“You grabbed my nuts.”
Sixteen Candles, 1984 (Molly Ringwald), MCA/Universal
If ever there was a filmmaker so attuned to the yearnings, the vulnerabilities, and the desires of young people (specifically teenagers) in the 1980s, it had to be John Hughes. Initially a Chicago-based freelance writer and advertising copywriter, Hughes dived into assignments for the Harvard and National Lampoon, indirectly transitioning to screenwriting and then to directing with his remarkably self-assured debut, 1984’s Sixteen Candles. Hughes would have a corner on the market of teen angst for roughly the next five years before transitioning to films about children, starting with Home Alone. He would disappear almost completely from the public eye by 1998.
Samantha Baker (Molly Ringwald) has just turned “sweet sixteen”, but because of the chaos surrounding her older sister Ginny’s (Blanche Baker) upcoming wedding to the “oily variety beau-hunk“, Rudy (Hughes regular John Kapelos), her parents and visiting grandparents have forgotten. At school, she lets it slip that she has a crush on hottie Jake Ryan (Matt Dillon lookalike Michael Schoeffling), which arouses geek Farmer Ted’s (Anthony Michael Hall) curiosity and Jake’s interest. While fending off Ted’s unnervingly amorous and oddly confident advances, Jack’s annoying perfect girlfriend, Caroline (Haviland Morris) throws an after-dance party at Jake’s house. Jake corners Farmer Ted to get more information about Samantha.
Samantha goes home, dejected, only to be woken by her guilt-ridden father (Paul Dooley) so he can clear his conscience and apologize to her for forgetting her special day. She confesses her crush on Jake. He tells her, “If it’s any consolation, I love you. And if this guy can’t see in you all the beautiful and wonderful things that I see, then he’s got the problem.” It’s a beautiful father-daughter moment and rings so true, for me, in the complex and frustrating relationships children can have with their parents even if their years create gaps in their understanding of each other. Sixteen Candles stands apart from similar teen epics by analyzing Hughes’ sympathy for his characters, including Farmer Ted, Jake, even Ginny and Caroline. Indeed Hughes’ themes extend to other works such as National Lampoon’s Vacation, Mr. Mom, The Breakfast Club, and Uncle Buck.
Populated with vividly written supporting characters, Sixteen Candles stands in strict defiance of the overused chick-flick designation. This may be a movie about a young woman trying to learn and master the cues and clues of teenage anxiety, but it has a message that plays for boys and young men as well. It speaks the ever-evolving language of youth and occasional rebellion, and it never insults the film’s demographic or the viewer’s intelligence, even with some easy throwaway gags. This movie and the following year’s The Breakfast Club showcased Hughes’ propensity and talent for mixing moments of high hilarity with heart-wrenching drama and, in my opinion, he would never achieve that level of success with his work again.
Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month. Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.