How cinematography changed the meaning of ‘Ferris Bueller’s Day Off’
The content of a film can be one thing, but it is the cinematic choices that bring the content to life.
Take the cult classic “Ferris Bueller’s Day Off”, which focuses on a rowdy teen named Ferris Bueller determined to make the best of a beautiful day. He ditches school with his best friend, Cameron Frye, and his girlfriend, Sloane Peterson, to explore downtown Chicago and have the best day off before they part ways after graduation. Many would say this movie is a tale of teen angst, but I would argue it’s more than that, especially when you break down the plot and the cinematography of the film.
Cinematography, or the art of photography and camera work in films, plays an important role. In this film, it’s not the camera that is moving but rather the characters themselves. This gives the protagonists the spotlight and the platform they need to keep the audience entertained and focused. Many scenes in this movie also incorporate “mise-en-scene” to invoke specific emotions out of the audience. Mise-en-scene is a French term meaning “placing on stage” and focuses on where objects are in a scene. It ties in with costumes, music and production design.
For example, in the scene where Cameron, Ferris and Sloane visit the Art Institute, imagery, camera movements, music and the overall direction are meant to convey peace for the audience at home. It begins with the three running inside the museum before cutting to shots of different art pieces to set the scene. Next, we see our main characters join a line of little kids for their field trip. Sloane and Ferris remain optimistic and easy-going, while Cameron remains reluctant. We get over 10 different shots of popular paintings, including works from Pablo Picasso. This feeds into what is perhaps the most eye-opening scene in the movie as the camera jumps between Cameron viewing “A Sunday on La Grande Jatte” by Georges Seurat and Sloane and Ferris kissing in front of Marc Chagall’s “America Windows.”
In these shots, a deep focus is being used, meaning we are able to see everything in the frame. The transitions are smooth, nothing more than a simple blink, and The Dream Academy’s cover of The Smiths’ “Please, Please, Please Let Me Get What I Want” plays in the background. We feel peace and romance in the shots with Sloane and Ferris as they kiss, but Cameron Frye is a different story. In an article put out by the Smithsonian Art Museum in Washington, D.C., senior curator Eleanor Harvey explains that this scene is a turning point for Cameron and the audience understands “Cameron is deeper than anyone else in the movie.” The camera pans back and forth from a medium shot to a close-up and finishes with an extreme close-up as Cameron questions his entire existence.
In a commentary on the film’s 1999 DVD release, director John Hughes said, “The closer he looks at the child, the less he sees with this style of painting. The more he looks at it there’s nothing there. He fears that the more you look at him there isn’t anything to see. There’s nothing there. That’s him.”
This strengthens the emotional connection the audience has with this particular scene. We are supposed to feel for Cameron and remember a time in our lives when we felt the same way. Although “Ferris Bueller’s Day Off” is a comedy about a bad boy ditching school, the film shows so much more without needing to say anything. Sure, Ferris mentions a few things about Cameron that put his childhood and personality into perspective, but it is the use of cinematography that says there is more to Cameron Frye than we are being told.
The other scene that perfectly captures the essence of cinematography throughout the film is when our main characters visit the Sears Tower — known as the Willis Tower today — which at the time had been the tallest building in the world. The interesting thing in this scene is the lack of music. Although the camera shots are similar to the scene in the art institute, in that they display a deep focus and a wide shot of everything in view, the lack of music is used to convey a different thing for each character. For Sloane, it is the peace of being 1,353 feet above the city; for Ferris, it shows his lack of patience; and for Cameron, it represents his constant anxiety. The first thing on Cameron’s mind when he looks down at Chicago is his father as he exclaims, “I know that son of a b**** is down there somewhere.”
The shots in this scene rotate between medium-long shots to a bird’s eye view overlooking Chicago from above. We also see a panning movement of the camera on a crane moving over the skyline of Chicago. The audience is first shown a low angle of the main character’s faces pressed up against the glass, bringing us along with them. We are granted the opportunity to pick what emotion we want to feel with the character of our choosing. In the medium-long shot, we are shown the entirety of the room, including two other men viewing Chicago from above as well. Ferris’ voice echoes in the room as he explains to his friends that they are standing in the tallest building in the world. He’s on a mission and there is passion in his eyes. The other two seem in awe, but when the camera is on Ferris, we the audience know instantly that he will stop at nothing to accomplish his goals.
This can be proven later in the film when we see Ferris lying to the doorman of Chez Quis about being Abe Froman, the “Sausage King of Chicago.” As much as Sloane and Cameron try to get him to leave, Ferris says that you can “never go too far.” The way the camera is framed, angled and focused really highlights Ferris’ passion and determination to truly have the best day off.
It might be hard to relate to a film that took place in 1986 simply because the things Cameron, Ferris and Sloan do are out of our reach. Could we afford to eat at a fancy restaurant, go to a Cubs game and ride a Ferrari through the streets of Chicago? Maybe not, but we can still understand what it’s like to be a teen trying to find yourself and decide what to do as you head off to college. The feelings we get in high school will never change, allowing new generations to feel the same way Ferris, Cameron and Sloane feel about the boring lectures and packed hallways. The film ages well, bringing up a dilemma that every generation will be able to relate with.
Thirty-four years later, “Ferris Bueller’s Day Off” is still widely praised and appreciated by people all over the world for its cultural presence, cinematography, soundtrack and thoroughly developed characters. The film grossed $70 million, one of the most of 1986, and beat out its rival, “Pretty in Pink,” by over $30 million. It put The Beatles “Twist and Shout” back on the music charts and inspired a rise of high school sitcoms such as “Saved by the Bell.” You can’t even look at a red Ferrari without hearing “Oh Yeah” by Yello inside your head. The film inspired a generation and continues to inspire generations to this day.
*Graphic by Sarie Jenkins.
Sydney Dahle is a fourth-year student studying history and political science at Utah State and is currently the Lifestyles Content manager for The Utah Statesman. She hails from St. Louis, Missouri and spends her free time writing and listening to music.
@dillydahle