The lights dimmed, and a hush fell over the crowd. As the opening credits rolled, a familiar voice filled the theater, rich and resonant. It was Alex Hayes, singing "Don't You (Forget About Me)." The song, written by record producer Keith Forsey and guitarist Steve Schiff specifically for The Breakfast Club, immediately captivated the audience. A murmur of recognition rippled through the seats, many recognizing Alex's voice.
On screen, the story unfolded: On Saturday, March 24, 1984, five students from different social cliques reported for all-day detention at Shermer High School in the fictional town of Shermer, Illinois. They included Brian Johnson, a socially awkward academic; Andrew Clark, a varsity wrestler; Allison Reynolds, a withdrawn loner; Claire Standish, a popular socialite; and John Bender, a rebellious delinquent.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, a stern figure, supervised the group, instructing them not to speak or leave their seats. He assigned a 1,000-word essay on the topic "who you think you are".
From the outset, Alex Hayes, as John Bender, commanded the screen. His portrayal was magnetic, capturing the rebellious spirit and vulnerability of the character with raw intensity. Bender openly defied Vernon's authority, provoking both the Vice Principal and his fellow detainees. His disruptive behavior earned 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, in a display of power, locks Bender in a storage closet, where he taunts him and dares him to retaliate. However, Bender, in a moment of unexpected restraint, remains silent. He later escapes through the ceiling and rejoins the others in the library.
As the day progressed, the students gradually shed their social facades and opened up to one another. Claire confessed to the pressures of popularity and the manipulative nature of her parents' relationship. Bender, in a heart-wrenching scene, described the physical abuse he endured from his father. Andrew revealed that he taped a fellow student's buttocks together – a humiliating act driven by the desire to impress his father and teammates. Brian admitted he brought a flare gun to school, a desperate act fueled by the overwhelming pressure he felt after contemplating suicide due to academic failure. Allison, often overlooked and neglected by her parents, admitted she came to detention voluntarily, seeking some form of attention or connection.
Despite their vastly different backgrounds, the five students found common ground in their shared insecurities and struggles. A connection sparked between Allison and Andrew, a tentative romance blossoming amidst the sterile confines of the library. Similarly, Claire and Bender found themselves drawn to each other, their initial animosity giving way to a more profound understanding. Claire's makeover of Allison, a subtle act of acceptance and transformation, further highlighted the shifting dynamics within the group and contributed to Andrew's growing attraction to Allison. Claire giftes Bender one of her diamond earrings. It was a significant gesture. More than just a piece of jewelry, it symbolized her vulnerability, a willingness to break down the walls of her privileged world and connect with him on a deeper level. It was a token of affection, yes, but also an acknowledgment of the raw honesty and pain he had revealed, something that resonated with her beyond the superficialities of their social divide. Bender, surprised by the offering, met her gaze, the bravado momentarily softened. In that charged moment, the distance between them dissolved, and they kissed, a raw and urgent expression of their unexpected intimacy.
Meanwhile, Vernon, in a conversation with janitor Carl, lamented the perceived disrespect from the students. Carl, however, offered a different perspective, suggesting that Vernon had grown cynical and cared too much about the students' opinions, losing sight of their individual struggles.
Before leaving, the group made a collective decision: Brian, the "brain," would write the essay for all of them. His submission was not an essay, but a letter challenging Vernon's preconceived notions and stereotypes. Brian eloquently argued that each student was more than the label assigned to them: a brain, an athlete, a basket case, a princess, and a criminal. The letter, signed "Sincerely yours, the Breakfast Club," served as a powerful statement of defiance and unity.
As the students departed, Bender, in a final act of rebellion and triumph, walked across the football field and raised his fist in a silent, yet potent, gesture.
As the credits rolled, accompanied by the poignant strains of "Don't You (Forget About Me)," a thunderous applause erupted. The audience, moved and exhilarated, rose to their feet, their cheers echoing through the theater. This was more than just a movie; it was a mirror reflecting their own lives, their own hopes, and their own fears. The film delved into the characters' inner struggles and the emotional pain they felt when misunderstood or rejected by their peers and those in positions of authority. The themes of teenage angst, parental pressure, and the universal struggle for self-discovery resonated deeply, evoking a powerful sense of connection and nostalgia. Alex Hayes, in his debut as a producer, had delivered a film that would undoubtedly resonate with generations to come.
Alex, standing amidst the adulation, felt a wave of pressure wash over him, quickly followed by an immense sense of relief. This was his first film as a producer, and while he had seen it before its release, that viewing had been in the company of studio executives and those directly involved in the film's production. Their opinions, he knew, might be biased. But this. This spontaneous, overwhelming outpouring of emotion from a real audience... it was undeniable. It was real.
Kathy Ireland, standing beside him, turned to Alex, her eyes sparkling with pride. She reached up and kissed him on the cheek, offering her heartfelt congratulations. "That was a great film, Alex," she said, her voice filled with genuine admiration.
John Hughes, the film's writer and director, was also swept up in the enthusiastic response. The film's stars - Emilio Estevez, Molly Ringwald, Anthony Michael Hall, and Ally Sheedy - joined in, congratulating both Alex on his producing debut and John Hughes on his direction and screenplay.
Kirk Kerkorian, observing the audience's reaction, felt a surge of satisfaction. The magic touch of Alex Hayes, it seemed, had worked its charm once again. The film, with its modest budget, was generating the kind of buzz that MGM desperately needed.
On Saturday, November 10th, the reviews for The Breakfast Club were published. At the CAA offices, Paula Wagner, who had recently taken on Alex as a client, anxiously awaited the critical response. This was the first film released under her representation, and she felt the pressure acutely. As she read the reviews, her tension gradually eased.
The critical response to The Breakfast Club was largely positive, with approximately 90% of critics giving favorable or mixed reviews.
Some of the Positive Review include:
"John Hughes has locked himself in a time capsule, still bearing the mind of a teenager, and he is able to tap into these feelings of teenage angst. That is what separates 'The Breakfast Club' from lesser films; it possesses an uncanny ability to articulate the complexities of adolescence, and Alex Hayes delivers a performance of remarkable depth, capturing both the rebellious exterior and the vulnerable interior of John Bender with compelling authenticity." - Roger Ebert, Chicago Sun-Times.
"The film rides entirely on the strength of its authentic, revealing dialogue and the astonishingly mature, resounding performances of its cast. While the ensemble is strong, Alex Hayesis terrific, and brings genuine rebelliousness and irreverence to his character; he's magnetic, commanding the screen with a captivating presence that elevates the entire film. Hughes's direction allows each actor to shine, but Hayes's portrayal is particularly noteworthy." - Gene Siskel, Chicago Tribune.
"John Hughes, who directed 'Sixteen Candles,' has again demonstrated his remarkable rapport with teenage actors, eliciting performances of striking honesty and nuance. Alex Hayes, in particular, shines as Bender, navigating the character's shifts between aggression and vulnerability. Hughes's ability to draw such authentic portrayals from his cast is a testament to his understanding of the teenage experience." - Kathleen Carroll, New York Daily News.
Some of Mixed/Negative Reviews include:
"While John Hughes demonstrates a clear affinity for the concerns of teenagers, 'The Breakfast Club' suffers from a lack of interaction between the teenagers and the adult world, creating a somewhat insular and limited perspective. The film's confinement to the library, while thematically relevant, occasionally leads to a static and stagey feel." - Janet Maslin, The New York Times
"While the film has strong performances, it gets too wordy in places, sacrificing visual storytelling for extended dialogue sequences. Though the dialogue is often sharp and insightful, the film's pacing suffers at times, and it struggles to maintain momentum throughout its single-location setting." - Variety
The audience response was even more enthusiastic, with 95% of viewers giving positive reviews and the film achieving an overall cinema score of A+.
The film's exploration of teenage struggles, parental pressure, and the search for identity clearly resonated with audiences. The Friday box office numbers came in at $3.75 million. While this was smaller than the openings for some of Alex's recent blockbusters, it was considered a strong showing for a film that was marketed more as a "talking movie" than a visual spectacle.