Well, thanks a lot, Hadley Freeman. Not only did I spend the time reading your book, but then I fell down a YouTube rabbit hole of "Say Anything" clips. My productivity this week is not high.
But you know what? Sometimes it's not about high productivity. Sometimes it's just about reading and enjoying a book, and if that book is about watching and enjoying eighties movies, well, then, so much the better. I very much enjoyed Freeman's book Life Moves Pretty Fast. Who should read this? Anyone who's ever enjoyed an eighties movie, for one thing, and that includes people who were too young to see eighties movies on their first pass around, and who instead found them on VHS, DVD, or on YouTube or any streaming service in any decade since. But you know who else should read this book? Anyone who would ever like to see a movie again that is NOT about superheroes or big explosions.
The most obvious and enjoyable part of Freeman's essays are her unabashed love for and knowledge of these movies; also very enjoyable are the "lessons" she draws from them. In her chapter on "Pretty in Pink" she suggests that she learned the lesson "awkward girls should never have makeovers." From "Ferris Bueller's Day Off" she learned about social class. From "Baby Boom" she picked up the fact that successful women are "sexy as hell." I loved reliving some of these movies through her eyes (and was completely pleased that she focused a lot of attention on "Baby Boom"--I saw that one with my mom when it first came out and we both enjoyed it, although I was a bit young for it, and now whenever I see it on TV I can't NOT watch it) and came away with a desire to watch them all again.
But the subtitle of the book is "(And Why We Don't Learn Them Anymore)," and that part of Freeman's thesis is not nearly as fun to read. To wit:
"So now studios will only back films that are easy to sell and will work around the world because this then guarantees they will make their money back. This also means that they want movies that appeal to as many demographics as possible, or 'quadrants,' as film marketing staff refer to people: men, women, old people, and young people. This is turn has led to the demise of traditional women's movies, because they wouldn't appeal to enough quadrants (according to a Hollywood theory that has been around only for the past thirty years, women will see movies starring men and women, but men will see only movies starring men). It also means that films become less interesting because whenever anyone says they want to make something appeal to everybody, they inevitably blandify it to such a degree that it is loved by nobody." (p. 13.)
God, we're in a sad state, aren't we?*
Anyway. It's a fun book. Read it. But be aware that after you're done you're going to have to drop everything and go watch a John Hughes movie or some early John Cusack. Don't say I didn't warn you.
*This wouldn't have been SO depressing, except I read almost exactly the same book this month in actor/director Jay Chandrasekhar's memoir Mustache Shenanigans: Making Super Troopers and Other Adventures in Comedy: "The idea factory that was the American film business from the seventies through the late nineties can't function if the expectations on each film are that it make $250 to $400 million or be judged a financial failure. Corporations bought film companies, in part, because they were 'fun investments.' But when corporations took control of the studios, they took all the fun out of them by forcing film presidents to hit incredibly high profit targets...So, my dear corpoations, make your grand-slam profits on some movies, and also on computers, phones, cars, and insurance. But get back to making the $30 to $50 million theatrical film that makes enough of a profit. Do that, and there will be a creative rebirth that will propel a whole new generation of maverick filmmakers." (pp. 282-283.)