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Pretty in Pink
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women should not get together with nice men if they dont
actually love them. That is a too little noted but important
message.*1
But I think what I love most about this final scene,
revised or otherwise, is what Andies wearing which is by
anyones measurement the ugliest prom dress of all time,
which she made for herself. Oh my God, that dress!
groans Ringwald. That is one thing in the film I wont take
responsibility for. I remember thinking at the time that it
was really funny because Andie wants to be a fashion
designer, and she makes that dress. Pick a new career,
Andie! But in defence of this dress, it does encapsulate one
of the truly great things about girls in eighties teen movies:
they dress like shit.
When girls in eighties movies go on dates, they dress
as demurely as the Amish: in Valley Girl, Julies (Deborah
Foreman) party outfit is a high-necked Victorian blouse
and a pair of slacks; in Lucas, Maggie (Kerri Green)
woos Cappie (Charlie Sheen) away from sexy cheerleading captain Alise (Ally McBeals future nemesis
Courtney Thorne-Smith) while wearing full-length skirts
and shapeless jumpers; Chris (Elisabeth Shue) in
Adventures in Babysitting attracts the attention of a
college boy a college boy! while wearing her dead
grandfathers coat; Boof (Susan Ursitti) in Teen Wolf
dresses like a middle-aged suburban mother and she gets
her dream boy; Watts (Mary Stuart Masterson) wears
boys clothes and still gets Eric Stoltz at the end of Some
*11987s Broadcast News is also very smart about this, with Holly Hunters
character, Jane, falling for the shallow handsome newsreader (William
Hurt) instead of the schlubby and nice producer (Albert Brooks), and
thats just the way it is.
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Pretty in Pink
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Pretty in Pink
1958s Gigi to 1990s Pretty Woman, have involved courtesans and prostitutes, emphasising that cinematic makeovers
are invariably about making the female characters look
more sexually available. But it wasnt until the nineties that
they became such a staple of teen movies that the stereotype was later satirised in 2001s Not Another Teen Movie in
which nerdy Janey (Chyler Leigh) is rendered slo-mo sexy
simply by taking off her glasses and loosening her ponytail.
In 1995s Clueless, Cher (Alicia Silverstone) makes Tai
(Brittany Murphy) Beverly Hills-ready by reapplying her
make-up and swapping her loose trousers for tiny miniskirts. In 1999s Never Been Kissed, Josie (the always lovely
Drew Barrymore) is rescued from (undercover) high school
hell thanks to some fashion and social help from her cooler
brother Rob (David Arquette). Kat (Julia Stiles), the feminist protagonist in 1999s 10 Things I Hate About You,
endures a makeover from her little sister before the prom
because everyone knows feminists are just too ugly to be
seen at social occasions unless heavily overhauled.
What a makeover means for women in a movie is:
Conform and show off your boobs, and all the examples
cited above say just that. Change for men, in other words.
By contrast, in the vast majority of eighties teen films, girls
are celebrated for being their own gauche, unique selves,
and this is a common theme in almost all eighties teen
movies for all teenagers, from Teen Wolf to Say Anything.
This celebration of the unique explains, I suspect, why so
many kids in eighties teen films have such weird names
(Boof and Styles in Teen Wolf), and especially in Hughess
teen films (Ferris, Bender, Sloane, Duckie, Blane, Watts).
With the exception of the makeover scene in The Breakfast
Club, Hughes celebrates his leading ladies quirks, and
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