![]() ![]() No longer wanting be a glutton for punishment, Watts delivers the now classic line to Keith, “The only things I care about in this goddamn life are me and my drums and you,” after insisting that they start seeing less of each other. And even though Keith, too, recognizes that there’s something more to their rapport than the platonic, he falls back on the natural daftness of being a man to avoid the emotions he intuits. ![]() Some Kind of Wonderful drives in this point often with the intensity of a stake into a vampire as Watts’ feelings intensify and she’s unable to do anything about them. Regardless of the fact that her male friend enjoys her company more and generally prefers the comfortableness of being around her, it still doesn’t manage to translate for the guy in question that the entire crux of a good relationship is friendship. Those she doesn’t desire, on the other hand, like Ray (Scott Coffey), another musician who’s too into her, are always accessible. Representing the classic archetype of the tomboy–except far more badass by virtue alone of playing the drums and making a chauffeur’s uniform somehow endlessly chic–Watts is the “friend girl” who can never seem to be seen in a sexual context by the object of her desire. Seizing his moment to ask Amanda out while she’s still single, Keith foolishly takes Watts up on her offer to practice his kissing technique on her, inevitably making Watts all the more jealous when Amanda ends up accepting Keith’s advances. Caroline (Haviland Morris), who always seemed content not to question the motives behind their existence too heavily. This amount of layeredness in her character shows a strong evolution from Hughes’ popular girl antagonists of the past, e.g. In a rapport that would mirror the one between Amanda (apparently it’s the name for popular and malleable girls) Beckett and Mike Dexter in Can’t Hardly Wait, Amanda realizes that she’s only in the relationship to swim with the proverbial social sea. That, and that she’s just broken up with the requisite douchebag of the movie, Hardy Jenns (Craig Sheffer)–a really great name for an asshole. “Hot” and “normal” enough to blend in with the rich kid crowd, Amanda seems far out of Keith’s reaches–which, of course, only makes her more desirable. However, the girl that manages to “escape,” so to speak, from her blue collar background is Amanda Jones (Lea Thompson, who could only have managed to be a dream girl figure in the 80s). His best friend, Watts (Mary Stuart Masterson), suffers from the same socioeconomic standing that makes her equally as persona non grata at San Paolo High School (really, San Pedro High School). means there aren’t too many tracks to speak of) high school student who works as a mechanic. Never one to shy away from his usual themes of class division, Hughes’ protagonist, Keith Nelson (Eric Stoltz), is a “wrong side of the tracks” (even though, in this case, its setting in L.A. Once again putting Howard Deutch in the director’s chair (as Hughes also did for Pretty in Pink, which celebrated its own thirtieth anniversary last year), Hughes blazed the trail of a highly modern topic: the often unwanted friend zone that occurs between men and women. Coinciding somewhat unfortunately with another John Hughes-related milestone–the death of Bill Paxton, legendary douchebag perfecter in the form of Chet from Weird Science–the thirtieth anniversary of Some Kind of Wonderful is upon us, with its original theatrical release date being February 27, 1987.
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