I’m going with a continuation of yesterday’s Bloggery, because the death of John Hugheshas hit my generation very hard, and on the day after we’re getting more lists and more memories, including one particularly popular eulogy from the filmmaker’s pen pal, which is shedding some light onto Hughes’ reasons for leaving Hollywood.
One thing that I’m finding interesting about the reactions to Hughes’ death is that he’s yet another example of how, as David Poland wrote back in June, “death is the ultimate disinfectant.” Not that many people stopped loving his ’80s teen movies after the man stopped directing, but the world didn’t quite respect him as much after he focused on writing and producing such family fare as Baby’s Day Out, the Beethovenmovies and some unnecessaryremakes for Disney.
Hughes’ death may not be the huge media story that Michael Jackson’s was, but given his contribution toward the definition of the ’80s, his decline in the ’90s and his association with Macauley Culkin, it’s not a huge stretch for all those “first MJ, now…” comments going around. When you think of ’80s music, you likely think of MJ. Likewise, when you think of ’80s movies, you think of JH. At least we still have the most important ’80s TV icon. But we might want to say our prayers for Bill Cosby…
Check out the further tributes and such from the film blogosphere after the jump:
If you want proof that John Hughes has still not been succeeded as teen movie king, take a look at the 2001 spoof Not Another Teen Movie, which references Hughes’ films more than any other, despite the fact that it’d been 14 years since the filmmaker had last given us one of his signature entries into the genre. Also see the marketing of last year’s American Teen, a documentary that was sold as a non-fiction version of The Breakfast Club, 23 years later.
There will likely never be another John Hughes, at least not in the way he defined a type of movie. And at the same time, as much as nearly every teen movie since his seminal six recognize his influence, few of today’s teen movies can even get away with or accomplish things his films did. It would be appropriate if we could name sixteen of these things present in Hughes’ early works that are absent from modern teen movies, but we’ve got half that number, and we’re hoping it’s enough to establish that his films were, for better or worse, of a certain time, despite the fact that they’re so timeless. …Read more
John Hughes was probably my first favorite filmmaker, or at least the first I really knew by name and reputation. So I’m especially saddened by his death from heart attack today, at age 59. Ferris Bueller’s Day Offmay no longer be my favorite movie of all time — actually attending high school somewhat ruined the teen mythology that exists in Hughes’ films for me — but it forever remains in my top ten list of titles I enjoy watching over and over again (even if I am critical of the musical number).
Because many of us film bloggers grew up religiously watching his movies, including those he scripted but did not direct, there’s a lot of shared memories and tributes popping up around the web this evening. Check out what people are saying about the legacy of the iconic filmmaker after the jump:
Between the new Vanity Fair spread starring his comedy troupe (which includes his wife) and official word that he’s producing Ghostbusters 3, Judd Apatow is the talk of the Internet today. Eric D. Snider, in a new post at Cinematical that is apparently unrelated to either bits of news, even discusses Apatow’s potential status as this generation’s John Hughes. Considering some bloggers refer to the stars of the Vanity Fair feature as the “Frat Pack,” despite that term’s origins being with another set of actors (though Apatow’s pals do overlap and have been deemed “Junior Varsity” members), there may be weight to Snider’s claim.
Whatever Apatow’s group is called (Vanity Fair simply yet prematurely labels them “Comedy’s New Legends”), their leader is certainly ruling over a large part of Hollywood these days, enough that he’s sure to appropriate more than just the Frat Pack name before he’s done with his reign as King of Comedy. Now that he’s borrowed the talent of Adam Sandler (for this summer’s Funny People) and is about to take charge of even older SNL alum (for the next Ghostbusters flick), what could stop him from hiring Anthony Michael Hall or Shirley Maclaine in order to align himself with even the “Brat Pack” and “Rat Pack,” respectively?
We’ll just have to wait to see how much Apatow will ultimately conquer. So, for the time being, let’s take a look at what the blogosphere is saying about him and his crew today:
I saw Christmas decorations in a storefront Sunday, so I guess it’s already time to break out the holiday movies. And it’s evidently time for distributors to release holiday fare to theaters, even if Desplechin’s A Christmas Tale (Un conte de Noël), which hits theaters this Friday, isn’t exactly the latest crowd-pleasing installment of the Santa Clausefranchise. In fact, with such ingredients as estrangement, mental illness, alcoholism and cancer, it doesn’t seem like a very happy holidays kind of film. Even if it is actually a comedy.
But then how many holiday movies are completely void of depressing themes and scenes? I’m sure to have grown up thinking more about the homeless, suicide and family dysfunction from films set at Christmas and Thanksgiving than I did thinking about the happiness that comes with these holidays. One of the most tearjerking moments for me as a kid was certainly seeing Mickey Mouse crying over his dead son in Mickey’s Christmas Carol. It’s no wonder so many people get sad this time of year. Movies are influential, and for every bit of slapstick we see this season, there’s potentially room for thoughts of abandoned children to go along with it.
Worse for our tearducts are the films that aren’t necessarily thought of as “holiday movies,” which are typically more honest about how much of a bummer holidays can truly be. So get out your hanky and check out our list of ten most depressing holidays in movies:
Defamer has opened up their closed comment system (presumably temporarily) so that the blog’s readers can post questions to legendarily reclusive 80s teen film auteur John Hughes. According to Stu VanAirsdale, the site is also looking for “tipsters, spies and industry moles” who can contact Hughes and pass the comment thread questions along. Apparently, that task is more formidable than it might sound: the L.A. Times‘ Patrick Goldstein, who apparently wasn’t able to get to Hughes whilst researching this story, credits Vince Vaughn as the “one person who made contact.” Here’s hoping Defamer’s Q & A challenge strikes a victory for citizen journalism. Subsequently, let’s also hope that if Hughes does deign to take a look at the questions, he’s not put off by the commenter who compares Hughes to Reverend Wright and begs him to “please stay retired forever.”
Semi-related: the new poster for the Sundance doc, American Teen.
Buffy The Vampire Slayer creator Joss Whedon recently gave a lengthy interview to the GeeksOn podcast, and half the blogs in my Google Reader are talking about it (yes, the mostly the nerdy ones). You’d assume that the geeks would be most excited about what Whedon had to say about future movie projects, or maybe the his new TV series, which stars Buffy/Angel vet Eliza Dushku. Wrong. All anyone is talking about is a throwaway diss from Whedon on the subject of John Hughes’ Weird Science:
I hate Weird Science not a little. I find it offensive. The boy fantasy of building a girl. Obviously, we were doing the nasty version of it, because I find it grotesque.
When Whedon says “we”, he’s talking about a storyline on a late season of Buffy, in which ancillary character Warren built a robot version of Buffy for the sexual gratification of Spike. Warren eventually got flayed by Buffy’s lesbian witch friend Willow, and the Buffybot was destroyed by demons, so I guess everyone got their comeupance for engaging in the “grotesquerie” of the robot girlfriend game. Except for Spike, who moved to LA and partnered with Buffy’s other vampire ex-boyfriend to fight evil lawyers. But whatever. Back to Weird Science…
We haven’t done an installment of The Micro Five in a couple of weeks, so let me give you a refresher: the basic idea is not to create a definitive (read: totally subjective) Top Five list, but to pick a super-specific topic and examine how five films handled it differently. You can read previous installments here, here, here and here.
This time out, we’re looking at musical numbers of the 80s. The Hollywood musical is thought in some quarters to have lost its way in the late 70s/early 80s (although recent reappraisals have been kinder to the era that produced curiosities like One From the Heart.) Still, the influence of MTV on all aspects of 80s culture (but especially youth culture) by the end of the decade led to an normalization of song and dance scenes (but especially dance scenes) in non-musicals. See my take on five numbers involving John Hughes, Spike Lee and Christopher Walken, after the jump.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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I’m going with a continuation of 
Defamer has opened up their closed comment system (presumably temporarily) so that the blog’s readers can 
