Synopsis
When you're just sixteen anything can happen!
A teenage girl deals with her parents forgetting her birthday and a crush on her high school's heartthrob.
1984 Directed by John Hughes
A teenage girl deals with her parents forgetting her birthday and a crush on her high school's heartthrob.
Molly Ringwald Justin Henry Michael Schoeffling Haviland Morris Gedde Watanabe Anthony Michael Hall Paul Dooley Carlin Glynn Blanche Baker Edward Andrews Billie Bird Carole Cook Max Showalter Liane Curtis John Cusack Darren Harris Debbie Pollack Ross Berkson Jonathan Chapin Joan Cusack Brian Doyle-Murray Bekka Eaton Pamela Elser Steven Farber Jami Gertz John Kapelos Marge Kotlisky Tony Longo Steve Monarque Show All…
Joan Rowe Bruce Stambler John Roesch Rick Kline Greg Orloff Allen Hurd Robert J. Litt Elliot Tyson Glenn Hoskinson Michael D. Wilhoit John Stacy James R. Alexander Walter A. Gest Bob Johnston Bruce Bell
Seize Bougies Pour Sam, Se busca novio, 16 velas, 16 свічок, Sixteen Candles - Das darf man nur als Erwachsener, 16 Candles
Underdogs and coming of age Relationship comedy Song and dance teenager, school, friendship, funny or nerds musical, songs, singing, comedy or funny dancing, choreography, songs, tune or musical chemistry, hilarious, romantic comedy, sweet or humorous surfing, teenager, friendship, kids or adolescents Show All…
racism, sexism, making fun of disabled kids, rape jokes, homophobic jokes...this movie got it all. oh, the 80s
Look, even if I were to ignore the icky date rape situation, or the way the otherwise likeable geek repeatedly forces himself upon Ringwald, or the questionable treatment of a minority character with an unfunny name, it's evident that the rest of Sixteen Candles is several notches below The Breakfast Club. It's a bunch of situations strung haphazardly together, never quite coalescing into a complete narrative. Every character gets their arc, but everything feels much too patchy for the film to be a fully satisfying experience. I was never bored, however, and swooned over the detestable Jake Ryan, so I can't say that I didn't enjoy the film, but it did leave me disappointed, like, is this it? This is just going to be one of those forgettable in-between films, the sort of thing you can't summon up the passion to either love or hate. Meh.
the first fifteen minutes of this: fun john hughes high-school rom-com
the rest of the entire film: a terrifying inescapable purgatory of rape culture and misogyny and racism
Almost as rape-y as Revenge of The Nerds
Almost as racist as Breakfast at Tiffany's
Nowhere near as heartfelt and beautiful as The Breakfast Club
The only way this movie is effective is as a recruitment video for anti-American terrorist organizations.
Had I seen this in my childhood it is possible that I would now view it with forgiveness in my heart, my vision tainted by nostalgic lenses. But viewed for the first time twenty years after its release, my clear vision reveals this as a mess with unbelievable characters and plot, not to mention the racism and acceptance of young men having their way with young women too drunk to consent. A reminder of just how horrible the mainstream Hollywood could be in the 80s.
this film made me profoundly uncomfortable. I expected a questionable premise but enough 80s charm and catchy lines to make it fun (let's be honest, that's most rom-coms). but no. it feels like a collection of scenes strung together with the sole intention of getting more claustrophobic with every cut. it's not just the date rape - and god is that a sentence no one should have to say. it's ted's refusal to accept no being played for tragic but cute, it's the asian character being one long painful joke, it's the way caroline has no value beyond sex, it's the five cuts to disabled characters being So Weird Ha Ha, it's the wedding?? like all of it?? what was that??? I'm so glad this torture is over???
As true a portrait of the 1980s as there ever was. Grotesque, cruel, filthy, casually and omnidirectionally racist, self-obsessed, mostly intoxicated, and with a slight sprinkling of sentimental cheese. Later Hughes covers up the nastiness with phony class system schematics, high concept plotting or over-inflating that soft heart, making the anarchic decadence of this, his greatest film, seem either either a young man's phony darkness or the last vestige of a true self sold-out for the sake of popular success.