
Pretty in Pink
Molly Ringwald's prom dress is stitched together from two others, an image the whole film runs on: Howard Deutch directs a John Hughes script about who gets to sit where.

Molly Ringwald's prom dress is stitched together from two others, an image the whole film runs on: Howard Deutch directs a John Hughes script about who gets to sit where.

The children swear constantly, the coach drinks in the dugout, and nobody learns very much: Walter Matthau took a Little League team and made the least sentimental sports film ever released.

Al Pacino spent months learning to hold his eyes unfocused and never once looks at anything: a blind retired colonel hires a prep school student for one enormous weekend in New York.

It has become the film American men quote at each other about being eleven: a new kid in 1962 learns baseball on a vacant lot, and the stakes are imaginary and total.

The Black American Graffiti, and better: Chicago teenagers in 1964 with a wall-to-wall Motown soundtrack, and Michael Schultz films a few days of hanging around as if nothing mattered more.

Stephen Chbosky wrote the novel, wrote the screenplay and directed it himself, which almost never works: a freshman is taken up by two seniors, and the tunnel scene earned its reputation.

John Hughes cast Molly Ringwald off a headshot and wrote the script over one weekend: the first film that treated a teenage girl's ordinary bad day as worth ninety minutes of attention.

Tom Cruise became a movie star in one scene in his underwear: Tangerine Dream scores a suburban comedy that is much colder and stranger than its reputation suggests.

Before he was a poster, Ernesto Guevara was a medical student on a broken motorcycle: Walter Salles shot the actual route through South America, and the politics arrive as things seen.

Disney kept live fawns at the studio so the animators could watch them move: the backgrounds are painted like Chinese landscape scrolls, and the film trusts weather and silence where other cartoons talk.

Christian Bale was thirteen and carries the entire film: Spielberg follows an English boy separated from his parents in occupied Shanghai, and never lets the war become an adventure.

Penny Marshall became the first woman to direct a film that made a hundred million dollars: Tom Hanks plays a thirteen-year-old in an adult body and never once winks at the audience.

Diablo Cody won an Oscar for dialogue that no teenager has ever spoken, and it works anyway: a sixteen-year-old handles a pregnancy with more composure than every adult around her.

No sports film is sweeter, and the sport barely matters: an Indiana teenager pretends to be Italian because he loves bicycle racing, and the town's class divide does the rest.

Chazz Palminteri turned down large offers for his one-man play until someone would let him star: De Niro directed his first film out of it, about a boy with two fathers competing.

Cameron Crowe enrolled in a California high school undercover for a year and wrote down what he heard: the result launched half a decade of careers and still sounds like actual teenagers.

Seth Rogen and Evan Goldberg began writing it at thirteen and it shows: one night, a catastrophic fake ID, and a friendship neither boy can say anything about directly.

Nobody who saw it at the right age has stopped quoting it: Robin Williams plays a teacher who tells boys at a 1959 boarding school that poetry is worth risking something for.

Stephen King's first novel became this, and no adaptation since has been meaner: De Palma films high-school cruelty in slow motion and split screen, and the prom is a fifteen-minute held breath.