Golden Oldies On the Big Screen Golden Oldies On the Big Screen

Takaisin

PRETTY IN PINK

        

For Hicksflicks.com, Friday, Feb. 12, 2016

EDITOR’S NOTE: The latest entry in Cinemark’s ongoing series of classic films dips into 1980s teen nostalgia with what I feel is the best of John Hughes’ many youth comedies, with Molly Ringwald at her most charming and Harry Dean Stanton uncharacteristically warm as her old man. This is my March 2, 1986, Deseret News review. You can see it several local Cinemark theaters and at several local Megaplex theaters on Sunday, Feb. 14, and on Wednesday, Feb. 17, at 2 and 7 p.m.

Young Andie Walsh (Molly Ringwald) is from the wrong side of the tracks in a high school that is split into two factions — the rich kids and the poor kids.

But that doesn’t get her down. She’s self-confident, intelligent and a good kid, despite the absence of a mother. It seems Mom flew the coop some three years ago, and now Andie appears to be raising Dad (Harry Dean Stanton); he’s been in a state of depression ever since Mom left.

Andie makes her own clothes, a sort of zany layered look; she works in the local record shop, which is owned by Iona (Annie Potts), a child of the ’60s who can’t seem to get her act together; and Andie’s best friend is a nerdy class clown called “The Duck,” or “Duckie” (Jon Cryer), who’s in love with her but can’t tell her — so he shows off instead.

Then one day she falls for Blane (Andrew McCarthy), one of the school’s wealthier lads, and lo and behold he falls for her too. He even asks her to the prom, but then finds himself getting loads of peer pressure to drop her. She just doesn’t fit in.

So goes the plot in “Pretty in Pink,” not particularly original and a bit too entrenched in stereotypes as it starkly associates rich kids with spoiled, obnoxious yuppie-dom and poor kids with spiked hair and leather. No shades of gray here, except for Ringwald and McCarthy.

But that doesn’t matter. “Pretty in Pink” has a lot more going for it. There are superb performances, especially by Ringwald; one wonderful truthful moment after another in a series of scenes with which both parents and teens will easily identify; and a low-key sense of humor and poignancy that transcends just about every other teenage movie of the past 15 years.

    

                            Annie Potts, 'Pretty in Pink'

Molly Ringwald grows as an actress with every picture, and the scripts of writer-director-producer John Hughes also seem to be better with each one (except for last year’s foray into bad taste, “Weird Science”).

Hughes gave us “Sixteen Candles” and “The Breakfast Club,” two teenage films that are miles away from the usual sexploitation shlock we associate with adolescent pictures today.

For some reason Hughes didn’t direct “Pretty in Pink,” (though he did co-produce it). But first-time director Howard Deutch, who comes from the world of music videos, shows a gentle, sensitive hand in dealing with youth issues and “Pretty in Pink” is a fine film adults and youngsters can enjoy equally.

Deutch has also extracted fine performances all around in addition to the aforementioned Ringwald, whose expressive face and subtle nuances dominate the film. Harry Dean Stanton adds yet another wonderful portrait to his gallery of characters. Cryer, in what might be termed the “Michael Anthony Hall Role,” resembling Halls’ character in “Sixteen Candles,” and he does it very well, managing to give an edge to the character so that he’s more than just a sappy lovestruck showoff. And Andrew McCarthy is much more genuinely sympathetic here than he was in “St. Elmo’s Fire” or “Class.”

    

              Molly Ringwald, 'Pretty in Pink'

But the scene-stealer is Annie Potts, a versatile actress whose film roles have ranged from the deadpan secretary to the “Ghostbusters” to a timid pregnant woman in the delightful but underrated “Heartaches” to the frigid wife in “Crimes of Passion.” In “Pretty in Pink” she changes hair and clothing styles with every scene, epitomizing the single ’80s career woman in search of an identity — and she’s hilarious.

“Pretty in Pink” works overall, however, by building its humor from within the characters without exploiting them, managing to make us care very much about nearly all of them. The exception is James Spader’s Steff, an ultra-snob who pressures McCarthy because he was once snubbed by Ringwald. Spader is too old to pass for a high school student and his character never rings true.

That’s a small complaint, however, for a film as winning as “Pretty in Pink,” which is rated PG-13 for language and a brief scene that includes a minor character smoking marijuana.