Heathers (1989)

Director:

Michael Lehmann

Guionista:

Daniel Waters (written by)

Release Date:

31 marzo 1989 (USA)

Genre:

Comedy | Crime | Drama | Mystery | Romance

Plot:

A girl who half-heartedly tries to be part of the "in crowd" of her school meets a rebel who teaches her a more devious way to play social politics.

Plot Keywords:

Party | Father Son Relationship | Dream Sequence | Teen Movie | Explosion

Awards:

3 wins & 4 nominations

Comentarios de los usuarios:

Best teen comedy ever.

Cast

Winona Ryder	...	Veronica Sawyer
Christian Slater	...	Jason 'J.D.' Dean
Shannen Doherty	...	Heather (Duke)
Lisanne Falk	...	Heather (McNamara)
Kim Walker	...	Heather (Chandler)
Penelope Milford	...	Pauline Fleming
Glenn Shadix	...	Father Ripper
Lance Fenton	...	Kurt Kelly
Patrick Labyorteaux	...	Ram Sweeney
Jeremy Applegate	...	Peter Dawson
Jon Matthews	...	Rodney
Carrie Lynn	...	Martha 'Dumptruck' Dunnstock
Phill Lewis	...	Dennis
Renée Estevez	...	Betty Finn
John Zarchen	...	Country Club Keith

También conocida como:

Fatal Game (USA) (working title)
Lethal Attraction (USA) (working title)
Westerberg High (USA) (working title)
Escuela de jóvenes asesinos (Spain) [es]

Duración:

102 min

País:

USA

Idioma:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sonido:

Mono

Clasificación:

Canada:13+ (Quebec) | Singapore:NC-16 | South Korea:15 | France:-16 | Australia:M | Canada:14A | Sweden:15 | UK:18 | USA:R | West Germany:18

Filming Locations:

Corvales High School - 2921 Laurel Canyon Boulevard, Laurel Canyon, Hollywood Hills, Los Angeles, California, USA

Company:

Cinemarque

Trivialidades:

Brad Pitt auditioned for the role of J.D., but was rejected because he was considered "too nice" for the part.

Goofs:

Errors made by characters (possibly deliberate errors by the filmmakers): After Veronica and Jason shoot Kurt and Ram, they each put the wrong gun in the wrong hand, unless Kurt and Ram were meant to look as though they each shot themselves, rather than each other.

Quotes:

Veronica Sawyer: [praying over Heather's casket] Hi, I'm sorry. Technically, I did not kill Heather Chandler, but hey who am I trying to kid, right? I just want my high school to be a nicer place. Amen. Did that sounded bitchy?

Movie Connections:

Referenced in Everything's Gone Green (2006)

Soundtrack:

TEENAGE SUICIDE DON'T DO IT

Best teen comedy ever.

Daniel Waters wrote one of the best satires ever in "Heathers", a dark comedy that ranks right up there with "Dr. Strangelove" and "Network". Certainly it's the best teen comedy ever made. Why? Because in spite of its highly stylized depiction of teenagers, it caught the truest essence of what high school is actually like in America. Not only that, it trashed the entire genre and-- in a feat of sheer genius-- even the *reaction* to the genre by outside observers (namely parents). Terry Southern could have done no better.

"Westerburg high school self-destructed not *because* of society but because Westerburg High School *was* society" was restated, to near-universal praise, by Michael Moore in "Bowling For Columbine", but Waters said it before him, said it better, and frankly he's got a lot more credibility ("Hudson Hawk" notwithstanding). The cast is brilliant, even if, strangely, some of them don't seem to get what the whole movie was about. You half expect that most of the cast and crew, like the kids who sign a petition to bring Big Fun to the school for a gig, made a movie they didn't know they were making. But the key figures nailed it-- Ryder and Slater were never better.

"Heathers" is one of the best films of the Eighties-- put the lid on the Eighties, as it were. It has suffered criminal neglect, probably because it may have required an "indie auteur" to really knock the cinematic elements out of the park. The direction is competent but unspectacular. Still, the star is the writing, and Waters deserved an Oscar for this script. Unsentimental, vicious, and above all hilariously funny, he drove a stake through the heart of those oh-so-precious John Hughes films and, at the same time, set the stage for Kevin Williamson and all the rest. He did it with a perfect ear for dialogue combined with a Swiftian vision of social structures, and did it all as an argument *against* ironic detachment, for which this film and its messages needs to be revisited now more than ever. Simply incredible.