In the past, I would have thought that Hulu’s “Brats” would be the same as the rest of the hagiographic clip reels except this time, it would be targeted towards young actors of the 80s. Actors who are creatives and who had a huge impact on pop culture in the middle of the decade. Certainly, I’m pleased to say, there’s a different story. It’s been impressive seeing McCarthy touch base with his Brat Pack colleagues to engage in an authentic evaluation of the role that image and a single moniker could play in one’s career. The two most iconic words of the eighties, unfortunately, became something of a stoneweight to the careers of the people who were members. In this case, somewhat the opposite happens, Andrew McCarthy is in an age range where most adults wonder how on earth they got in such a position.
The blanket assumption is that the Brats Pack originated during the early years of changing the movie industry from the idea of making mature-themed movies showcasing adults only to films like “Risky Business” that truly captivated teenagers. All those members riding that wave eventually became known as The Brat Pack.
Using the criterion that dictates that there are at least two core members associated with the Brat Pack, one may argue that the first such film is 1983’s The Outsiders, but it seems that the class of the same year is more representative of the popular memory of this group, from which there are the John Hughes movies such as Sixteen Candles and especially The Breakfast Club that came in sequence. A good part of the “Brats” inquires about who is incorporated in the Brat Pack- Jon Cryer certainly didn’t want to be pegged by such label at that time, and Lea Thompson appears to be more along the periphery than in the center of the leaguer Among the persons who were most often associated with Brat Pack, there were Mccarthy, Emilio Estevez, Anthony Michael Hall, Rob Lowe, Demi Moore, Judd Nelson, Molly Ringwald, Ally Sheedy.
1985 was the year that can be regarded as the turning point in their lives. In this specific year, the New York Magazine started to publish the profile of Emilio Estevez written by a journalist named David Blum. It is interesting to note that David had some of the same colleagues as Estevez and was able to form an opinion that two opposing forces exist in the same team, to which he used the phrase Brat Pack. This is a fascinating term for such a movement, and Blum explains its origin in an outstanding interview almost at the end of the film. To be frank, I was so glad that McCarthy managed to speak to a man who completely changed the course of his life in ways he could have never imagined. The interplay between stars and the media is one of the key themes and the variety of drivers that push these two parties apart is fascinating. McCarthy truly captures the essence of ‘Brats’ in this conversation, emphasizing the fact that Blum took hold of his career with what appears to be a throwaway nickname. This shouldn’t be a blush for some of them, as previously in the film, Martin Scorsese would never call Scorsese “The Brat Pack” and those performers who were trying to establish themselves with this término literally were in a stop sign for years and some still can’t shake it off.
From the interview with Judd Nelson, the most surprising thing for him was that Emilio Estevez was wildly successful in directing since he had the impression from the videos featuring the young actor that he would never stand behind the camera. McCarthy also was rather shocked to see his long-missed friends after such a long break. The duo got so stuck in their work that time got away from them, but these were times worth celebrating. Judd Nelson sat in front of the camera while still in makeup because they were running so late, and through an uproar, the third member of the duo finally emerged. The actors never formally pointed out their intentions, but by then the audience had finally seen the first images of the ‘Brats’ and their impromptu since the beginning photo sessions.
McCarthy, too, wisely avoids turning “Brats” into a simple nostalgia and even seeks assistance with cultural critiques from no less than Malcolm Gladwell and the prominent critic Kate Erbland. His achievement in “Brats” has been to transform a tag into a discussion. Why should we need the help of pop culture brands to articulate our passions? What does it do to the perception of artists when we offer them creative stereotypes? There are times when it seems as if it’s McCarthy who is trying to cover too much, and it’s largely due to the fact that the film seems to become a tribute to John Hughes for just a tad too long. I would, however, be thankful for a documentary about a particular moment within popular culture that is packed with far more material than is necessary when so many of such films feel like they have little more to offer than a restatement of something that is already popular.
The abundance of charisma the Brat Pack received is staggering. Ironically most of them were barely adults themselves. It is Lowe, one of the Brat Pack members who argued that their generation transitioned mainstream audiences into a world full of youthful story-telling, which is also an ironic sentiment surrounding the hallmark of the Brats; how actors and actresses who made waves throughout the industry eventually became stigmatized with such a derogatory term. Brats, in this case, refers to the re-appropriation and the transformation of that slur. And it’s about time.
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