(Un)Packing the 'Brat Pack' Legacy

For those who have not heard of the ‘Brat Pack,’ you are surely missing out on a significant portion of pop-cultural history. Made up of eight youthful and buoyant 1980s actors, their media, technological, and socio-cultural influence stemmed from their television popularity, coming-of-age uniqueness, upbeat genres, and abilities to demonstrate teenage angst. From The Breakfast Club (1985) to Ferris Bueller’s Day Off (1986), writer and director John Hughes paved the way for and brilliantly constructed a carefully protected movie pedestal— multigenerational and multifaceted to be succinct.

Based on the 1960s 'Rat Pack' comprised of Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop, this group was known for their musical capacities and outgoing personalities. They more controversially embodied the "bad boy" personification by frequenting Las Vegas casinos, partying, having extramarital affairs, or executing criminal wrongdoings. The term ‘Rat Pack’ (as no such complement to such well-renowned celebrities) managed to ignite a new rendition by New York Magazine writer David Blum, labeling a new swath of talented young stars the ‘Brat Pack.’ The vilified group included the likes of Molly Ringwald, Emilio Estevez, Judd Nelson, Ally Sheedy, Anthony Michael Hall, Andrew McCarthy, Rob Lowe, and Demi Moore. Portraying easily likable characters in some of Hughes' most famous films, such as The Breakfast Club, Pretty in Pink, Sixteen Candles, etc., each actor exuded what seemed like a charismatic charm. Still, others saw their real-life personas as far less appealing—almost "bratty," if you will? David Blum's June 1985 article explicitly called out several of the young talents as arrogant, adding numerous harsh superlatives suggesting over-use of their newfound fame. Following the recent release of St. Elmo’s Fire in 1985 (which featured many members of the Brat Pack), Blum's damning article surprisingly grew to enhance what pop cultural storm was already brewing—the arrogance and rapid growth of a new era, fresh faces, and an irresistible resumé of movies suitable for young audiences.

John Hughes: The Creator of Legendary Clichés

How can anyone honestly say they are a fan of 1980s movies without the added cherryon-top that is John Hughes’ films? His gravitational style of scratching emotions beneath the surface accumulated a cult-like following by a generation exceedingly unguided. It is difficult not to acknowledge that John Hughes accomplished what so many other directors could (or would not) do—changed the way society viewed teenagers and young adults in justifiable and validated patterns. Timelessness in movie pop culture has taken an entirely new meaning thanks to John Hughes, broadening the appeal of youth stardom and representing “simpler times” while adhering to teenage angst. So why is it that John Hughes' movies have aged so nicely and still be culturally relevant among today's youthful generation?

The Visual and Auditory Aesthetics (of Youth Stardom)

Chart-topping music, bitchin’ dance moves, and riveting fashion always enveloped John Hughes’ films. But even outside movie set doors, the Brat Pack exuded “effortlessly cool” (and seemingly arrogant) attitudes about drinking, partying, dating, drugs, etc., influencing ordinary people's perspectives on those things. Not only were there effects from on-and-off-set personas on pure entertainment, but curiosities and emotions. Impressionable children/teens watching such movies assumed life would turn out like a John Hughes film, molding youthful perspectives with emotional aspects to exacerbate each films’ socio-cultural impacts. Music and fashion inspired people to act on their urges and put themselves out there as if no one was watching. This is still true today—generation-defying lust and self-preservation of one’s era through certain songs and clothing—and brings awareness of one’s identity.

A Whole New Genre

Each Brat Pack film bears some resemblance to the next, garnering a new genre of teen movies about popularity, love, partying, angst, and teenage pessimism. Makeover culture, a popular concept which most likely arose from this era of films, “invests a lot of expensive labor to reinforce the idea that there is a better way to looks, and that the better way to look is a valid representation of a better way to be.” (Sender, 2012) Stemming from the even bigger narrative of capitalism, society indeed expects makeover culture to alter an individual's particular look or outcome. Makeover culture rests among popular clichés in films, as aforementioned.

Brat Pack films generally manifested simpler plotlines, with occasional glimmers of reality. The underdog always found love with the popular individual, or there was angst towards authority—the ability for teenage freedom. The movies still represented trials and tribulations of teenage and young adult years and targeted classism, occasional racism (as seen in Sixteen Candles with its [only] fabricated Asian character Long Duk Dong), and sexual interactions. Such themes allowed audiences to feel included, as though they were more relatable to the characters, belonging to a generation of which could be warmly embraced. Serving as an outlet to abide by how teenagers rebelled, the films still hold significant value in encouraging teens to own their narrative.

The normalcy of teen angst is proven distinctly through feelings of insecurity, anxiety, or apprehension towards authority. The teen angst legacy garnered through even more labels society uses to define them—"A brain, an athlete, a basket base, a princess, and a criminal.” (1985) Dialogues and archetypes embodied rebellion, freedom, independence, and finding the paths towards happiness. Hughes transformed something (generally) bitter and transcended its trendiness as a justifiable norm for youth who otherwise felt judged by society.

[Brat] Packing Up the Legacy

The Brat Pack and their movies arguably helped define and unite a generation of youth— those feeling left behind or unrecognized amidst popular culture’s growing evolution. Hughes' films acted almost as a blueprint for people's behavior, how they dressed and conversed in society. Even with an unfortunate moniker, "Brat Pack," the eight lively actors grew to embrace what cultural impact they made on society in the past and among newer generations. The Brat Pack et al. left us with something that will truly never go—boundary-defying films with a keen wit and youthful resonance. Current society's job is to make sure these legacies never succumb to the modern-day climate and permanently reside within a safe pop cultural space.

Sources

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