PRETTY IN PINK EVERYTHING'S DUCKIE ED

Livraison dans un délais rapide et la marchandise dans un état des plus satisfaisant, très heureux d'en faire l'ajout à ma collection.

Pretty in Pink is a classic! I loved it as a teenager and I love it still as an adult, my daughter even loves the movie and owns it.

In the 1980's U.S., of course teen flicks were the rage, and who other than John Hughes would bring it to us? While Reaganism saturated politics and conservative notions of a "classless" society were rapidly being thrown about, Pretty in Pink arrived. Although all of Hughes' teen-angst films of the 80's dealt with class issues in the predominantly white high schools of the U.S., Pretty in Pink demonstrates the most critical viewpoint of class, consumerism, capitalism, and how they all affect the high school hierarchy of popularity in suburban and more small town schools in the U.S. in comparison to its contemporaries like Some Kind of Wonderful, The Breakfast Club, or 16 Candles. Pink's main character, Andi, is a young woman from a lower-working class, single parent household. She is academically robust, semi-financially independent, creative and thrifty, and assertive. She doesn't try to "play the game" of the "richies," as she calls them, and rather, she stands up for herself and her friends in the face of "benevolent" middle to upperclass school administrators (read: the principal), smitten and haughty female classmates (read: benny and her friends), and exploitive and egotistical male classmates (read: Stef). Her relationship with Blane is something which she takes with a grain of salt, and while she feels great affection for Blane, she is frank about her personal boundaries of acceptable behavior and treatment. Thus, from a feminist perspective, Andi is a welcome young female character in the 80's Hollywood theatre which usually provides female characters so constructed by dominant ideologies that they no longer differ from each other, and become a token image (for example, the main character in Girls Just Wanna Have Fun or Cindy's friends in the film Can't Buy Me Love). While the film is not immune from this tokenism, it offers definite progress in comparison to the aforementioned examples. The film also takes a different approach to the then increasing "phenomenon" of the single-parent household (which was/is usually headed by the mother), in the fact that Andi's father runs the household. While he struggles with his wife's abandonment, this seems to heavily influence his ambition to "find a job." While this issue is not awarded much complexity in the film, it is at least mentioned, and hopefully encourages viewers to critically discuss this situation outside of the film. For a mainstream film, Pretty in Pink offers many alternatives to the popular films so-far of 1998. Rather uninterrogated images of class differences and class oppression like those seen in Titanic or in Clueless provide a surface critique of class hierarchy and how it permeates youth cultures and high school "societies." I recommend Pretty in Pink with the utmost sincerity. While it proves problematic in certain areas, no film exists outside of power structures, culture, or oppression and it is our task as viewers to critically immerse ourselves in discussions of film and cinema. END