SHOW NOTES: Pretty in Pink (1986)

Pretty in Pink

Synopsis

  • Pretty in Pink follows Andie Walsh, a creative high school senior from the wrong side of the tracks who navigates life, love, and class divisions in 1980s Chicago. Andie catches the eye of Blaine McDonough, a wealthy and popular student, but their budding romance is tested by pressure from Blaine’s friends and the unspoken rules separating rich kids from everyone else. Meanwhile, Andie’s best friend Duckie, quirky, loyal, and hopelessly in love with her — struggles with his feelings as he watches her fall for someone else. As prom approaches, Andie must decide whether to follow her heart, stay true to herself, and face the judgment that comes with crossing social boundaries. Blending teen romance, humor, and social commentary, Pretty in Pink is a classic John Hughes film about identity, self-worth, and choosing who you want to be — all set to an iconic ’80s soundtrack.

Actors & Crew

Budget:

Released Feb 28, 1986

$9mil

Earned $6.1mil opening weekend

Gross: $40.5mil

Fun Facts:

Wouldn’t be a John Hughes film if it weren’t set in CHICAGO.

-Pretty in Pink was filmed in the Los Angeles area, not Chicago as the story suggests, with key locations including John Marshall High School (Meadowbrook High), John Burroughs Middle School (interiors), the Third Street Promenade in Santa Monica(Trax record store), South Pasadena (Andie’s house), and the Millennium Biltmore Hotel (the prom scene). 

Originally, the film portrayed Andie and Duckie ending up together. However, test audiences booed this ending. John Hughes wrote a new five-page ending where Andie and Blane get together instead. 

Roger Ebert gave the film three stars out of four, criticizing the “old, old, old” plot but praising the performances of Molly Ringwald and Annie Potts, and calling it “a heartwarming and mostly truthful movie, with some nice touches of humor.”

Janet Maslin of The New York Times wrote, “Fortunately, the actors are mostly likable, and the story is told gently enough to downplay both its trendiness and its conventionality.

Pauline Kael of The New Yorker wrote that Ringwald “carries the movie, though she has nothing particularly interesting to do or say,” and called the film “slight and vapid, with the consistency of watery Jello.

Gene Siskel of the Chicago Tribune gave the film one-and-a-half stars out of four, faulting a “tired script” and Cryer’s “one-note performance,” though he found Ringwald “absolutely beguiling.

Cringe Meter

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