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• 1 2016-03-10T22:35:14-08:00 Pretty in Pink 5 plain 2016-03-11T09:49:02-08:00 The final Hughes-Ringwald film is also the most blatantly class-obsessed. Dealing with the relationship between Andie (Molly Ringwald), an inventive girl with a single dad who lives on the wrong side of the tracks, and Blane (Andrew McCarthy), a curious and sensitive rich kid, the film directly addresses issues of class difference in its main storyline. The first date sequence, in which Andie and Blane attend a "richie" party, visit a New Wave bar, and end up at Andie's house where they have their first kiss, clearly illustrates the film's interest in class relations. The party, thrown by Blane's friend Steff (James Spader), is a bacchanal much like the after-party in Sixteen Candles, irresponsible and vapid kids trashing a nice house. The party clearly isn't Andie's scene but she agrees to stay until Steff and his girlfriend begin insulting her (it should be noted that Steff confessed in an earlier scene to having a crush on Andie, though she rejected him). Andie then takes Blane to Cats, a New Wave club, where he becomes the fish out of water, getting the eye from a couple of punks by the bar and receiving verbal abuse from Andie's admirer/stalker, Duckie (Jon Cryer). The two then make their way to Andie's house, where they resolve to get over their class differences and make their relationship work despite the disapproval of their friends. Once again, characters in the film go through a transformation based on acquisition and gain access to upward mobility through the spontaneous and arbitrary outburst of teen love. In fact, the film outlines two such transformations. The first occurs when Andie’s punk boss, Iona (Annie Potts), goes on a date with a square pet shop owner. Iona, who spent the entire first half of the film dressed in various over-the-top outfits, is now, in her words, “dressed like someone’s mother”. Like the transformations in the previous films, Iona’s is defined by a markedly conservative shift in her appearance, presenting as more traditionally feminine and thus palatable to the gaze of conventional men. Andie, on the other hand, goes through a transformation based not on commercial identity but rather on personal expression. Her triumphant appearance at the prom in her homemade dress is a declaration of her liberation from the constraints of material desire and her own internalized class shame. Interestingly enough, the film originally ended with her dancing with Duckie rather than kissing Blane. In a move of real-world wish fulfillment, test audiences rejected the Duckie ending in favor of one that reinforced a cultural script in which women should aspire to marry up. The incoherence and contradictory nature of Pretty in Pink is of interest because of the ways in which it both plays into and transcends the image of Ringwald constructed by the trilogy as a whole.