Curtindo a Vida Adoidado

On my IMDb "Top 10 Greatest Comedy Films" list.

No other "Coming Of Age" teen film since has been able to knock Ferris Bueller off its post-American Graffiti "COA" throne. Like the 1961 Ferrari GT 250 SWB California portrayed in this film (more than one used in production, and all were well-made knock-offs as no one was going to risk knocking around an ultra-rare $25M collectable), there is simply no substitute (George Lucas' American Graffiti' still reins as the all-time #1 COA film, but that came 10 years earlier, and is in a class by itself, although this film is also deserving of being considered an "important and significant film").

This was John Hughes' 4th directed movie, during his most prodigious period from 1984 to 1990, that also included 'The Breakfast Club' and 'Home Alone'.

Hughes tried to portray teens realistically and gave them relevance in his films - he was empathetic to the challenges of adolescence, and consciously avoided Hollywood's often shallow characterizations of the teen high school years.

The Library of Congress selected the film in 2014 to be preserved in the National Film Registry, honoring FBDO for its cultural significance.

First of all let me say that this movie is genuinely, ingeniously funny, the watch-it-twelve-times-and-it-never-gets-old kind of movie. I myself have seen it seven and a half times and will probably view it again before the end of summer. The movie stars then 23-year-old Matthew Broderick as 17-year-old Ferris Bueller, a high school student who would like nothing better than to be done with school. So he gives in to a strong temptation to cut class and go to downtown Chicago with friends Cameron and girlfriend Sloane (who he gets out of school extremely cleverly, and quite hilariously i might add!). It doesn't take long for principal Edward Rooney to catch on to Ferris's skipping, so he tries as hard as he can to catch him, but is going on about it quite unsuccessfully. All through the movie we learn of Cameron's struggles with his parents and life itself, and through all the hilarity of the movie Cameron finds a part of himself that he hadn't been able to find before. The movie consists of several several fun scenes, such as the German American Appreciation Day Parade, in which Ferris climbs onto the Great Float and the parade-goers dance to "Danke Schoen" by Wayne Newton and "TWIST AND SHOUT" of course, by the Beatles. Other very important characters are Jeanie Bueller, his revenge-seeking sister who can't seem to understand why Ferris gets away with everything, and Grace, the absent-minded and honest-to-a-fault secretary. There are so many left out parts and characters but to see them all you'll have to watch the movie (you won't regret it!). "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it." -ferris bueller I give this movie 2 thumbs up, if only i had more hands i could give it a higher rating....

Before all the slapstick, before re-writing "Home Alone" umpteen times and before selling his soul to "Disney Pictures Inc.", John Hughes was believed to be THE scribe for teen angst.

He wrote eloquently of it in "Sixteen Candles", "The Breakfast Club" and "Pretty in Pink". And with "Ferris Bueller's Day Off", he creates a person and a time in life that just about anyone who's ever been a teenager can relate to.

Who hasn't known someone like Ferris Bueller (Broderick)? Someone who always has a plan, someone who made loafing off an art form, someone who could fall in a barrel of you-know-what and come out smelling like a rose?

All he wants to do is take a day off from school and enjoy the day in Chicago - simple enough, but he must also try and convince his best friend Cameron (Ruck) and his best girl (Sara) to join him and, in the process, learn to enjoy what life has to offer.

Naturally, there is a tyrannical school dean (Jones) who is determined to catch Ferris in the act of hookey and Ferris' own sister (Grey, pre-nose job) who has it in for her brother, the "trouser-snake".

There are funny situations throughout the movie, and the characters are ones that grow on you, especially Ruck's worry-wart portrayal of Cameron Frye, constantly fretting about his dystalic, cursing his father and nearly drowning in a pool, all in the name of friendship.

Sara has less to do, but she plays the object of desire well, and Ferris' passion for her is understandable. At least he thinks about the right things, like what their lives would be like after high school.

All the way from beginning to end, this movie is a great trip in search of fun, relaxation, not taking life too seriously and how to sing Wayne Newton songs in the middle of a parade.

You want to catch vintage John Hughes and classic '80s teendom at its best? Seize this "Day"!

Ten stars for "Ferris Bueller's Day Off".

I remember watching this movie, and while I loved the first 2 acts, both full of endless laughter, I couldn't help but think that Ferris Bueller was something of a narcissist. He does many seemingly selfish things; lying to his parents, humiliating his principal, and putting his 'best friend' in danger, all so he can have 7 carefree hours off of school. It is not until the 3rd act that he becomes a 3-dimensional character, and we begin to understand him and realize he is not the sociopath we might have assumed he is. While it seems he does all the things he does for his own pleasure, it becomes clear in the last 20 minutes he was really doing it for his friend. At the beginning of the movie, Cameron is timid, constantly worried, and unsure of himself. We learn his parents argue, and his dad neglects him, and would rather work on his Ferrari instead of spending time with his son. Throughout the movie, Ferris tries to boost his friend's self-esteem, and by the end, he has succeeded. His friend is a completely different person, and most of the major characters are, notably his sister. However, Ferris doesn't seem to change at all. He helps his friends become better people, but in doing so, he isn't changing at all.

Like Back to the Future, Ferris Bueller's Day Off seems to hold a pretty firm and entrenched place in whatever 1980s teen cannon that people hold in such high regard. Back to the Future was, perhaps famously, rejected by many-a studios on the basis of 'not being raunchy enough'; something other films of its ilk were at the time. I can imagine something similar happening to Ferris Bueller's Day Off, but like Back to the Future, it is the decidedly 'un-raunchy' films of the era that we now revisit the most often and just seem to hold in higher regard.

I think what keeps this film resonating with past and current audiences alike is its clear distinction in paying close attention to young people, and their ever-ongoing battle for independence, for recognition and for individuality. The lead is Ferris Bueller (Broderick); a young and very confident, almost borderline sociopathic in his behaviour, male in then-contemporary America. Ferris is the sort of guy who can con his way into an expensive restaurant; hack his way into the school computer mainframe and shows total disregard to his friend's and certain respective situations when trying to haggle the use of a rare and classic car for the day. The film takes special care in introducing him as an individual whom lives in a large, detached house in a rich neighbourhood that comes complete with a white picket fence. He is literate in all the latest gadgets and pieces of technology, be it home computers used to hack or stereo systems to further the notion he is unwell.

In direct opposition to Ferris is the principal of Ferris' school, named Ed Rooney (Jones). Rooney isn't just out to capture Bueller as he plays truant, he is out to destroy Bueller's life; this, Rooney outlines as his goal very early on in the piece. This seems to be the essence of what keeps audiences old and new consistently discovering the film; that study of 'old vs. young' as these cocky, smart and quite attractive bunch of confident oddball kids dare stand up to those of a high authority; those that are grey, suit-clad authoritarian figures such as Rooney.

But I think Bueller is smarter-still than what he lets on. He talks very early on about how important it is to go to college and learn a trade and live the American Dream, but he does so in a very nonchalant manner, almost as if he is repeating what it is he's told to say, or think, or feel. What follows is a chain of events and total disregard to most things that suggest he isn't of this ideation at all. But the journey does have an ideation; an ideation Bueller himself cooks up to do with being able to notice life and enjoy life as best you can, otherwise it might seem like it's passing you by.

But the film isn't preoccupied with just these studies. Its attention to young vs. old or independence vs. routine is similarly played about with through one of Bueller's two friends named Cameron Frye (Ruck), who is given a slight subplot to do with being able to stand up to his father. Ferris and Cameron's third friend is Sloane Peterson (Sara), Ferris' girlfriend. The three complete an unusual triangle of pals; they are one another's' friend as well as foil, forever getting into adventures and situations but hitting the odd wall when it comes to the finer things during the day out. Cameron is forever concerned with the car; Cameron and Sloane are forever worried they might get caught (particularly when Ferris partakes in a large musical number in the street) and Ferris seems forever pre-occupied that the three of them will not get the best out of their day off; a day off Ferris sees as a gift, as something they worked hard towards earning with their scheming, and thus; must embrace it as fully as possible.

The film is a love story, a comedy that relies on slapstick, situation and screwball alike; the film is an odd beast of basic convention, surrealist humour and truancy glorification. But does it ever focus too much on one thing? Does it particularly care what you might think of it? I don't think it does, it just throws mostly everything at the screen, stirs it all up and allows it all to play out. It feels like two, or possibly three, different films at once – but that's fine because there is enough different sorts of content all brewing at once, and focused on at a balanced rate, that we go with it. One might say the film's attitude echoes that of its lead; it's doing things its own way, in its own style and doesn't particularly mind how you react. It's the kind of film that can go from a slow motion shot of two guys driving a sort-of stolen car that was sort-of stolen in the first place to the Star Wars theme; to a series of scenes that rely on a school teacher falling over a few times as a source of humour. The best thing about it all, is that it's all actually rather effective.