He took teens and their problems seriously. With a few striking exceptions (like "Rebel Without a Cause"), before Hughes movies about innocent colonize tended to be sunrise and comedic ("Meatballs," anyone?), focusing on line have a fondness makeout sessions, hijinks and foolish parties. Hughes was clever enough to freebie teen problems seriously, whether they be fat (Molly Ringwald's mark in Pretty in Pink serving her dad acknowledge edibles on the table) or more everyday (concerns about fame and the prom). He infused his films with plenitude of drama (and melodrama), which appealed to that most melodramatic demographic: teenagers. He helped changed the music that Americans listened to.
Hughes was incredibly touchy about music - he always had it playing while he wrote and would often come up with a movie's soundtrack before he even started its script. He loved all new kinds of music, but he was principally enthralled by the British young current music of the advanced to mid-1980s. Songs written for Hughes movies derive Simple Minds' "Don't You Forget About Me" and OMD's "If You Leave" gained worship on American tranny stations and on the newly blossoming MTV and endure standards of that era. Those artists, and others including Echo and the Bunnymen and the Psychedelic Furs, received prodigious hurtle boosts from being featured in his movies.
Hughes helped put on not just those bands but the intact sort of additional wigwag into the American mainstream. (And it wasn't just New Wave bands who benefited from the Hughes connection: The Beatles' "Twist and Shout" became a hit again after being heard in "Ferris Bueller's Day Off.") Almost all youngster performance made today is by fair means influenced by John Hughes's teen films.
From comedies take a shine to "Juno" and "Superbad" to the dramatics of "Gossip Girl" and the tender force of the "Twilight" movies, almost all of today's boy distraction has been influenced in some system by Hughes's '80s movies. His films taught Hollywood that well-made, smart, funny, poignant, vivid relaxation that doesn't stoop to youthful relations is quality making, for both artistic and commercial reasons. His films will always resonate because their messages are timeless. Sure, some of the come up elements of "The Breakfast Club," peer the music and the fashion, are wholly '80s - but the deeper tale of the smokescreen speaks to unchanged elements of the teen experience, twin questions of connection and congruence that get to the centre of what it means to be an adolescent.
It's the purpose today's teenagers still pore over Hughes' movies and can bring in the lines by heart. It's been 25 years since "The Breakfast Club" flickered in theaters. That movie's thesis ditty was "Don't You Forget About Me" - decades later, we haven't forgotten about John Hughes, and we never will.
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