Title : Molly Ringwald "can see now, Bender sexually harasses Claire throughout the film" — "The Breakfast Club."
link : Molly Ringwald "can see now, Bender sexually harasses Claire throughout the film" — "The Breakfast Club."
Molly Ringwald "can see now, Bender sexually harasses Claire throughout the film" — "The Breakfast Club."
Ringwald is writing in The New Yorker.When he’s not sexualizing her, he takes out his rage on her with vicious contempt, calling her “pathetic,” mocking her as “Queenie.” It’s rejection that inspires his vitriol. Claire acts dismissively toward him, and, in a pivotal scene near the end, she predicts that at school on Monday morning, even though the group has bonded, things will return, socially, to the status quo. “Just bury your head in the sand and wait for your fuckin’ prom!” Bender yells. He never apologizes for any of it, but, nevertheless, he gets the girl in the end.Much more at the link.
If I sound overly critical, it’s only with hindsight. Back then, I was only vaguely aware of how inappropriate much of John [Hughes's] writing was, given my limited experience and what was considered normal at the time.... I’m a little embarrassed to say that it took even longer for me to fully comprehend the scene late in “Sixteen Candles,” when the dreamboat, Jake, essentially trades his drunk girlfriend, Caroline, to the Geek, to satisfy the latter’s sexual urges, in return for Samantha’s underwear. The Geek takes Polaroids with Caroline to have proof of his conquest; when she wakes up in the morning with someone she doesn’t know, he asks her if she “enjoyed it.”...
John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say—even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical. And yet, and yet. . .
The "impropriety of the films" is a strange phrase. Fictional characters do all sorts of bad things. It doesn't make the film improper. You need bad things to happen in fiction. It's kind of the whole game. But you may ask, what is this film trying to make me think? Am I supposed to disapprove of what this guy did or not? If it's hard to answer that question, that might be a sign it's actually art. If we identify with or enjoy or empathize with a bad boy like John Bender and we hold the film responsible for choosing to make that happen to us, does the film become "improper"? I don't think so, and yet I do think films have worked powerfully to shape our ideas about how men and women should treat each other.
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