Ferris Bueller's Day Off chronicles the events in the day of a young man, blessed with a magical sense of

serendipity. One spring day, towards the end of his senior year, Ferris gives into an overwhelming urge
to skip school and head for downtown Chicago with his girlfriend and best friend to ‘live life’ a little. The
whimsical tale was directed by John Hughes, the philosopher of adolescence, whose credits include
Sixteen Candles and The Breakfast Club. It is the first Hughes film to capture the radiant joy and
reflective inquisitiveness of teen-hood.

Ferris Bueller's Day Off is beautifully scripted, acted, and accompanied by both visual and musical
nuances, and it plumbs the depth of the innocence we lose when transitioning into adulthood. The film
includes a day's visit to Chicago; veteran cinematographer Tak Fujimoto shoots the windy city in
gloriously intense, summer colours and beautifully shoots the Sears Tower, the Art Institute, the Board
of Trade, a parade down Dearborn Street, a Gold Coast lunch and a game at Wrigley Field. Hughes'
direction has never been more assured when he describes the movie as a love letter to Chicago. The film
takes on a refreshing style as Bueller continuously breaks the fourth wall, allowing an even deeper and
personal immersion into the scenes.

The museum scene is a juxtaposition of famous art and the reactions of the main characters. In some
instances the characters are mirrors of the pieces, and in others they are diametrically opposed. The
pieces in the scene are varied in both style and artist, yet they flow seamlessly to create a beautiful
scene. Lasting less than two minutes, Hughes created a beautiful piece of cinema. While other of his
films may have more cultural or social impact, no scene in any other movie resonates so deeply. The
term “hauntingly beautiful” can be applied without the slightest sense of hyperbole. The musical
accompaniment is the instrumental version of “Please, Please, Please Let Me Get What I Want,” by The
Dream Academy. Originally recorded by The Smiths, I believe Hughes chose to use this instrumental
cover version because it is both clinically cold (Cameron) and uniquely optimistic (Ferris).

Despite the decades since its release, the message still rings true today: life is precious and all of a
sudden, you may forget how awesome it is just to live. The conflict between cautious Cameron and
carefree Ferris is the crux of the film, and they could both learn a thing or two from each other.

And while much of the appeal of the film lies in Ferris’ breezy attitude, there’s more to this feel-good
film than the absurdity of his shenanigans. Ferris Bueller’s Day Off, a masterpiece in itself, flawlessly
captures art’s ability to influence our perception of ourselves and the world around us, especially when
we’re least expecting it. No other teen comedy either in the 80s or beyond would serve up such an
innocent, generous, upbeat cheerfulness that would become unthinkable during the cynical 90s or in the
slew of 00s teen movie homage’s. Life, as Ferris famously remarks, moves pretty fast. If you don't stop
and look around you might miss it.