Hello everyone, today I bring you a youth movie, let's reminisce about the youth time
Seven friends — Alec, Billy, Jules, Kevin, Kirby, Leslie, and Wendy — are trying to cross life and friendships after college. Alec is passionate about political life, and he has just shown his true colors by turning his loyalty from a Democrat to a Republican, much to the surprise of his desired girlfriend, Leslie. The up-and-coming architect Leslie, on the other hand, has independent lines. She believes that she must make a name for herself and find out who she is before she can truly commit herself to another person in marriage. But Leslie and Alec decided to live together. Because Leslie refused to marry Alec, he believed it justified certain actions.
Kirby wants to become a lawyer and pay for tuition by working as a waiter at a local bar called St. Elmo's, while struggling writer Kevin is currently a roommate. They are at the relative extremes of the romantic spectrum. Kirby has just reconnected with Dale Biberman, an older woman he met in college who is now a doctor. He was madly in love with her and would do anything to impress her. Kevin, on the other hand, doesn't date and says he doesn't believe in love, which leads his friends to speculate that he's secretly in love with Alec's gay. Kevin will eventually open up to his most important friends.
Billy, married and child-bearing, is an irresponsible person who would rather sleep and play saxophone than face reality and become an adult with family obligations. He is still alive to commemorate the glory days of his Brotherhood. Virgins from wealthy families and asylum Wendy work in low-income social services. Her family provided for all her financial needs. She fell in love with Billy, and she took advantage of her admiration for him. And most people care about Jules, who works in a bank, and he lives in all aspects of his life in luxury and has no financial ability to live that way of life. The question of the Seven is whether their friendship can survive in real life – finding themselves struggling with real-life issues like separation from an arrogant family, getting married, raising children, finding roses, finding love, creating identity while struggling to find a close friend.
They hitched a boat with each other as they drank heavily in the "St. Elmo" bar, which may have served as the grandfather of a "friends" café or even a bar for "How I Met Your Mother." They laugh, they fight, they learn, and at the end of the movie, things have changed, but their enthusiasm remains.
You might recognize the three stars of the "Breakfast Club" — Judd Nelson, Ellie Sheeddy and Emilio Estevez — who magically made it to college graduates, along with Andrew McCarthy, Demi Moore, Rob Lowe and Mar Winningham, to perform the full cast of St. Elmo's Fire. The Batman series was excellent, with writer/director Joel Schumacher making a name for himself with Brat Pack. That is, he created a film that dared to be dramatic, daring to touch the ugliness of growing up long after the sense of security at school and at home disappeared.
While some of the characters and their stories are questionable (Emilio Estevez, I look at you), the little stories that make up their daily lives are largely experienced by everyone, and none of the actors seem ridiculous when portraying selfish, immature, immature characters. In most cases, inexperienced people feel real, which is why the film works just as well.
Maybe it's a little too dramatic and self-indulgent because of its own good, but maybe that's the point. All seven characters are colorful, despite their terrible flaws, and are represented in the film's most awkward and beloved moments. You may not understand their decisions or why they choose to cause themselves so much trouble, but you will at least understand them in one way or another. How you interpret and appreciate the film depends on your place in life and on whether you recognize your biggest flaws.
In 1985, when I first saw this movie in a movie theater, I hated it for being too old-fashioned and too self-righteous. I can't say I have a different view of its flaws, but I don't hate the "fire of St. Elmo" anymore. It captures the charm of this period, even if it captures the laughter and pathos of time.
Seven young people who have just graduated from Georgetown university find themselves facing a variety of life challenges surrounding love. Political aide Alec (Judd Nelson) wants to marry his boarding girlfriend Leslie (Ellie Sheeddy), but she's not sure. Journalist Kevin (Andrew McCarthy) hides his secret love, while waiter Kirby (Emilio Esteves) and social worker Wendy (Marviningham) pitifully can't hide their love. Billy (Rob Roy) is married and has children but can't stay loyal, while Jules (Demi Moore) jumps as fast as he can and loves to play pranks and cocaine.
"It's our time on the edge," Billy said, but that advantage is in our interest. Unfortunately, director and screenwriter Joel Schumacher's poor handling of the character's various anxieties has created a gap for audiences like me. I think he liked them too much because they were comedic and tragic characters.
Too many groaning lines in the script seem to be trailer-used rather than real human dialogue: "Wasted love!" "Oh my God, I wish I could get it back!" I was hooked, thank you so much! "Let's rock!" You broke my heart. Then, you dump everyone again! Phrase overuse is really out of control.
I wouldn't say "St. Elmo's Fire" is so bad, it's good, but it's certainly a unique way and I think it's improved over the years. Most of this is the way the camp is valued. But it also caught a moment, when a group of young actors came to them in pop culture together. They are called BRAT packages, which makes them look more popular than before. The "BrAT Poice" moniker was something they didn't accept, and Schumacher complained about it in his DVD review, but it made them who they were, and in the film, they seemed to come alive. Oh, that image, their toilet dunks and ritual chants.
Another thing Schumacher mentioned in his review was the cinematic elite style. He noted that critics are "content for intent," but it's hard to ignore those who are mean, who look down on the poor people around them, who aren't as cool as they are, whether it's a sad naked man wandering in a hospital hallway, a gay designer, or Wendy's Schrubissui. Thor. "Welfare recipients are getting better," Billy said, which is wrong in anyone's mouth, but especially from Rob Lowe's sculpted lips. It's a line that clamors for compromise that never really comes.
The film is mostly visual. Wet streets, pink shirts, neon ties and Billy Idol wall paintings are all screams from the '80s, but much louder than they were then. David Foster's score remains the same, like two songs from the soundtrack. And the actors work well together, are naturally confrontational with each other, and have a lot of charisma, and even though Nelson is angry, McCarthy often rubs his eyes. It's a time capsule movie, a time worth being in its time capsule. But it has moments of real entertainment, maybe pain, maybe something deeper, a feeling of life experience that is about to burst in the bubble of satisfaction that you know.
Reunion in the second half.