Molly Ringwald became an icon in the 1980s thanks to three of all the classic films directed by John Hughes: Sixteen candlesticks, Very pink, and The Breakfast Club.
The films were popular with fans all over the world and are still watched today by those in need of a special ’80s comedy. However, as social norms change, many have become aware of the racism, homophobia, and racism present in these love films. Even Ringwald herself has discovered that these iconic films are a bit disturbing and now she has a different perspective from the director who relies on her reputation.
Molly Ringwald ‘muse’ was John Hughes
It’s no secret that Ringwald and Hughes once had a powerful connection.
The two first worked together on the film 1984 Coming of Age, S.Ixteen candles. According to Susannah Gora’s Brat Pack memoir with the title You couldn’t forget me if you tried, the author revealed that Hughes wrote the film specifically for Ringwald because he knew he wanted to cast it as a lead role before he even finished the script.
LOVE: Molly Ringwald opens out about her ‘Mad Crush’ on John Hughes
“On the quiet bank of Chicago in Northbrook, Illinois, a young writer named John Hughes sat at his desk typing wildly. Looking down from the wall was a picture – a picture of a young actor he had never met, ”wrote Gora. “The actress has soulful eyes, pouting lips, and red hair. She was lanky, freckled, like a girl in a Norman Rockwell painting. And she was beautiful – differently, beautifully. ”
After a star enters Sixteen candles, Ringwald became a habit of Hughes. In her book, Gora says that the young actor held a lot of power over the famous director.
She also said Ringwald and Hughes had a special connection and were so close that they would often end each other’s sentences.
However, after the filming of the 1986 film Very pink, Ringwald and Hughes never worked together again.
According to Ringwald, she felt like she could not fully grow as an actress if she continued to work with Hughes and knew that that chapter of her life had to come to an end.
“Iain saw something in me that I didn’t even see in myself,” she told him People in 2009. “Eventually, however, I felt the need to work with others as well. I wanted to grow up, something I felt (rightly or wrong) I couldn’t do while working with Iain. ”
Molly Ringwald recently realized some sad things about John Hughes movies
Although Ringwald was close to Hughes back in the day, she recently realized some sad things about his films that she and the rest of the world watched in the ’80s.
LOVE: ‘Pretty In Pink’: John Hughes rewrites this scene for Molly Ringwald Over the Phone
In a 2018 essay for The New Yorker, the actress of “For Keeps”, after directing her iconic John Hughes films after #MeToo and Time’s Up, was left with awe.
While still proud of the films, Ringwald admits that they could be “seen as racist, misogynistic, and, at times, homophobic. The words ‘f * g’ and “f *** ot” are thrown around by abandonment; the Long Duk Dong character, in ‘Sixteen Candles,’ is a grotesque stereotype. ”
Looking back, Ringwald also realized that some of the movie scenes in which she was taking on a darker tone.
The actor uses an example of an inward look The Breakfast Club, in which the character Bender (played by Judd Nelson) bullies her character, Claire, and touches her inappropriately without her permission.
“As I can see now, Bender is harassing Claire sexually throughout the film,” Ringwald writes. “When he’s not sexually arousing her, he infuriates her with scorn, saying she’s’ patient, ‘mocking her like’ Queenie. ‘It is rejection that stimulates its vitriol. . . He will never apologize for any of it, but nonetheless, he will eventually get the girl. ”
She also admitted she was uncomfortable about looking inside Sixteen candles.
“I’m a little ashamed to say that it took me even longer to fully understand the late scene in ‘Sixteen Candles’, when the dreamer Jake is essentially trading his girlfriend drunk, Caroline, to the Geek, to satisfy the latter. sexual arousal, as a reward for Samantha’s underwear. ”
Molly Ringwald still thinks John Hughes is a trailblazer
While Ringwald doesn’t like the way Hughes went about his most popular films, she still thinks he focused on teen experiences in a real way.
“John’s films convey the anger and loneliness that teenagers feel, and seeing that others may feel the same way is a balm for the trauma that teenagers experience. get, ”she wrote. “It’s hard to say if that’s enough to make up for the irrelevance of the films – even criticizing them makes me feel like I’m taking away a generation of some my favorite memories, or being embarrassed since they helped set my career. Yet accepting them completely feels hypocritical. And yet, and yet. . . ”
She said, “The conversations about them are changing, and they should be. It’s up to the next generations to find out how to hold these conversations and make them your own – speaking, in schools, in activity and the arts – and trusting that we care. ”