughes for writing a brilliant script, but also to Jon Cryer for making his character what he is. You can sense his insecurities and his undying devotion to a girl that he knows he will probably never get. And when he sits with Andies dad and chats about love, there is one of the greatest lines in the film. Jack ( Harry Dean Stanton ) tells him that you can't force love, it is either goging to happen or it isn't. You can't control these things. And that is what makes love so painful. While you may be perfect for someone, that someone wants the perfection of someone else. And that sucks, love's a bitch Duck. Love's a bitch.

Pretty In Pink epitomizes everything that made the 80's a great time for teen flicks. Secret loves, proms, a great soundtrack and John Hughes. What more can you ask for? This is one of the best.

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.

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.