Watts is constantly showing Keith how she feels about him, but he’s too stupid to notice. I think we'd get along much better if we didn't spend so much time together anymore." And I came to a conclusion that I didn't wanna deal with, but now that we talked I can't hide it anymore. "I've been thinking a lot lately about you and me. When she confronts Keith one last time about not going through with his date with Amanda, she goes against the grain of a lovelorn teenage girl by choosing to safeguard her own heart: She can't handle watching her best friend get hurt by this girl, but she definitely can't handle them ending up together. After many attempts to steer Keith away from his obsession with Amanda Jones she chooses to distance herself from the situation. Unlike her male counterpart, the Duckman, Watts handles her unrequited feelings with a level of decorum. Even her infatuation with Keith doesn't deter her from this passion. Family isn't her thing-there's mention of her brothers but her parents are gone. ![]() School isn't her thing-she never studies. Did you know a girl can be whatever she wants to be?"įrom the opening drumbeat, Watts knows exactly who she is and what she wants to be. The girls steal the show as two very different types, both with little interest in catering to anyone's ideas about who they are or what they should be. But the most notable differences are found in the two female leads, Watts and Amanda Jones. Yet it has a number of qualities that help it stand on its own, including, but not limited to, an ending Hughes still felt a strong need to get right. The movie is often criticized as being too similar to Pretty in Pink, minimizing it to little more than a gender-swapped version of the plot. This time Hughes got the ending he wanted, leaving beautiful and popular Amanda Jones (Lea Thompson) standing alone as the outcasts walked arm in arm into the moonlight. Not to worry, though, because the duo teamed up again the following year to bring us the last screenplay by Hughes to focus primarily on teenagers: Some Kind of Wonderful. The story behind the scenes is that Hughes had penned a different ending but changed it after it tested poorly with an audience. In 1986, Hughes and director Howard Deutch joined forces to make Pretty in Pink, which ended with Andie (Molly Ringwald) choosing rich and popular Blane (Andrew McCarthy) over definitive outcast Duckie (Jon Cryer). If there was ever a filmmaker capable of making outcasts feel okay about who they are it was John Hughes. Looking back, I realize I was already different, already an outcast and what I was looking for was a way to feel okay about it. More like the type of girl who could stand up for herself without giving a damn what anyone thought. I couldn’t play the drums, hell, they weren’t even real drums, but having them made me feel more like Watts. I even made my own red fringe gloves, bought an electronic drum kit, and carried drumsticks around in the belt loop of my jeans. ![]() She awakened a desire in me to be different. Watts was tough, she had singular style, and she fought her enemies with nothing more than attitude and witty remarks. This girl on the screen inhabited everything I wanted to be. The angst of being a teenager still ahead of me meant I was old enough to have a crush on Keith (Eric Stoltz), but it was Watts (Mary Stuart Masterson) who made the biggest impression. I was ten years old when I first saw Some Kind of Wonderful.
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