I’m digging into this book tonight! Anyone else read it? I can’t wait to get some behind-the-scenes scoop on some of my favorite movies from the ’80s. I was a big Molly Ringwald fan. Sweet Sixteen is probably my favorite John Hughes flick. What about you? – ML

You Couldn’t Ignore Me If You Tried: The Brat Pack, John Hughes, and Their Impact on a Generation
by ROD LOTT
If you can finish the sentences spoken by the characters in John Hughes’ films, Susannah Gora has a book for you: YOU COULDN’T IGNORE ME IF YOU TRIED: THE BRAT PACK, JOHN HUGHES, AND THEIR IMPACT ON A GENERATION. It tells the behind-the-scenes stories of his teen films that were so unlike others in the genre, they were embraced by and defined an entire age group.

Hughes lucked into the film world via advertising and his days writing for NATIONAL LAMPOON, penning a number of screenplays before being allowed to make his directorial debut with the comedy SIXTEEN CANDLES. Although not a huge hit, its impact was felt immediately.

Through conversations with Hughes’ actors, crew members and peers, Garo gives a rich portrait of his creative process, respect for young people, and diligence in achieving his vision, studio heads be damned. The bonds he formed with Molly Ringwald and Anthony Michael Hall carried over into THE BREAKFAST CLUB, but FERRIS BUELLER’S DAY OFF marked the end of a short era. Hughes didn’t direct some of his later teen films, like PRETTY IN PINK and SOME KIND OF WONDERFUL, before moving away from the genre for good.

And while he abandoned it for greener pastures (i.e. HOME ALONE) and pure paycheck assignments that made millions more dollars (i.e. 101 DALMATIANS), it’s his teen movies that enjoy a healthy life. Although his death last year reminded us of the home the films have in our hearts, it’s likely we didn’t need the prompting. I could quote Hughes’ screenplays in my sleep.

Gora’s chapters — one film per — also give the same treatment to Joel Schumacher’s ST. ELMO’S FIRE and Cameron Crowe’s SAY ANYTHING … . The inclusion of Crowe’s film makes sense; I remember thinking on opening day how much of it felt like Hughes’ golden age. But ST. ELMO’S FIRE perplexes me, foremost because it’s a piece of crap full of abhorrent, self-absorbed characters and false emotions. Hughes’ work struck such a chord because so much of it was honest. I’d much rather see FIRE jettisoned in favor of WEIRD SCIENCE, which the author skips, citing lack of influence. I can’t agree with that — ask someone to quote WEIRD SCIENCE and count the results. Then ask him or her to do the same to ELMO and listen for the cricket chirps.

Detours are taken to discuss David Blum’s infamous “Brat Pack” article for NEW YORK magazine, which several actors — Judd Nelson and Ally Sheedy included — blame for harming their careers, and for the role music played in Hughes’ movies.

But it’s the stories of those movies that drive Gora’s book to the heights it hits. With Hughes now gone and only one DVD commentary to his name, this may be the most complete account we ever get. And I do mean complete — despite Gora’s obvious love for the films, too, Hughes doesn’t escape criticism, particularly for his tendency to drop friends like hot potatoes for the most minor infractions.

Warts and all, however, I love him. If you share that sentiment, you’ll likely want to read this in one sitting as I did. —Rod Lott

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