Ferris Bueller's Day Off joyously shows that perhaps we should all pull a sickie occasionally. As with many classics which have been circulating around the historical presence of cinema, it's stupendously easy to be intimidated by a specific film. Ferris Bueller was one of those films. Endlessly referenced in pop culture, frequently discussed as one of the best teen comedies ever and directed by the 80s maestro himself that was John Hughes. Would I, a soulless British twenty-something, enjoy the fiascos and shenanigans of one Ferris Bueller? Turns out, yes! Ferris, nearing the end of the school year, decides to fake being sick so that he can explore the historical and cultural impact of downtown Chicago. However, hot on his tail are his sister and school Dean who are suspicious of his frequent absences.
Not all films have to be heavy-hitting dramas tackling taboo subjects in a bid to evoke some repressed powerful emotions. Some can just be mild entertainment for the sake of depicting a joyous journey. Y'know, bringing a smile to one's face. And I know what you're thinking. "I hate smiling". Yes, well so do I. But I can guarantee, if you watch Ferris Bueller convince his friend Cameron to drive his father's 1961 Ferrari 250 GT California Spyder (believe me, had to look that one up!) or generating American buzz by slaying a infectious rendition of "Twist and Shout", you will not only smile. But laugh also. I laughed. I actually laughed!
The sheer bombastic feel-good nature of this rather plotless comedy is too good to pass up. I mean, Hughes wrote the screenplay in less than a week, so clearly had intentions on character focus rather than an absorbing plot. And, despite a blasé hedonistic approach that lacked purpose other than being an exploration of Chicago (who goes to an art museum when pulling a sickie?), the intent narrative structure relying on characters worked to a certain extent.
This is a film about the eponymous Ferris Bueller. His sly, meticulous and often charming personality makes him relatable. Fourth-wall breaks and all, a now legendary technique used to elaborate Ferris' inner thoughts. Broderick did a smashing job, and I couldn't envisage anyone else in the role. It was his, and his alone. Ruck as the constantly anxious Cameron also ensued some hilarity within his performance and was just as memorable as Ferris. Just a shame that the character of Sloane tagged along and had no substantial depth. In fact, she had no depth at all! An unexpected frustration from a screenplay written by Hughes, who usually carefully creates every character. Dean Rooney and Jeanie Bueller were also highlights and elevated the joyous buoyancy of the narrative. And there's something satisfying about a young Charlie Sheen playing a drug addict. I don't know why, but it amused me.
The third act wrapped up too quickly for my own personal taste, with no real obstacles to overcome. Aside from Cameron confronting his father, to which we never see, Ferris surprisingly had an easy day which hampered the investment I had for the overall story. Ferris Bueller is essentially the "Easy Mode" of Chicago. Banging soundtrack though! "Love Missile F1-11"? What a tune!
And to end the film with a poignant message, well, that's a Hughes film for you. Quotable, innovative and quite frankly a jubilant day off from start to finish. Despite my reservations for an actual plot, I would happily watch it repeatedly. Just so I can sing "Shoot it up"!
