The club of five (1985) was one of the most iconic teen movies of the eighties. Written and directed by John Hughes, the plot revolved around five young people (two girls and three boys), who were punished on a Saturday in the library of their institute for different reasons. Soon the disagreements between them appear, especially when the director who watches over them is absent from the classroom, although in the end they end up breaking the ice by engaging in conversations about sex. The film, starring Molly Ringwald, Emilio Estévez, Judd Nelson, Ally Sheedy and Anthony Michael Hall, was a box office success and became a youth classic that inspired thousands of viewers who already have gray hair.
However, Ringwald, who is currently 50 years old, has wanted to revisit the film and seems to not have the same opinion he had when he made it. The American actress, who became popular with Sixteen candles (1984) and The girl in pink (1986), also by Hugues, has written an article published in The New Yorker which is titled What about The Breakfast club? (And what about ‘The club of five’?) In which he offers several statements against the film, stating that, after having seen the film with his ten-year-old daughter, he has noticed a series of sexist behaviors that have caught her attention, precisely at a time when the feminist vindication and the #MeToo movement resonate strongly after the scandal of sexual abuse committed in Hollywood by important industry figures such as Harvey Weinstein, Dustin Hoffman or Kevin Spacey.
Thus, Molly, who has focused her career basically on television in recent years, has focused on the relationship that her character, the beautiful and surly Claire, had with John Bender, played by Judd Nelson, pointing out how he persecutes her Sexually, he teases her and is insistent until the young woman has no choice but to become his girlfriend. The actress has especially pointed out a scene in which John’s character looks under her skirt without her consent, a situation that the red-haired interpreter has called “completely inappropriate and shocking.”
“I kept thinking about that scene. I thought about it again last fall, after several women brought sexual assault allegations against producer Harvey Weinstein, and the #MeToo movement gained momentum, “he says. In addition, remember that the words ‘fag’ and ‘fagot’, (‘fagot’ in English) were “constantly expressed without measure”, and points out that the portrayal of women in the films of the late 80s and throughout that decade , What American style riot (1978), by John Landis, Porky’s (1982), by Bob Clark, or Hughes, was degrading.
“If attitudes towards female subjection are systematic, and I think they are, it is logical to think that the art that we consume and sanction plays a role in reinforcing those same attitudes,” he adds.
Ringwald said a few years ago that she learned a lot from Hugues, but that she did not want to be pigeonholed into comedies as a young teenager and that was the reason why she and the ill-fated director grew apart and spent almost two decades without speaking.
Molly Ringwald, who made her film debut in 1982 in a small role in The Tempest, by Paul Mazursk, and is about to release the thriller SiberiaAlong with Keanu Reeves, she was one of the actresses who came out to speak at length about her experiences of sexual harassment when the Weinstein case was uncovered. In an article for The New Yorker titled ‘All the other Harvey Weinsteins’, the actress wrote off the experiences she had to face during her professional career.
Ringwald points out that the portrayal of women in the 1980s films and specifically those of Hughes was degrading