Top 7 Romantic John Hughes Moments


We won't forget about the '80s auteur.

John Hughes gave so much to so many: He gave Molly Ringwald's knickers to Anthony Michael Hall, he gave Ferris Bueller the day off, and he gave all of us Jake Ryan. He also, for better and for worse, influenced how millions think about romance. Some of us may have one or two unrealistic ideas about how the hottest man in the world is supposed to show up at our sisters' weddings and rescue us from the crushing banality of it all, or some deranged notion of our families just disappearing one day (hey, different strokes). So whatever gets you going, if you're between 25 and 45, we'll bet John Hughes may have had something to do with it. Here are our top five romantic John Hughes movie moments.

7. Watts and Keith make out in the garage

Mary Stuart Masterson became the thinking woman's lust object with 1993's Fried Green Tomatoes, but six years earlier she'd already begun defining her sexy tomboy archetype (which Lori Petty would later rip off egregiously) opposite Eric Stoltz, who almost looked girlier than she did. Loath as we are to admit recently Netflixing He's Just Not That Into You, that ensemble mess paid rightful homage to Hughes when Ginnifer Goodwin realized that she is totally Eric Stoltz, and Justin Long is Mary Stuart, while she's watching the scene in which Watts goads Keith into kissing her, and then totally loses it.

6. This one bit from Maid in Manhattan

Just kidding. That movie is terrible. And it's not worthy of either of its leads or its screenwriter (Hughes, under the pen name Edmond Dantes). And by "its leads" we mean "Ralph Fiennes in anything else, ever, even in Schindler's List when he was a totally unrepentant and irredeemable kind of sexy" and "Jennifer Lopez in Out of Sight, because that's the only movie she was ever good in."

5. Andie screams at Blane

Pretty in Pink is actually your correspondent's least favorite Hughes movie, and that's including Curly Sue. Something about being unable to abide either Jon Cryer or James Spader and Molly Ringwald's wardrobe making our eyeballs burst into flames. But Andrew McCarthy was rarely more appealing (except the year before in St. Elmo's Fire, because God, was anyone in that film not at their absolute peak?), and the climactic scene when Andie rips into Blane for his cowardice showcases another side of romantic relationships, the good, cathartic screaming fight. (And, of course, the flashback to dating someone in high school who wouldn't be seen with you, but that's another story.)

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