Five high school students, all different stereotypes, meet in detention, where they pour their hearts out to each other, and discover how they have a lot more in common than they thought.
The Breakfast Club is one detention that I could sit through again and again. As an avid cinephile, I often see this coming-of-age teen drama in many "best of all time" lists. So naturally I was hesitant to take the plunge, considering my modern eyes that are used to the likes of 'Lady Bird' and 'The Edge of Seventeen'. Alas, I dived right in head first and let me tell you one thing, this may just be the best film I've seen from the 80s. A bold statement, but rest assured I shall back up my opinion with this extensive review. Five students must spend their Saturday in detention, to which they soon start communicating with each other and acknowledging their different lifestyles.
It would be foolish to class this as just an extended weekend detention featuring irresponsible youths and an unlikeable teacher. The Breakfast Club is so much more. Hughes' intuitive screenplay plots these random strangers into one room and allows them to naturally unravel through confrontations and verbal conflict. Yet, it is through this process that we start to see these childish students as young adults who are trapped by the upbringing of their parents. Their morals, ideologies and behavioural patterns all stem down from the adults who raise them, and Hughes understands this. It is what powers the dialogue, the infectious characterisation and blossoming friendships. The differing personalities, each with nicknames (The Criminal, The Princess, The Athlete, The Brain and The Basket Case), act as a catalyst for the sizzling bonds that are being formed. John and Andrew's alpha-male stand offs complement Brian and Allison's solidarity within the group.
Right from the first five minutes, the characters were interesting and the screenplay immediately kicks into action. Each student was bustling with personality, and it was refreshing to see. Proceeding scenes consist of discussions, arguments and revelations that gradually allow them to open up to each other. Hughes delicately focuses on each character and gives them a chance to reveal their secrets that make them feel trapped. The enclosed environment assists in sharpening the dialogue, ensuring it is always at the forefront. There is a beautifully constructed twenty minute scene when all five of them are just sitting on the floor and talking about themselves. Peer pressure, abuse, compulsive lies and even contemplating suicide. Very heavy themes that teenagers in stressful situations do unfortunately experience. Couldn't take my eyes off for one moment. Palpable drama. Each performance was memorable, although Nelson reigns supreme with his boisterous role. Estevez was probably the weakest as he occasionally succumbs to monotony, but still gave an engrossing performance. Simple Minds' 'Don't You (Forget About Me)' suits the film perfectly and welcomes the 80s aesthetic appeal. And Hughes' direction was solid!
My only two criticisms would be the rushed conclusion and the relationships that developed abruptly, and when John's head was up Claire's skirt which I found to be distasteful (despite suiting the character). Small nitpicks for a film that beautiful bends school stereotypes and transforms a tedious detention into a riveting drama that I shall not be forgetting anytime soon.
