The Breakfast Club

Template:Short description {{#invoke:other uses|otheruses}} Template:Use American English Template:Use mdy dates Template:Infobox film

The Breakfast Club is a 1985 American independent teen coming-of-age comedy-drama film written, produced, and directed by John Hughes. The ensemble cast includes Emilio Estevez, Paul Gleason, Anthony Michael Hall, Judd Nelson, Molly Ringwald, and Ally Sheedy.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The narrative follows five high school students from different social cliques who spend a Saturday in detention under the supervision of a strict vice principal, gradually revealing their inner struggles and forming unexpected bonds.<ref name="popculturehits">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Hughes completed the screenplay in 1982 and moved forward with casting following the success of Sixteen Candles (1984). Principal photography took place from March to May 1984 at the shuttered Maine North High School in Des Plaines, Illinois, which served as the film's primary location.

The film premiered in Los Angeles on February 7, 1985, and was released theatrically by Universal Pictures on February 15. It emerged as a commercial success, grossing $51.5 million against a $1 million budget. Critics widely praised the film's script, performances, and emotional resonance, and it is often cited as one of Hughes's most defining works. The prominence of the main cast contributed to their collective designation as members of the "Brat Pack", a term popularized in the media.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2015, The Breakfast Club was digitally remastered and re-released in 430 theaters to mark its 30th anniversary. The following year, it was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant". The film is widely regarded as one of the greatest teen films ever made and a quintessential work of 1980s American cinema.<ref>Template:Cite magazine</ref><ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Plot

On Saturday, March 24, 1984, five students from different social cliques report for all-day detention at Shermer High School in the fictional town of Shermer, Illinois. They include Brian Johnson, a socially awkward academic; Andrew Clark, a varsity wrestler; Allison Reynolds, a withdrawn loner; Claire Standish, a popular socialite; and John Bender, a rebellious delinquent. Vice Principal Richard Vernon supervises the group and instructs them not to speak or leave their seats. He assigns a 1,000-word essay on the topic "who you think you are".

Bender openly defies the rules, harassing and riling up Vernon, Claire, Brian, and Andrew. His disruptive behavior earns him eight additional detentions. After the students sneak out to retrieve Bender's marijuana stash, he allows himself to be caught so the others can return unnoticed. Vernon locks him in a storage closet, where he taunts Bender and dares him to retaliate, but Bender remains silent. He later escapes through the ceiling and rejoins the others in the library.

As the day progresses, the students gradually open up to one another. Claire confesses to the pressures of popularity and her parents' manipulative relationship. Bender describes the physical abuse he endures from his father. Andrew reveals that he taped a fellow student's buttocks together to impress his father and teammates. Brian admits he brought a flare gun to school after contemplating suicide due to academic pressure. Allison, neglected by her parents, admits she came to detention voluntarily.

Despite their differences, the students bond over shared insecurities and struggles. Allison and Andrew develop a romantic connection, as do Claire and Bender. Claire gives Allison a makeover, prompting Andrew's attraction, and later gifts Bender one of her diamond earrings.

Meanwhile, Vernon laments to janitor Carl that students have become disrespectful, but Carl suggests that Vernon has grown cynical and cares too much about their opinions.

Before leaving, the group agrees to let Brian write the essay for all of them. He submits a letter challenging Vernon's preconceived notions, stating that each student represents a stereotype: a brain, an athlete, a basket case, a princess, and a criminal. The letter concludes, "Sincerely yours, the Breakfast Club."

As the students depart, Bender walks across the football field and raises his fist in a silent gesture of defiance and triumph.

Cast

• Emilio Estevez as Andrew Clark, an "athlete" who is in Saturday detention for taping another student's butt cheeks together
• Paul Gleason as Richard Vernon, the domineering vice principal of Shermer High School who oversees the Saturday detention
• Anthony Michael Hall as Brian Johnson, a "brain" who is in Saturday detention for taking a flare gun to school
• John Kapelos as Carl Reed, a janitor at Shermer High School who is on friendly terms with Brian
• Judd Nelson as John Bender, a "criminal" who is in Saturday detention for setting off the fire alarm
• Molly Ringwald as Claire Standish, a "princess" who is in Saturday detention for skipping school
• Ally Sheedy as Allison Reynolds, a "basket case" who was not in Saturday detention but goes anyway
• Ron Dean as Mr. Clark, Andrew's father
• Mercedes Hall as Mrs. Johnson, Brian's mother
• Mary Christian as Brian's sister
• Tim Gamble as Mr. Standish, Claire's father
• Perry Crawford & Fran Gargano as (respectively) Mr. and Mrs. Reynolds, Allison's parents
• John Hughes as Mr. Johnson (uncredited cameo), Brian's father

Production

Development

The film was originally titled The Lunch Bunch, but writer-director John Hughes changed it to The Breakfast Club after hearing the term from a friend's high school detention group.<ref name="huffpost.com">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Hughes wrote the script around the same time as Sixteen Candles, which he completed in a matter of days. That script impressed studio executives, who chose it to mark his directorial debut instead.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Casting

Molly Ringwald and Anthony Michael Hall, both of whom starred in Sixteen Candles (1984), were approached by Hughes toward the end of that film's production. Hall was cast first as Brian Johnson, with his real-life mother and sister appearing as his character's family members. Ringwald was initially offered the role of Allison Reynolds, but she lobbied strongly to play Claire Standish (named "Cathy" in early drafts). After auditions with other actresses, including Robin Wright, Jodie Foster, Diane Lane, and Laura Dern, Ringwald secured the role of Claire.<ref name="Itzkoff">Template:Cite news</ref> Ally Sheedy was subsequently cast as Allison Reynolds.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Emilio Estevez was originally slated to portray Bender, but when no suitable actor could be found to play Andrew Clark, Estevez was reassigned to that role. Nicolas Cage was considered for Bender, while Alan Ruck also auditioned.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The choice narrowed to John Cusack and Judd Nelson; though Hughes initially cast Cusack, he was later replaced by Nelson for not appearing sufficiently intimidating.[5] Nelson's method acting, including staying in character off-camera and reportedly harassing Ringwald, led Hughes to consider firing him, though the cast persuaded him otherwise.<ref name="Itzkoff" /><ref name="wsj">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Rick Moranis was originally cast as the janitor, Carl, but was removed by producer Ned Tanen due to his broad comedic portrayal, which conflicted with the film's tone. John Kapelos was cast in his place.<ref>Template:Cite magazine</ref><ref name="Gora">Template:Cite book</ref>

Filming

Despite initial skepticism over his inexperience, Hughes convinced financiers that the film's modest $1 million budget and single-location setup minimized their risk.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He originally intended The Breakfast Club to be his directorial debut, choosing to write about high school students portrayed by young actors in an enclosed setting.<ref name="Gora" />

Principal photography began on March 28, 1984, and concluded in May. Filming took place at the closed Maine North High School in Des Plaines, Illinois, which had also been used for interior scenes in Ferris Bueller's Day Off (1986), while exterior shots for that film were filmed at nearby Glenbrook North High School. As the school's library was too small for filming, an enlarged replica was constructed inside the gymnasium.<ref name="Gora" />

The cast rehearsed for three weeks before filming began and the scenes were shot in chronological order.<ref name="Gora" /> Judd Nelson improvised multiple versions of the ending before the iconic fist pump was finalized.<ref name="huffpost.com" /> The dance sequence was originally written for Claire alone, but at Ringwald's request, Hughes expanded it to include the group.<ref name="Time">Template:Cite magazine</ref> According to the Ferris Bueller's Day Off DVD commentary, Hughes filmed parts of both movies simultaneously and shared crew across projects. The initial cut of The Breakfast Club ran 150 minutes.<ref name="new">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2009, Ally Sheedy revealed during a 25th anniversary cast reunion that a director's cut exists, but Hughes's widow declined to provide details about its status.<ref name="wsj" /> In 2015, the film's original script draft was discovered in a cabinet at Maine South High School during office relocation.<ref name="JohnsonJenfirstdraft">Template:Cite news</ref>

Poster

The film's iconic poster, featuring the five principal characters posed together, was photographed by Annie Leibovitz near the end of production. The image of the cast looking directly into the camera became influential in teen film marketing.<ref name="Gora" /> The poster described the characters as "a brain, a beauty, a jock, a rebel, and a recluse", slightly differing from the film's own terminology and sequence.

The image, including Bender's raised fist, has been widely referenced and parodied, notably in the promotional material for The Texas Chainsaw Massacre 2 (1986).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It also inspired the chapter title page of Chapter 29 in the Japanese manga series Akane-banashi.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Themes

The Breakfast Club explores the emotional and psychological struggles of American teenagers, particularly their desire to be understood by both adults and their peers. Central to the film is the tension between adolescents and authority figures, as well as the pressure teenagers face to conform to rigid social roles within high school.<ref name="Loukides">Template:Cite book</ref> Each student initially identifies with a specific stereotype—such as "brain", "athlete", or "criminal"—but over the course of the day, they reveal personal vulnerabilities that transcend these labels.<ref>Barsanti, Chris (2010). Filmology: A Movie-a-Day Guide to the Movies You Need to Know Template:Webarchive. Adams Media. p. 49.</ref>

The film critiques the expectations imposed by parents, teachers, and society, emphasizing the disconnect between how teenagers are perceived and who they truly are. As the characters interact, they begin to recognize shared experiences, leading to a deeper empathy for one another. This dismantling of social stereotypes underscores the idea that personal identity cannot be defined by superficial labels alone.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Authority figures, particularly Vice Principal Richard Vernon, are portrayed in a negative light. Vernon is depicted as authoritarian, condescending, and disconnected from the students' emotional realities. His repeated confrontations with Bender—who resists submission—illustrate the generational and ideological divide between youth and adults. The film suggests that Vernon's behavior is driven more by insecurity than genuine concern for discipline or mentorship.<ref name="Loukides" />

Release

The Breakfast Club premiered in Los Angeles on February 7, 1985. It was released theatrically in the United States by Universal Pictures on February 15, 1985.<ref name="numbers">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Home media

The film was initially released on VHS<ref name="numbers" /><ref>Template:Cite book</ref> and LaserDisc.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2003, it was issued on DVD as part of Universal's "High School Reunion Collection".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A "Flashback Edition" DVD followed in 2008, featuring bonus content including an audio commentary with cast members Anthony Michael Hall and Judd Nelson.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

A 25th Anniversary Edition Blu-ray was released in 2010, and the same disc was repackaged with a DVD and digital copy in 2012 as part of Universal's 100th Anniversary series.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

To commemorate its 30th anniversary, a digitally remastered edition was released on March 10, 2015, in DVD, Digital HD, and Blu-ray formats. The restoration was sourced from the film's original 35mm negatives to enhance picture quality.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

On January 2, 2018, The Criterion Collection released a special edition featuring both a two-disc DVD set and a standalone Blu-ray. While the transfer remained consistent with the 2015 restoration, the release included additional bonus content such as over fifty minutes of deleted and extended scenes, archival interviews, a 1985 excerpt from Today, an Electronic Press Kit, a new video essay, and an episode of This American Life focused on the film's cultural legacy.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Reception

Box office

The Breakfast Club debuted at number three at the North American box office in its opening weekend in February 1985, behind Beverly Hills Cop and Witness.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The film went on to earn $45.9 million in the United States and Canada and $51.5 million worldwide, making it a commercial success against its modest $1 million production budget.<ref name="mojo" />

Critical response

Upon its release, The Breakfast Club received generally positive reviews, with critics praising its performances and insightful portrayal of teenage dynamics, though some took issue with its sentimentality and dialogue.

On the review aggregator Rotten Tomatoes, The Breakfast Club holds an approval rating of 86% based on 111 reviews, with an average rating of 7.6/10. The site's critics consensus reads: "If The Breakfast Club's gestures towards authenticity are occasionally undercut by trendy flourishes, its blistering emotional honesty and talented troupe of young actors catapult it to the top of the teen comedy class."Template:Cn On Metacritic, the film has a weighted average score of 66 out of 100, based on 25 critics, indicating "generally favorable reviews".Template:Cn

Roger Ebert of the Chicago Sun-Times awarded the film three out of four stars, calling the performances "wonderful" and noting that while the film was "more or less predictable", it worked because it captured teenagers "willing to talk to one another" with a "surprisingly good ear for the way they speak".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Gene Siskel of the Chicago Tribune gave it three-and-a-half stars out of four, praising its use of a confined setting and comparing its format to My Dinner with Andre (1981) and The Big Chill (1983), adding that the film's restraint from typical teen-movie tropes was "much to our delight".<ref>Siskel, Gene (February 15, 1985). "Teenage life gets touching new portrayal" Template:Webarchive. Chicago Tribune. Section 7, Page A.</ref> Kathleen Carroll of the New York Daily News commended Hughes's ability to convey adolescent emotions and lauded the "exceptional cast", stating they "deserve top grades".<ref>Template:Cite news</ref>

In a more reserved take, Janet Maslin of The New York Times criticized some of the characters as "unplayable", especially those portrayed by Ally Sheedy and Judd Nelson. While she acknowledged the cast's chemistry, she argued that the film imposed "fraudulent encounter-group candor" instead of allowing more organic interaction.<ref>Template:Cite news</ref> James Berardinelli, writing retrospectively in 1998, noted that although the film was "a little talky", it had a "candor that is unexpected and refreshing" compared to more generic teen films.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Political commentator P. J. O'Rourke, reflecting in 2015, called it one of Hughes's "masterworks", highlighting its underlying conservative message about individuality and liberty over collective rebellion.<ref name="orourke20150322">Template:Cite news</ref>

James Harwood of Variety criticized the film's emphasis on dialogue over action, suggesting it might appear profound to its teenage audience simply because the characters talk rather than engage in typical teen-film antics. He concluded that this choice "should not suggest they have anything intelligent to say".<ref>Harwood, James (February 13, 1985). "Film Reviews: The Breakfast Club". Variety. 19.</ref>

Accolades

Award	Date of the ceremony	Category	Recipients	Result	Template:Refh
MTV Movie & TV Awards	4 June 2005	Silver Bucket of Excellence Award	Anthony Michael Hall, Paul Gleason, Judd Nelson, Molly Ringwald, and Ally Sheedy	won	citation	CitationClass=web }}</ref>

Soundtrack

{{safesubst:#invoke:Unsubst-infobox||$params=italic_title,name,type,longtype,artist,cover,border,alt,caption,released,recorded,venue,studio,genre,length,language,label,director,producer,compiler,chronology,prev_title,prev_year,year,next_title,next_year,misc|$extra=italic_title,longtype,border,caption,language,director,compiler,chronology,year,misc|$aliases=italic title>italic_title,Italic title>italic_title,Name>name,Type>type,image>cover,Cover>cover,Border>border,Alt>alt,Caption>caption,Longtype>longtype,Artist>artist,Released>released,Recorded>recorded,Venue>venue,Studio>studio,Genre>genre,Length>length,Language>language,Label>label,Director>director,Producer>producer,Compiler>compiler,Chronology>chronology,Misc>misc|$flags=override|$B={{#ifeq:{{#invoke:Is infobox in lead|main|[Ii]nfobox [Aa]lbum}}|true|{{#if:Template:Has short description | |Template:Short description|noreplace}}}}{{#invoke:Infobox|infobox}}Template:Template otherTemplate:Category handlerTemplate:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox album with unknown parameter "_VALUE_"|ignoreblank=y|italic_title |type |name |image |cover |border |alt |caption |longtype |artist |released |recorded |venue |studio |genre |length |language |label |director |producer |compiler |prev_title|prev_year|next_title|next_year|chronology|year|misc}}{{#if:{{#invoke:String|match|error_category=Music infoboxes with Module:String errors|A|1=soundtrackThe Breakfast Club (Original Motion Picture Soundtrack)various artistsFebruary 19, 19851984Rock, new wave37:59A&Mvarious artistsx|2=</?t[drh][ >]|nomatch=}}|Template:Main other}}Template:Main other}}

The film's official soundtrack, The Breakfast Club (Original Motion Picture Soundtrack), was produced by British pop musician Keith Forsey and released by A&M Records on February 19, 1985. The album reached number 17 on the Billboard 200 chart in the United States.

The soundtrack's most iconic track, "Don't You (Forget About Me)" by Scottish rock band Simple Minds, was released as a single on February 23, 1985, in the United States, where it topped the Billboard Hot 100.<ref>Template:Cite magazine</ref> The song was subsequently released in the United Kingdom on April 8, 1985. It remains closely associated with the film and is prominently featured in the final scene, becoming one of the most recognizable songs of the decade.

Overview

The soundtrack album for The Breakfast Club features ten tracks performed by artists from the rock and new wave genres, including three instrumental compositions by producer Keith Forsey.<ref name="allmusic">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The most prominent track, "Don't You (Forget About Me)" by Simple Minds, plays during both the film's opening and closing credits and became an international hit.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Music videos were produced for that song as well as for Wang Chung's "Fire in the Twilight", which peaked at number 110 on the Billboard Hot 100 chart.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Notably, the "Colonel Bogey March", whistled by the students as Principal Vernon enters the library, was not included on the official soundtrack album.<ref>Template:Cite news</ref><ref>Template:Cite book</ref>

Critical reception

Initial critical reception to the soundtrack was mixed. Writing for The Village Voice in 1985, music critic Robert Christgau gave the album a grade of "D−", describing its songs as "utterly negligible". He also noted that Simple Minds had attempted to distance themselves from "Don't You (Forget About Me)", despite the song's success.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In a retrospective review, Stephen Thomas Erlewine of AllMusic awarded the album three out of five stars. While praising the Simple Minds track as an "undisputed masterpiece", he described the remainder of the album as "disposable", citing its dated production and unmemorable instrumentals.<ref name="allmusic" />

Legacy

The Breakfast Club has often been cited as the quintessential 1980s film.<ref>Template:Cite book</ref> In 2008, Empire ranked it at number 369 on its list of The 500 Greatest Movies of All Time, and it later rose to number 38 in the magazine's 2014 update.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Empire's The 301 Greatest Movies of All Time. Empire via Internet Archive. Retrieved July 12, 2014.</ref> The New York Times included the film on its list of the Best 1000 Movies Ever,<ref>The Best 1,000 Movies Ever Made. The New York Times via Internet Archive. Published April 29, 2003. Retrieved June 12, 2008.</ref> while Entertainment Weekly ranked it number one on its list of The 50 Best High School Movies.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Scholar Björn Sonnenberg-Schrank referred to it as "the Citizen Kane of the teen film genre", emphasizing its lasting influence within the American coming-of-age tradition.<ref>Template:Cite book</ref> Actor Sebastian Stan later described the upcoming Marvel film Thunderbolts (2025) as "The Breakfast Club of Marvel", further underscoring the film's cultural imprint.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The film has been frequently referenced and parodied in popular media. In the 2001 spoof Not Another Teen Movie, Paul Gleason reprised his role as Assistant Principal Vernon in a scene directly parodying The Breakfast Club.<ref>Template:Cite news</ref> In 2012, the Nickelodeon television series Victorious featured a tribute episode titled "The Breakfast Bunch", drawing from the film's characters and setting.

In 2005, The Breakfast Club received the Silver Bucket of Excellence Award at the MTV Movie Awards, recognizing its cultural impact on its 20th anniversary. MTV reunited much of the cast for the event: Anthony Michael Hall, Paul Gleason, Judd Nelson, Molly Ringwald, and Ally Sheedy appeared (with John Kapelos in the audience). Emilio Estevez was unable to attend due to other commitments, and Nelson, though present earlier, did not appear on stage. Hall joked that the two were "in Africa with Dave Chappelle". As part of the tribute, the band Yellowcard performed Simple Minds’ iconic theme song from the film, "Don't You (Forget About Me)".

At the 82nd Academy Awards on March 7, 2010, Hall, Ringwald, Sheedy, and Nelson joined a tribute to John Hughes, who had passed away the previous year. They were joined by other actors associated with Hughes's work, including Jon Cryer (Pretty in Pink), Matthew Broderick (Ferris Bueller's Day Off), and Macaulay Culkin (Home Alone).

In 2018, The New Yorker published an essay by Ringwald reflecting on Hughes's legacy in the context of the #MeToo movement. She recounted her experience rewatching the film with her ten-year-old daughter, particularly addressing a scene in which her character appears to be sexually harassed. While the essay drew criticism from some who viewed it as a betrayal of Hughes, others, including author Jenny Han, praised it as a "tender, fair-minded piece".<ref>Template:Cite magazine</ref><ref>Template:Cite news</ref>

In April 2025, all five principal cast members—Hall, Estevez, Nelson, Ringwald, and Sheedy—reunited for a panel discussion in Chicago, marking the first full reunion of the ensemble in forty years.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Cancelled sequel

John Hughes had considered developing a sequel to The Breakfast Club that would reunite the original characters years later during a university detention session. The concept involved the characters having evolved into personalities that contrasted with their high school identities, highlighting how they had changed over time. However, the project was never realized, and no sequel was produced prior to Hughes's death in 2009.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Further reading

• Template:Cite magazine

External links

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• Template:Rotten Tomatoes
• Template:AFI film
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• The Breakfast Club: Smells Like Teen Realness – an essay by David Kamp at The Criterion Collection