Word: breakfasting
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Dates: during 1980-1989
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...cluttered, comfortable, welcoming. "Sometimes her fans get the address and drive by real slow and stare," says Molly's mom Adele, "but then, I guess, they say, 'Naw, that can't be Molly Ringwald's house.' " Along with her family, the 18-year-old star of Sixteen Candles, The Breakfast Club and Pretty in Pink copes with fame by hiding in plain sight...
With the three films they made together, Molly Ringwald and Writer- Producer-Director John Hughes showed teenagers that rose-tinted light. Sixteen Candles (1984), The Breakfast Club (1985) and this spring's hit Pretty in Pink succeed because they are about the kids who go see them--not the locker-room sadists, lubricious cheerleaders and barons of barf who populate the Porky's films, but teendom's silent majority of average, middle-class suburban kids...
...Hughes' second film, The Breakfast Club, the mood is edgier and more combative: you and you and you and you and me against the whole rotten adult world. Five high schoolers--a jock (Emilio Estevez), a rebel (Judd Nelson), a brain (Anthony Michael Hall), a beatnik (Ally Sheedy) and a princess (Molly)-- spend a Saturday in detention. All they have in common are secret sins, an ache for camaraderie and a festering resentment of parental and school domination. There is little music, not much action, just kids sitting around talking. Good talk, though. The brain, ragged by the rebel...
...make suggestions about the films' structures. Says Howard Deutch, who directed Hughes' screenplay of Pretty in Pink, "I've never seen a writer who is so willing to adapt his dialogue and script." (Thanks in part to urgings from his cast, a female-flesh scene was removed from The Breakfast Club.) Hughes took the youngsters to rock concerts, hosted cast dinners or simply made himself available to listen. But in this elite of young comers, it was Molly he coddled. "I figured we'd just make Sixteen Candles," she recalls, "but John said, 'It's going to be Hughes-Ringwald...
...wants to turn Hughes off. Molly can hardly regret being made a star in successful comedies written by a man who enjoyed playing both Svengali and pal to a gifted young actress. But gratitude does not mean indentured servitude. "When John moved from Chicago to L.A. after The Breakfast Club," she says, "he changed. I wouldn't say he 'went Hollywood,' but he started looking very GQ. I don't really see him anymore. I still respect him a lot, and if he gave me a good script, I'd read it. But I don't think we'll work...