A Perfect Ferris Bueller Scene Means More Than You Realised

Ferris Bueller's Day Off is quintessential John Hughes, and a truly one of a kind film. Yet, one scene has quite a sad meaning behind it.

Ferris Bueller’s Day Off is a classic John Hughes film, but despite its carefree plot, one scene is actually very meaningful. Hughes’ teen films are infamous and praised for their ability to treat teenagers and the adolescent experience with the utmost respect. Ferris Bueller in particular stands out among his teen films for its uniqueness, being almost incomparable to any other film.

Ferris Bueller‘s premise is simple; three friends (Ferris, Cameron and Sloane,) bunk off school to have a day of adventures in Chicago. At its core, Ferris Bueller emphasizes the motto that life is too short, with the titular character Ferris (played by Matthew Broderick) embodying this in its entirety. He forces his less confident, anxious friend, Cameron, out of bed to join in with his shenanigans, which Cameron reluctantly agrees to. The trio explores the Chicago Art Institute, and the scene is a true treat for the eyes. It blends the art of film with paintings and sculptures from the greats, including Edward Hopper’s “Nighthawks” and Jackson Pollock’s “Greyed Rainbow”, amongst many others. The trio explore the museum’s works, joining in with a school trip and admiring the paintings in a light-hearted obnoxious way, but one particular painting catches Cameron’s eye, becoming very meaningful for him in John Hughes’ film.

Cameron focuses intensely on Georges Seurat’s “A Sunday Afternoon on the Island of La Grande Jatte”, with tears forming in his eyes. The subjects of the painting are all facing away from him, apart from one girl in the centre who is looking right at him. This distinction makes her stand out against everyone else, which is why Cameron focuses on her and identifies with her. He sees himself in her reflection; an outsider, a stranger, someone different. It’s implied that Cameron has spent most of his life being passive, meek, and frightened, scared to take his place in the world, but Seurat’s painting unlocked something within him. The child in the painting dares to stand out, which is something Cameron has never really done. This emotionally charged moment highlights the depths of John Hughes’ film, as well as the inner turmoil of its seemingly carefree stars.

John Hughes’ films focus on the ever-relevant topic of growing up means they age remarkably well (apart from Sixteen Candles,) which is the case for Ferris Bueller. Cameron’s innermost feelings are concerned with the universal topics of feeling lost and unsure of himself, as evidenced later in the film when he shares his anxieties with Sloane about ”School, parents, the future.” He compares this with Ferris, who he thinks ”can do anything”. In the commentary for Ferris Bueller, Hughes states of Cameron and the painting, ”the closer he looks at the child, the less he sees,” as the face becomes less of a face and disintegrates into pointillist dots. Director John Hughes uses the painting to personify Cameron’s fear of never really being seen due to his passiveness.

Seurat’s painting is largely interpreted as a commentary on Parisian class and wealth, which also links to Cameron’s character. When Ferris tries to take his father’s Ferrari, Cameron urges him not to, telling him that he ”loves this car more than life itself.” This idea of Cameron’s father placing materialistic items above the love for his own son connects with Seurat’s criticism of the upper class in his painting. The fact that the little girl Cameron stares at is also with her mother, holding hands, blends the art with Cameron’s real-life experience with his unloving parents. Ferris Bueller‘s soundtrack, here, uses a cover of The Smiths ”Please, Please, Let Me Get What I Want” to play over the painting scene, which further denotes the relationship Cameron wishes he had with his parents, but which he’s never gotten.

By the end of Ferris Bueller’s Day Off, after all the shenanigans, Cameron regains his confidence. When the Ferrari is destroyed, Cameron is sure enough of himself to take the heat from his dad and finally stand up to him. The conclusion to his arc is a culmination of the day’s events, where he’s learned not to face life with so much anxious uncertainty. The profound effect of Seurat’s painting evidently played a key part in this transformation.