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When I was younger, I would watch films for myself and with only myself in mind. By this I mean that my sensitivities were my own: if a joke didn’t offend me, I laughed, and if a scene of violence didn’t jar me, I watched it without batting an eye. In the last couple years, I’ve begun watching films with others in mind, and this has radically changed my relationship to cinema. A somewhat superficial example: my girlfriend’s siblings range in age from thirteen to twenty-something, so helping select films enjoyable and appropriate for everyone can be quite the challenge. I told my parents that I am beginning to develop an appreciation for all their hard work of being curator and censor when I was growing up. A less superficial example: I have many close friends who have experienced trauma from various kinds of violence, and their stories are an active presence to me when I’m watching certain movies. Whereas in years prior, I would have enjoyed Wind River as a thriller, watching it recently was instead a painful reminder to me of the stories my friends have shared of their own sufferings. Wind River is a quality film and worth watching, but it’s hard to enjoy it, and I think that’s as it should be.
In her recent New Yorker article, the actress Molly Ringwald recounts an experience watching a film with her 10 year old daughter. The film in question was The Breakfast Club, a film Ringwald starred in as a young woman. There’s a scene in the movie where Ringwald’s character Claire is upskirted, though notably in the filming of that scene it was not the (underage) Ringwald but rather an adult that was captured by the camera. Nevertheless, in her essay, Ringwald writes of the discomfort her daughter expressed at seeing the scene, and of her own discomfort in attempting to explain that scene. This experience led Ringwald to reflect on those classic John Hughes films that she starred in – The Breakfast Club, Pretty in Pink, Sixteen Candles. She notes that the #MeToo era has asked all of us to mature as viewers, to recognize that misogyny, sexism, and a profound lack of sensitivity to the suffering and exploitation of women is pervasive throughout Hollywood culture, evident in both the filmmaking process and in the films themselves. Ringwald writes, “if attitudes toward female subjugation are systemic, and I believe that they are, it stands to reason that the art we consume and sanction plays some part in reinforcing those same attitudes.” John Hughes’ films can be troubling as pertains to their portrayal of women, and that’s just in terms of the films-as-made. Ringwald tells us that the shooting script for The Breakfast Club featured a scene of the male principal spying on a female teacher swimming, nude, in the school pool. Ringwald convinced Hughes to cut that scene, and she notes that “the film is better for it.” Still, there remains some troubling content. As another example, Ringwald describes a troubling implied scene of nonconsensual (because drunken and perhaps not conscious) sex in Sixteen Candles. In all honesty, before reading this essay, I had forgotten that scene, and I don’t remember it striking me as all that unsettling when I watched the film years ago. It’s easy to overlook stuff when a lack of lived experience hasn’t increased sensitivity.
Molly Ringwald’s essay was thus illuminating for me in drawing attention to problematic material in films I love. But her essay is also a powerful example to me of how to write strong critiques from a place of love and with an eye for grace. Thus, while Ringwald critiques Hughes directly for his egregious “blindspot” in including this material in his film, she also writes that “John believed in me, and in my gifts as an actress, more than anyone else I’ve known.” Likewise, while she readily admits that Hughes’ work is often racist, misogynistic, and even homophobic, she also notes he was one of the first Hollywood directors to take young adulthood seriously and that several of her friends in the LGBT community have told her that his films “saved” them by giving them universal characters they could relate to in their own sufferings. Ringwald says that at their best, “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.” But she also wonders “whether that’s enough to make up for the impropriety of the films.” Though she also says that “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.” But then she adds, “and yet embracing them entirely feels hypocritical. And yet, and yet. . . .”
I still love The Breakfast Club and I want others to love it too. But the next time I watch The Breakfast Club, my sensitivities will also be informed by Molly’s essay, and by all the stories my friends have told me of being treated like an object or plaything. I think there is an ethic in Molly Ringwald’s essay that models for us the complexities of being a good lover of cinema, particularly as pertains to films from a previous era and cultural context. The “and yet” perspective is one that seeks to be sensitive to the important flaws in these beloved films while also not throwing the baby out with the bathwater. This task is by no means easy but reading Ringwald’s essay is a great starting place. And if we give each grace, I think through the sharing of our own stories, we can help each other develop the kind of sensitivities we need to grow in love, justice, and compassion.
Source: New Yorker
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