Published by Mason Oldridge, 30 December 2022
CONTAINS SPOILERS!
The greatest film of the 80s is… anyone? Anyone? Ferris Bueller’s Day Off, and here’s why.
Before Christmas hit Home Alone landed on our screens, writer John Hughes produced a string of classics throughout the 80s such as The Breakfast Club and National Lampoon’s Vacation, though the one that would stand out from the rest is cult classic Ferris Bueller’s Day Off.
First of all, the plot is simplistic genius. A teen feigns illness to bunk off school and has an action-packed day of thrills round the city of Chicago with his best friend and girlfriend in tow, all the while escaping the clutches of both his sister and the dean of students, who see through the rouse and are hellbent on catching him out. On his day off, the three dine at a French restaurant, visit an art gallery, attend a baseball game and join the crowd of a parade, in which Bueller jumps up on a float and performs. Throughout the day, the trio have several close encounters with Bueller’s father though are never caught by him, representative of how Ferris’ mischievousness always results in success, particularly his con of impersonating Abe Froman, the sausage king of Chicago, when he gets the upper hand over the maître d'.
Casting played a significant part in the film’s success. Matthew Broderick is the perfect choice for the lead role as he delivers on portraying the charm and wit that Ferris possesses. It is these characteristics paired with an infectious likeability that make Ferris the coolest kid imaginable. Furthermore, Ben Stein’s monotonous performance as the economics teacher provides one of the funniest moments in the film. The roll-call scene and his lecture have led the dry call of “Bueller?” and “anyone?” to become etched in pop culture as a phrase to be used in moments of unresponsiveness. The shots of several bored students only aid the scene in being even more hilarious and closely relatable too.
While the kids play truant, dean of students Ed Rooney sets about to catch Ferris out, only to suffer failure and misfortune. From the first moment of Cameron impersonating Sloane's father, it is clear Rooney’s determined mission is doomed to fail with comical results. As Sloane kisses Ferris under the disguise of her father, Rooney’s confused reaction is priceless. Later on, Rooney’s series of events at Ferris’ house is comedy gold as he loses his shoes in mud, is chased and attacked by the pet rottweiler, punched by Jeanie believing him to be a burglar and has his car towed. The film continues its comedy throughout the end credits too as the movie concludes with a worse for wear looking Rooney having to catch a ride on the school bus, sitting next to an off putting student while reading graffiti regarding himself.
The Chicago setting for the film is visually stunning and makes the movie aesthetically pleasing with several incredible shots of the city. Hughes often filmed and set his films in Chicago where he lived from teenhood. Hughes said “Chicago is what I am”, calling the film his “love letter to the city”. Of the production, Hughes claimed “I really wanted to capture as much of Chicago as I could, not just the architecture and the landscape, but the spirit” and the spirit of the windy city is definitely felt across the movie. Landmarks such as the Sears Tower, Wrigley Field and the Art Institute of Chicago all feature as places visited by the teens and the cityscape shots as Ferris whizzes around in the ferrari are breathtaking. Additionally, Cameron’s futuristic house is as intriguing as it is stunning while Ferris’ house itself is rather impressive (although the exterior was shot in California).
Arguably the funniest aspect of the film is the continuous gag about the extensive concern over Ferris’ health. This begins with students at the school discussing Ferris’ illness and conversing about what a hero he is, though soon diversifies across the city, almost following him around. As we follow his antics throughout the day, a sign reading Save Ferris is displayed on the baseball stadium and a newspaper article about the community rallying around the sick boy is printed in the newspaper his father reads in the taxi. The pinnacle of this running joke is the shots of excessive amounts of flowers and balloons at Ferris’ house. A flower delivery signed by the English department at the school arrives at the home, much to the frustration of Rooney, and a stripper dressed as a nurse turns up on the doorstep at the time Jeanie was hoping the police had arrived to rescue her from the assumed intruder.
It is safe to say the ferrari owned by Cameron’s father also plays a big part in the film. It is the centrepiece of Cameron’s frustration over his father’s control and a root cause of his anxiety throughout the adventure. Ferris, a non-driver, taking the car for a ride that day is a defining moment that outlines his personality characterised by confidence and fearlessness. The expensive status of the vintage automobile is what causes such a reaction when Cameron damages the car before it crashes onto the ground below and what makes the valets taking the car for a joyride after promising to take such good care of it so side-splittingly funny.
Finally, the film has a perfect ending in which Ferris runs across the neighbourhood in an attempt to arrive home on time before his parents do and catch him out, taking a shortcut through the backyards and almost getting run over by Jeanie with his oblivious mother in the passenger seat, over the iconic March of the Swivelheads. Rooney meets Ferris on his doorstep, revelling in finally catching him, before Jeanie decides to let him in in time to get in bed for his parents’ return.
Ferris Bueller’s Day Off is full of iconic moments and earns its status as a cult classic. It teaches us to embrace opportunity and chronicles the excitement life can offer. After all, life moves pretty fast. If you don't stop and look around once in a while, you could miss it.