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When he wasn’t writing creatively, he was writing about how much writing he was doing. So when Hughes died suddenly of a heart attack while out walking in New York City last August, at only 59 years of age, it wasn’t just the 25th-reunion crowd that fell into mourning and remembrance but nearly the whole of movie-watching America.
A spiral-bound logbook from 1985 finds Hughes keeping track of his progress on The basic story line, he notes, was developed on February 25. Duly and fondly recalled were the tragicomic romantic trials of the coltish young Molly Ringwald; the jittery patter of gangly Anthony Michael Hall; the stalking menace and flared nostrils of moody Judd Nelson; and the fictional community that their characters inhabited, Shermer, Illinois, which was at once an Everytown for every teen and an explicit homage to Hughes’s home turf, the North Shore suburbs above Chicago.
Writing was, for Hughes, not so much a profession as a condition of life. His best movies, the teen trilogy in particular, transcended their origins as light 1980s entertainments to become, first, lodestars for such developing talents as Judd Apatow and Wes Anderson, and then, as these pictures proved their durability on TV broadcasts and DVD, outright classics.
The thoughts that germinated in his brain took a direct path to his hands, which filled notebooks, floppy disks, and hard drives with screenplays, stories, sketches, and jokes. It was remarkable enough that a baby-boomer born squarely in the middle of the 20th century had somehow laid claim to the title of Teen Laureate of the 1980s; more remarkable still was that his movies turned out to be a renewable resource, with a reach far beyond the generation for which they were originally intended.
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