Oh my God! Aren’t rich, white people just like the worst!?
Actually, usually I would never say something like that. I usually find class warfare to be tedious and I personally think poor people can be just as annoying as rich people. I had no interest in the whole Occupy Wall Street thing and I once referred to V For Vendetta as being V For Vapid.
No, I may not be much of a class warrior but then again, that may be because I never met any of the characters at the center of the 1985 film St. Elmo’s Fire. Seriously, if anything could turn me into a slogan-spouting, window-smashing revolutionary, it would be having to deal with any of the self-centered, entitled characters in St. Elmo’s Fire.
St. Elmo’s Fire is about a group of seven friends, three of whom are played by actors who co-starred in The Breakfast Club. These friends all met at and are recent graduates from Georgetown University. St. Elmo’s Fire follows them as they laugh, love, drink, do drugs, and try to figure out what they want to do with the rest of their lives.
For instance, there’s Billy (Rob Lowe), who has big hair and wears one dangling earring. Billy was in a fraternity and spends most of the movie wishing that he still was. Billy also plays the saxophone and he has a wife and a kid who he has pretty much abandoned … well, you know what? I like Rob Lowe. He seems like a fun guy and his DirectTV commercials were all classics but oh my God, does he ever give a bad performance in St. Elmo’s Fire. Some of it is because Billy is not a very likable character. He’s supposed to be the rough-around-the-edges, secretly sensitive rebel type but ultimately, he just comes across as being a loser.
And then there’s Jules (Demi Moore), who does too much cocaine and, as a result, finds herself fearing that she’s on the verge of being sold into a sexual slavery. Jules doesn’t get to do much other than be rescued by the other characters. Fortunately, when it looks like the group is drifting apart, Jules attempts to commit suicide and brings everyone back together. Way to be a plot device, Jules!
Wendy (Mare Winningham) is the sweet but insecure virgin who has a crush on Billy. Wendy works as a social worker and ends up getting insulted by the very people that she’s trying to help. Winningham gives one of the film’s better performances but you can’t help but feel that Wendy deserves better friends.
Speaking of good performances, Andrew McCarthy also gives a pretty good one. McCarthy plays Kevin Dolenz, the idealistic writer who everyone is convinced is gay because he hasn’t had sex in 2 years. However, Kevin is actually in love with his best friend’s girlfriend. As written, Kevin runs the risk of coming across as being insufferably moralistic but McCarthy gives a likable performance. He turns Kevin into the nice guy that we all want to know.
And then there’s the Breakfast Club alumni.
Alec Newberry (Judd Nelson) was the vice-president of the Georgetown Democrats but now, because it pays better, he’s taken a job working for a Republican senator. Alec’s girlfriend is Leslie (Ally Sheedy). Alec obsessively cheats on Leslie, claiming that he can’t be loyal to her unless she’s willing to marry him. The group of friends is largely centered around Alec and Leslie though it’s never really clear why. Alec and Leslie are boring characters and, as a result, they’re a boring couple.
And then there’s Kirby (Emilio Estevez). Estevez gives a likable performance but he often seems to be appearing in a different movie from everyone else. Kirby is working on his law degree and he’s in love with a hospital intern named Dale (Andie MacDowell). Unfortunately, Dale isn’t as interested in Kirby as he is in her so Kirby responds by stalking her and trying to change her mind. There’s an earnestness and sincerity to Kirby that makes you like him, even if his behavior is actually rather creepy.
As for the film itself — well, it’s directed by Joel Schumacher and there’s a reason why Schmacher has the reputation that he does. As a director, Schumacher is good at gathering together an attractive cast but he has close to no idea how to tell a compelling story. St. Elmo’s Fire plods along, dutifully telling its story but providing little insight or surprise.
If you’ve read some of my previous reviews, you’re probably expecting this to be the point where I argue that St. Elmo’s Fire works as a time capsule. But, honestly, this film doesn’t have enough insight to really work as a time capsule. I mean, if you love 80s hair and 80s fashion, you might enjoy St. Elmo’s Fire but, then again, you could always just do a google image search and have the same basic experience.
Through the Shattered Lens 