Hollywood success in the 80s was so unpleasant that Ringwald moved to France. Since then she has made a jazz album, written a novel and translated a memoir about Last Tango in Paris star Maria Schneider
. “When I was 13, a 50-year-old crew member told me that he would teach me to dance, and then proceeded to push against me with an erection. When I was 14, a married film director stuck his tongue in my mouth on set.” Once, she complained to her agent about an audition in which she was forced to wear a dog collar; he laughed and told her to save it for her memoirs.
Predators in Hollywood trying to get off with 13-year-olds is different from the ambient misogyny of the industry, but not unrelated. “Muse” is an overworked word, freighted with patriarchal cliches , but John Hughes, whose films Pretty in Pink, The Breakfast Club and Sixteen Candles revolutionised teen cinema in the mid-80s, was clearly writing his female leads for the teenage Ringwald.
These films are quite uncomfortable to watch now, especially if you have kids the age of the characters . She can’t even watchliberal. I mean, I’m very liberal, but she’s another level. Which she should be, and I’m glad,” says Ringwald.“In a way, my experience was the opposite of Maria’s,” she adds, returning to Schneider. “The way she was thought of, this wanton muse, this louche character; that’s what was expected of her.
, and I worry about that; it’s unsustainable, in a way. Some people have been unfairly cancelled and they don’t belong in the same category as somebody like Harvey Weinstein.” ‘Cancellation’ ends up making people roll their eyes. That’s my worry. I do want things to change, for real French film sets were much more humane than the US’s, she says. They had a proper lunch break, with wine. When a co-star had a problem with a striptease and walked off set, people worked around it. “In America, an actress leaves the set, it’s a big scandal. They’re sued, maybe. It’s a big thing.”
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