Una pazza giornata di vacanza

Like Back to the Future, Ferris Bueller's Day Off seems to hold a pretty firm and entrenched place in whatever 1980s teen cannon that people hold in such high regard. Back to the Future was, perhaps famously, rejected by many-a studios on the basis of 'not being raunchy enough'; something other films of its ilk were at the time. I can imagine something similar happening to Ferris Bueller's Day Off, but like Back to the Future, it is the decidedly 'un-raunchy' films of the era that we now revisit the most often and just seem to hold in higher regard.

I think what keeps this film resonating with past and current audiences alike is its clear distinction in paying close attention to young people, and their ever-ongoing battle for independence, for recognition and for individuality. The lead is Ferris Bueller (Broderick); a young and very confident, almost borderline sociopathic in his behaviour, male in then-contemporary America. Ferris is the sort of guy who can con his way into an expensive restaurant; hack his way into the school computer mainframe and shows total disregard to his friend's and certain respective situations when trying to haggle the use of a rare and classic car for the day. The film takes special care in introducing him as an individual whom lives in a large, detached house in a rich neighbourhood that comes complete with a white picket fence. He is literate in all the latest gadgets and pieces of technology, be it home computers used to hack or stereo systems to further the notion he is unwell.

In direct opposition to Ferris is the principal of Ferris' school, named Ed Rooney (Jones). Rooney isn't just out to capture Bueller as he plays truant, he is out to destroy Bueller's life; this, Rooney outlines as his goal very early on in the piece. This seems to be the essence of what keeps audiences old and new consistently discovering the film; that study of 'old vs. young' as these cocky, smart and quite attractive bunch of confident oddball kids dare stand up to those of a high authority; those that are grey, suit-clad authoritarian figures such as Rooney.

But I think Bueller is smarter-still than what he lets on. He talks very early on about how important it is to go to college and learn a trade and live the American Dream, but he does so in a very nonchalant manner, almost as if he is repeating what it is he's told to say, or think, or feel. What follows is a chain of events and total disregard to most things that suggest he isn't of this ideation at all. But the journey does have an ideation; an ideation Bueller himself cooks up to do with being able to notice life and enjoy life as best you can, otherwise it might seem like it's passing you by.

But the film isn't preoccupied with just these studies. Its attention to young vs. old or independence vs. routine is similarly played about with through one of Bueller's two friends named Cameron Frye (Ruck), who is given a slight subplot to do with being able to stand up to his father. Ferris and Cameron's third friend is Sloane Peterson (Sara), Ferris' girlfriend. The three complete an unusual triangle of pals; they are one another's' friend as well as foil, forever getting into adventures and situations but hitting the odd wall when it comes to the finer things during the day out. Cameron is forever concerned with the car; Cameron and Sloane are forever worried they might get caught (particularly when Ferris partakes in a large musical number in the street) and Ferris seems forever pre-occupied that the three of them will not get the best out of their day off; a day off Ferris sees as a gift, as something they worked hard towards earning with their scheming, and thus; must embrace it as fully as possible.

The film is a love story, a comedy that relies on slapstick, situation and screwball alike; the film is an odd beast of basic convention, surrealist humour and truancy glorification. But does it ever focus too much on one thing? Does it particularly care what you might think of it? I don't think it does, it just throws mostly everything at the screen, stirs it all up and allows it all to play out. It feels like two, or possibly three, different films at once – but that's fine because there is enough different sorts of content all brewing at once, and focused on at a balanced rate, that we go with it. One might say the film's attitude echoes that of its lead; it's doing things its own way, in its own style and doesn't particularly mind how you react. It's the kind of film that can go from a slow motion shot of two guys driving a sort-of stolen car that was sort-of stolen in the first place to the Star Wars theme; to a series of scenes that rely on a school teacher falling over a few times as a source of humour. The best thing about it all, is that it's all actually rather effective.

I rewatched FBDO (sorry, had to) for the first time in many years. I was not even 10 when it came out, and it is not until now that I have appreciated it a level beyond the basic comedy. It has comedy for sure, of all kinds. Slapstick, absurdity, farce, comedy-of-errors, comedy-of-manners, puns, shock, swearing, satire, parody, and on and on.

But is so much more than an outstanding comedy. It has real philosophy that is not sophomoric (they're seniors and juniors...haha). This comes in Ferris's asides, but also in what the characters say when they are not joking.

It has some complete non-sequiturs and montages that really make you ponder the characters and that capture what it is like to be young in a way that you almost never see, e.g., them looking down from the Sears Tower, the scene at the art musuem, etc.

Why? Well, real teenagers can almost never make enduring art, so they have a hard time capturing what its like to be young in any way beyond the surface. You have to know what it fleeting about youth to capture it and you only know that once you're not young any more. A 17 year old writing this movie couldn't capture youth because youth are just to callow and to inexperienced with life. But adults, even when they try to write about youth, often infuse that feeling with too much importance that isn't present when you're young. It gets too nostalgic, or treacly, or whatever.

But with FBDO, John Hughes just takes your mind back to what it was like to be about to graduate high school.

Yes, these are all privileged white kids. Yes, the whole move is extra white and extra privileged. Minorities are relegated to some really insulting stereotypical parts. So in that regard, it has not aged well at all.

BUT! This movie still captures late adolescence perfectly. That feeling of knowing your childhood is about to disappear and missing it already, but being excited about your unknown future that seems to stretch out forever ahead of you. And scared at the same time.

It just leaves you feeling warm and reminiscent and happy to be an adult, but really glad you were a kid.

I also like that Ferris, for all his likability, is a flawed character. He is a narcissist. But he's 17 (maybe 18). He hurts Cameron's feelings over and over in a way that is close to bullying or gaslighting. But protagonists shouldn't be perfect. And Ferris's flaws illustrate those of the other characters in a way that is very illuminating.

All these characters have a depth that is so lacking (except maybe the dad). Certainly Sloane and Cameron and Ferris are totally three dimensional. But even his sister, and mom are shown as real people too.

But then you have totally INSANE absurd non-sequiturs thrown in. The principal is an absolute cartoon. So is his secretary. The BONKERS way everyone in town is pulling for Ferris. I mean, they paint a WATERTOWER in like an hour?!?! The parking lot joyride. Abe Froman!? The whole parade sequence?! It is just crazy how all that happens and the movie still feels "real."

An absolute joy to watch. I haven't seen a comedy this deep in years. Planes, Trains, and Automobiles, another John Hughes movie is probably similar in that regard. They do not make them like this much any more. Even 40 Year Old Virgin and Knocked Up, for all their dealing with "big issues" seem to be inhabited by cardboard cutouts (the stoner, the hectoring girlfriend/wife) compared to this film.

Watch it every couple years. You won't regret it.

On my IMDb "Top 10 Greatest Comedy Films" list.

No other "Coming Of Age" teen film since has been able to knock Ferris Bueller off its post-American Graffiti "COA" throne. Like the 1961 Ferrari GT 250 SWB California portrayed in this film (more than one used in production, and all were well-made knock-offs as no one was going to risk knocking around an ultra-rare $25M collectable), there is simply no substitute (George Lucas' American Graffiti' still reins as the all-time #1 COA film, but that came 10 years earlier, and is in a class by itself, although this film is also deserving of being considered an "important and significant film").

This was John Hughes' 4th directed movie, during his most prodigious period from 1984 to 1990, that also included 'The Breakfast Club' and 'Home Alone'.

Hughes tried to portray teens realistically and gave them relevance in his films - he was empathetic to the challenges of adolescence, and consciously avoided Hollywood's often shallow characterizations of the teen high school years.

The Library of Congress selected the film in 2014 to be preserved in the National Film Registry, honoring FBDO for its cultural significance.

I have an ongoing discussion with my friends and family about what movie defines your generation, and for me, this is it! Ferris' commentary throughout the movie is hilarious and irreverent, giving a voice to those on the borderline between Generations X and Y. It's Office Space, the teenage years! This movie is witty and fast-paced, not relying on the bathroom humor and physical comedy that most teenage and college comedies do these days. Yes it is dated, but that's part of what makes it great. I love it!

Presenting "the 1980's", the golden era of teen flicks. This is another outstanding classic.

What makes the whole idea absolutely hilarious is that this isn't at all something teenagers would do when taking a breather from school. Fine dining, art exhibits and parades, really? Or how would I know, perhaps the jazz was different back in the 80's.

The humour here is very subtle but effective all the same. It's hidden in the facial expressions, gestures and tone of voice. I particularly enjoyed the famous 'staring at a canvas' scene which I found both highly entertaining and profound at the same time.

Modern-day film and television industry could take a lot from this one. It shouldn't be all about the bawdy comebacks and toilet jokes. Humour is most effective when it's undetected.

But on a more serious note, there are actually important themes that are discussed here whether it's defying your parents, discovering your abilities or keeping your friends close but enemies even closer.

With both its lighter and more serious facets I know a comedy when I see one. And this is pure comedy gold.