“The dog died.”
Class, 1983 (Rob Lowe), Orion Pictures
Poor kid Andrew McCarthy (not exactly wrong-side-of-the-tracks, mind you) from a steel town (on a Saturday night looking for the fight of his life!) hugs his parents and says goodbye as he advances to prep school. This is a kid who has obviously had to study hard, and work his way through life to reach the upper stratus of the rich kid’s world. Upon meeting his new roommate, Skip (Rob Lowe) sizes him up as a complete rube and a naïve mensch who will fall for his practical jokes and ridiculous stories. On the surface, Lowe’s pranks could be seen as exceedingly cruel (even driving McCarthy to tears), but they are necessary in order to forge the bond between the two young men as they cope with the rigors of encroaching adulthood.
McCarthy manages to bestow revenge upon Lowe (in the form of a fake suicide – not terribly funny, I guess you had to be there) and they become fast friends. After a couple of episodes, usually involving young women and embarrassing hi-jinks, Lowe (in Christ regalia carrying a crucifix, no less) gives McCarthy a hundred bucks and a ticket to Chicago so he can get laid, or else he won’t be allowed back into the dorm. McCarthy decides to take him up on the offer. He goes to a singles club, and ultimately hooks up with a beautiful older woman (delicious Jacqueline Bisset). While initially chaste, it’s obvious she’s very lonely and prefers to populate her surroundings with young people. She finds McCarthy’s naïveté charming, and seems to be immediately attracted to him. They have sex, and it is implied this is McCarthy’s first time.
Returning to school, he presents a pair of panties as proof of his dalliances, and regales classmates with stories of passion with an older woman, and earns the respect of his peers. He has further interludes with Bisset. They have a remarkably easy sexual chemistry (no difficult feat with Bisset), which demonstrates not only the success of the movie’s characterizations (the story takes it’s time in unfolding) but also places an important emphasis on sexuality in general as depicted in the eighties. McCarthy shows wonderful maturity in his scenes with her (he’s a joy to watch, which is strange for me) even when he lets it slip that he loves her. Her face goes blank for a moment, because she’s contemplating the ramifications of the statement (as an older women would). This is a strangely thoughtful screenplay for an eighties sex comedy.
She takes him to New York and shops for him. While he changes his slacks, she spies his wallet, opens it up, revealing that he is, in fact, a high school student. She runs off. What I wonder is – how could she not know? She knows he is rather inexperienced as a lover. His youthful demeanor should’ve triggered something in her, so we approach somewhat controversial territory in that even if we bond with people on an intimate level, how hard would it be to accept that the years are wrong between us? McCarthy is depressed, and his grades are slipping. Lowe invites him up to his parents’ country estate for Christmas break. This is where the fun begins!
They get to the palatial spread, and Skip introduces his parents, Cliff Robertson, and one Jacqueline Bisset! Turns out she’s a very bad girl. What follows is stilted, awkward dinner conversation. Bisset is in an unhappy marriage to a humorless, straight-shooting Robertson, which makes sense given her proclivity for casual sex with strangers. Robertson chalks up her peculiar behavior to neuroses or a mid-life breakdown. The movie then turns into a comedy of errors, where McCarthy has to shield Lowe from his relationship with Bisset, and then to provide a sounding board to Lowe’s disillusionment and dissatisfaction with his parents and adult life.
Even though they tended to irritate me in later movies, McCarthy and Lowe are just about perfect in this film, playing off each other like a younger variant of The Odd Couple; McCarthy is a straight-laced realist, and Lowe is a bad boy. The terrific cast is a mix of old (Robertson, Stuart Margolin), new (John Cusack, Alan Ruck, Virginia Madsen), and the still-hot (Bisset). Class plays as a reverse Blame It On Rio, from the perspective of the young male as protagonist, and also a pre-Brat Pack opus, but given the cast and subject matter (more sexualized) produced by a slightly-older generation of filmmakers than John Hughes, it’s more hard-hitting and less contextualized. When Lowe’s character discovers the truth, he is mortified. McCarthy tries to reason with him, but instead, they wind up fighting it out in mud-covered fields, which spills over into their dorm. After beating the holy hell out of each other, they collapse in a heap and laugh. This is one of the greatest endings of any movie I’ve ever seen.
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.