The film stars Matthew Broderick, Mia Sara, and Alan Ruck with supporting roles from Jennifer Grey, Jeffrey Jones, Cindy Pickett, Edie McClurg, and Lyman Ward
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8. MY DAY OFF
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O‘ZBEKISTON RESPUBLIKASI OLIY TA’LIM VA INOVATSIALAR TA’LIM VAZIRLIGI FARG‘ONA DAVLAT UNIVERSITETI Iqtsodiyot yo‘nalishi Ingliz tili fanidan 22.42B-guruh talabasi Ibragimova Zarifaxon MY DAY OFF mavzusida MUSTAQIL ISHI Farg‘ona 2023 MY DAY OFF MY DAY OFF The film stars Matthew Broderick, Mia Sara, and Alan Ruck with supporting roles from Jennifer Grey, Jeffrey Jones, Cindy Pickett, Edie McClurg, and Lyman Ward. It tells the story of a high school slacker who skips school with his best friend and his girlfriend for a day in Chicago and regularly breaks the fourth wall to explain his techniques and inner thoughts. Hughes wrote the screenplay in less than a week. Filming began in September 1985 and finished in November, featuring many Chicago landmarks including the then Sears Tower, Wrigley Field and the Art Institute of Chicago. The film was Hughes's love letter to Chicago: "I really wanted to capture as much of Chicago as I could. Not just in the architecture and landscape, but the spirit."[3] Released by Paramount Pictures on June 11, 1986, the film became the tenth-highest-grossing film of 1986 in the United States, grossing $70 million over a $5 million budget. The film received acclaim from critics and audiences alike, who praised Broderick's performance, the humor, and the tone. In 2014, the film was selected for preservation in the United States National Film Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically significant."[4][5][6] The film was followed by a television series, starring Charlie Schlatter as title character. A spin-off film titled Sam & Victor's Day Off, focusing on the two valets who took Cameron's father's Ferrari on a joy ride, is in development for Paramount+.[7] Plot[edit] In a Chicago suburb one month before graduation, high school senior Ferris Bueller fakes illness to stay home from school. His parents believe he is ill, though his sister Jeannie does not. After learning Ferris stayed home for the day, the Dean of Students Ed Rooney is determined to expose Ferris's chronic truancy. Ferris persuades his hypochondriac best friend Cameron Frye to help excuse Ferris's girlfriend Sloane Peterson from school on the grounds that her grandmother died. To complete the ruse that Sloane's father is picking her up from school, Ferris borrows Cameron's father's 1961 Ferrari 250 GT California Spyder. Cameron, who is afraid of his father's wrath, is dismayed when Ferris decides to take the car on a day trip into Chicago. Ferris promises they will return the car as it was, including preserving the original odometer mileage. The trio leave the car with parking attendants, who promptly go on a long joyride. The three explore the city, with Ferris taking care to stay out of view from his father. They visit the Art Institute of Chicago, use deception to dine at an upscale restaurant, go to a Chicago Cubs baseball game, and attend the Von Steuben Day Parade, with Ferris jumping on a float and performing "Twist and Shout" by the Beatles. Rooney prowls the Bueller home for Ferris, becoming victim to several pratfalls. Jeannie skips class and returns home to confront Ferris, but finds Rooney instead. Shocked by his appearance, she knocks him unconscious and calls the police. Rooney regains consciousness and leaves, and the police arrest Jeannie for making a false report. Upon collecting the Ferrari and heading home, Ferris and Cameron discover that the car's mileage has gone up significantly. Cameron becomes semi-catatonic from shock, but wakes up after falling into a pool. Back at Cameron's house, Ferris jacks up the car and runs it in reverse to rewind the odometer. This fails, and Cameron destroys the car out of anger over his domineering father. Ferris offers to take the blame, but Cameron declines, deciding to stand up to his father. After walking Sloane home, Ferris realizes his parents will be returning soon. He races on foot through the neighborhood, but is nearly hit by Jeannie who is driving their mother home. Katie fails to notice Ferris while Jeannie does. Ferris makes it home first, but Rooney confronts him before he can get back inside. Seeing the two through the window, Jeannie has a change of heart and allows Ferris to come inside, claiming that Ferris was at the hospital for his illness. As Rooney flees from Ferris's Rottweiler, Ferris rushes back to his bedroom to await his parents. They find him in bed and believe he has been there all day, further suggesting to take the next day off as well. Cast[edit] Broderick in Sweden during his promotion of Ferris Bueller's Day Off, June 1986 Matthew Broderick as Ferris Bueller, a popular high school senior Alan Ruck as Cameron Frye, Ferris's best friend Mia Sara as Sloane Peterson, Ferris's girlfriend Jennifer Grey as Jeanie Bueller, Ferris's sister Jeffrey Jones as Ed Rooney, the Dean of Students Cindy Pickett as Katie Bueller, Ferris's mother Edie McClurg as Grace, the school secretary Lyman Ward as Tom Bueller, Ferris's father Charlie Sheen as a boy in the police station Ben Stein as the economics teacher Del Close as the English teacher Virginia Capers as Florence Sparrow, the school nurse Richard Edson as a garage attendant Larry "Flash" Jenkins as the garage attendant's co-pilot Kristy Swanson as an economics student Max Perlich as an economics student Scott Coffey as an economics student Anne Ryan as Shermerite Jonathan Schmock as Chez Quis Maitre'd Louie Anderson as a flower deliveryman Stephanie Blake as a singing nurse Dee Dee Rescher as a bus driver who picks up Rooney during the credits John Hughes made his final on-screen appearance in a cameo role as a man running between the cabs, but was uncredited. Production[edit] Writing[edit] As he was writing the film in 1985, John Hughes kept track of his progress in a spiral-bound logbook. He noted that the basic storyline was developed on February 25 and was successfully pitched the following day to Paramount Studios chief Ned Tanen. Tanen was intrigued by the concept, but wary that the Writers Guild of America was hours away from picketing the studio.[8] Hughes wrote the screenplay in less than a week.[9] Editor Paul Hirsch explained that Hughes had a trance-like concentration to his script-writing process, working for hours on end, and would later shoot the film on essentially what was his first draft of the script. "The first cut of Ferris Bueller's Day Off ended up at two hours, 45 minutes. The shortening of the script had to come in the cutting room", said Hirsch.[10] "Having the story episodic and taking place in one day...meant the characters were wearing the same clothes. I suspect that Hughes writes his scripts with few, if any costume changes just so he can have that kind of freedom in the editing."[10] Hughes intended to focus more on the characters rather than the plot. "I know how the movie begins, I know how it ends", said Hughes. "I don't ever know the rest, but that doesn't seem to matter. It's not the events that are important, it's the characters going through the event. Therefore, I make them as full and real as I can. This time around, I wanted to create a character who could handle everyone and everything."[11] Edward McNally was rumored as the inspiration for the character Ferris Bueller. McNally grew up on the same street as Hughes, had a best friend named "Buehler", and was relentlessly pursued by the school dean over his truancy, which amounted to 27 days absent, compared to Bueller's 9 in the film.[12] Casting[edit] Hughes said that he had Broderick in mind when he wrote the screenplay, saying Broderick was the only actor he could think of who could pull off the role, calling him clever and charming.[13] "Certain guys would have played Ferris and you would have thought, 'Where's my wallet?'" Hughes said. "I had to have that look; that charm had to come through. Jimmy Stewart could have played Ferris at 15...I needed Matthew."[13] Anthony Michael Hall, who had worked with Hughes on three previous films, was offered the part but turned it down as he was busy with other projects.[14][15] Other actors who were considered for the role included Jim Carrey,[16] John Cusack,[16] Johnny Depp,[17] Tom Cruise, and Michael J. Fox.[18] Sara surprised Hughes when she auditioned for the role of Sloane Peterson. "It was funny," she said. "He didn't know how old I was and said he wanted an older girl to play the 17-year-old. He said it would take someone older to give her the kind of dignity she needed. He almost fell out of his chair when I told him I was only 18."[19] Molly Ringwald, who had also wanted to play Sloane, said, "John wouldn't let me do it: he said that the part wasn't big enough for me."[8] Ruck had auditioned for the role of Bender in The Breakfast Club that went to Judd Nelson, but Hughes remembered Ruck and cast him as the 17-year-old Cameron Frye.[20] Hughes based the character of Cameron on a friend of his in high school: "He was sort of a lost person. His family neglected him, so he took that as license to really pamper himself. When he was legitimately sick, he actually felt good, because it was difficult and tiring to have to invent diseases but when he actually had something, he was relaxed."[21] Ruck said the role of Cameron had been offered to Emilio Estevez, who turned it down. "Every time I see Emilio, I want to kiss him," said Ruck. "Thank you!"[8] Ruck, then 29, worried about the age difference. (Ruck was only 6 years younger than director Hughes) "I was worried that I'd be 10 years out of step, and I wouldn't know anything about what was cool, what was hip, all that junk. But when I was going to high school, I didn't know any of that stuff then, either. So I just thought, well, hell—I'll just be me. The character, he's such a loner that he really wouldn't give a damn about that stuff anyway. He'd feel guilty that he didn't know it, but that's it."[20] Ruck was not surprised to find himself cast young. "No, because, really, when I was 18, I sort of looked 12," he said. "Maybe it's a genetic imbalance."[20] Ruck and Broderick had previously acted together in the Broadway production of Biloxi Blues. Cameron's "Mr. Peterson" voice was an in-joke imitation of their former director Gene Saks.[8] Ruck felt at ease working with Broderick, often sleeping in his trailer. "We didn't have to invent an instant friendship like you often have to do in a movie," said Ruck. "We were friends."[8] Jones was cast as Rooney based on his role in Amadeus, where he played the emperor; Hughes thought that character's modern equivalent was Rooney.[21] "My part was actually quite small in the script, but what seemed to be the important part to me was that I was the only one who wasn't swept along by Ferris," recalls Jones.[22] "So I was the only one in opposition, which presented a lot of opportunities, some of which weren't even in the script or were expanded on. John was receptive to anything I had to offer, and indeed got ideas along the way himself. So that was fun, working with him."[22] "Hughes told me at the time—and I thought he was just blowing his own horn—he said, 'You are going to be known for this for the rest of your life.' And I thought, 'Sure'... but he was right."[23] To help Jones study for the part, Hughes took him to meet his old vice principal. "This is the guy I want you to pay close attention to," Jones explained to Hughes' biographer Kirk Honeycutt. While meeting him, the VP's coat momentarily flew open revealing a holster and gun attached to the man's belt. This made Jones realize what Hughes had envisioned. "The guy was 'Sign up for the Army quick before I kill you!'" Jones exclaimed.[24] Stein says he got the role of Bueller's Economics teacher through six degrees of separation.[25] "Richard Nixon introduced me to a man named Bill Safire, who's a New York Times columnist. He introduced me to a guy who's an executive at Warner Brothers. He introduced me to a guy who's a casting director. He introduced me to John Hughes. John Hughes and I are among the only Republicans in the picture business, and John Hughes put me in the movie," Stein said.[25] Hughes said that Stein was an easy and early choice for the role of the teacher: "He wasn't a professional actor. He had a flat voice, he looked like a teacher."[21] Filming[edit] Southeast view of the house in Los Cerritos in Long Beach, California, used in the film "Chicago is what I am," said Hughes.[3] "A lot of Ferris is sort of my love letter to the city. And the more people who get upset with the fact that I film there, the more I'll make sure that's exactly where I film. It's funny—nobody ever says anything to Woody Allen about always filming in New York. America has this great reverence for New York. I look at it as this decaying horror pit. So let the people in Chicago enjoy Ferris Bueller."[3] The Ben Rose House, in Highland Park, Illinois, served as the filming location for Cameron Frye's house. For the film, Hughes got the chance to take a more expansive look at the city he grew up in. "We took a helicopter up the Chicago River. This is the first chance I'd really had to get outside while making a movie. Up to this point, the pictures had been pretty small. I really wanted to capture as much of Chicago as I could, not just the architecture and the landscape, but the spirit."[3] Shooting began in Chicago on September 9, 1985.[26] In late October 1985, the production moved to Los Angeles, and shooting ended on November 22.[27] The Von Steuben Day Parade scene was filmed on September 28. Scenes were filmed at several locations in downtown Chicago and Winnetka (Ferris's home, his mother's real estate office, etc.).[28] Many of the other scenes were filmed in Northbrook, Illinois, including at Glenbrook North High School.[29] The exterior of Ferris's house is located at 4160 Country Club Drive, Long Beach, California,[28] which, at the time of filming, was the childhood home of Judge Thad Balkman.[30] The modernist house of Cameron Frye is located in Highland Park, Illinois. Known as the Ben Rose House,[31] it was designed by architects A. James Speyer, who designed the main building in 1954, and David Haid, who designed the pavilion in 1974. It was once owned by photographer Ben Rose, who had a car collection in the pavilion. In the film, Cameron's father is portrayed as owning a Ferrari 250 GT California in the same pavilion.[32] According to Lake Forest College art professor Franz Shulze, during the filming of the scene where the Ferrari crashes out of the window, Haid explained to Hughes that he could prevent the car from damaging the rest of the pavilion.[33] Haid fixed connections in the wall and the building remained intact. Haid said to Hughes afterward, "You owe me $25,000,” and which Hughes paid.[33] In the DVD commentary for the film, Hughes mentions that they had to remove every pane of glass from the house to film the car crash scene, since every pane was weakened by age and had acquired a similar tint, hence replacement panels would be obvious. Hughes added that they were able to use the house because producer Ned Tanen knew the owner because they were both Ferrari collectors.[34] Hughes says The Art Institute of Chicago was a "place of refuge" in his youth. According to Hughes, the scene at the Art Institute of Chicago was "a self-indulgent scene of mine—which was a place of refuge for me, I went there quite a bit, I loved it. I knew all the paintings, the building. This was a chance for me to go back into this building and show the paintings that were my favorite." The museum had not been shot in, until the producers of the film approached them.[21] "I remember Hughes saying, 'There are going to be more works of art in this movie than there have ever been before,'" recalled Jennifer Grey.[8] Among notable works featured in this scene include A Sunday Afternoon on the Island of La Grande Jatte (Georges Seurat, 1884), during which Cameron struggles to find his identity in the face of one of the children in the painting, and America Windows (Marc Chagall, 1977), in front of which Ferris and Sloane have a romantic moment.[35] According to editor Paul Hirsch, in the original cut, the museum scene fared poorly at test screenings until he switched sequences around and Hughes changed the soundtrack.[36] Download 164.64 Kb. Do'stlaringiz bilan baham: 
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