Is the breakfast club a good movie
Breakfast Club - The breakfast club
"Breakfast Club - The Breakfast Club" // Start in Germany: July 5, 1985 (cinema) // October 6, 2005 (DVD / Blu-ray)
No, the five don't really have much in common. Brian Johnson (Anthony Michael Hall) is a nerdy nerd, Claire Standish (Molly Ringwald) a stiff, good girl from a good house, Andrew Clark (Emilio Estevez) a well-trained athlete, Allison Reynolds (Ally Sheedy) a creepy outsider and John Bender (Judd Nelson) a rebel who wants to mess with everyone on principle. But coincidence brought them together on the day when they had to attend school together for a variety of reasons. While her teacher Richard Vernon (Paul Gleason) desperately trying to maintain control over the situation, the five get closer after initial conflicts and realize that there is more to the other than they thought before ...
What were the defining films of the 1980s? Which have shaped the decade or have they themselves become a mirror of that time? You could of course name many titles. There are all the works by the blockbuster directors Steven Spielberg, George Lucas and Robert Zemeckiswhich dominated the box office. Or you take cult films like Ghostbusters - The Ghostbusters or The goonieswhich occupy very special places in the hearts of the fans. But no review of the decade would be complete without it John Hugheswho, unlike many colleagues, didn't have to throw himself into the fantastic or design adventures. It was enough for him to spend a little time with young people.
Let's talk seriously
A number of hits can be attributed to his account, for which he wrote the script and in some cases also directed. Breakfast Club - The breakfast club is one of his most important titles. And he almost didn't exist. A film that just consists of a group of schoolchildren talking to each other? That sounded little promising for the studio, especially since Hughes was not an established director. In the end, however, the teen tragicomedy exceeded all expectations, earning 50 times that amount on a budget of one million dollars. And that although his second directorial work after You can only do that as an adult largely dispensed with gags in the true sense of the word.
The teacher Vernon is most likely to pass through as such, as a caricature of the dogged, not very sovereign faculty who tries to fight a lack of respect with a high volume. The five pupils also correspond to clichés when everything from the outsider to the geek is worked through that is in such stories. The special thing about Breakfast Club - The breakfast club: Hughes makes more of this experimental set-up in that these fixed roles are not pursued solely out of personal drive, but are often the result of external circumstances. If Claire is the princess in the group, it is not because she wanted to be one from an early age, but because she is also the product of expectations. Just like the others.
Aren't we all a little bit the same?
The story of the film is therefore not at all about the contrasts that are built into other teen comedies for entertainment purposes. The common day in the school library leads to the fact that these contrasts are broken down, behind the roles, expectations and masks individuals become visible, each one unique and yet more similar to one another than they thought of one another. If in Breakfast Club - The breakfast club When the most diverse people come together, this is always accompanied by the request not to judge other people too much on the basis of their appearance, to go through life openly and to be tolerant of people who are different from you - or at least appear different.
Of course, that's not the most original statement you can make in a film. Much here follows strict paths. What distinguishes Hughes' work, however, is on the one hand the complete absence of kitsch. The approach of the five happens quietly, almost unnoticed. In the end there may also be affection, but doubts also remain: What will happen in the next week when you are again part of an outside world and its expectations? Will they be able to apply what they have learned before or will they fall back into their roles? The great strength of the breakfast club, however, is the cast, who discover nuances in the given schemes, and a script that turns them into full-fledged, complex people. Hughes never looks down at his characters, but meets them at eye level and with empathy, making them characters who even 35 years later still function as a means of identification - despite all the 80s aesthetics and attitudes.
OT: "The Breakfast Club"
Country: United States
Director: John Hughes
Script: John Hughes
Music: Keith Forsey, Gary Chang
Camera: Thomas Del Ruth
Occupation: Emilio Estevez, Anthony Michael Hall, Judd Nelson, Molly Ringwald, Ally Sheedy, Paul Gleason
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