Planes, Trains and Automobiles: Classic or Dud

Curly Sue's the one where Jodie Foster's retarded, right?

i didn't understand the "those are pillows" joke for way too long. once i finally did i felt ready for adulthood

areN'T pillows

I went back and watched the ending again, after reading all about this:

Originally, Martin escapes his accidental travel companion Candy, hops a train, goes home to Chicago for Thanksgiving – and finds Candy has followed him home in a cab, a relentless pest. “I realized I don’t like this guy at the end…He just went from being a pain in the ass to a tragic pain in the ass.” Hughes decided to make Candy “a noble person” who catches the hint, lets Martin go back to his family, and goes off to suffer alone – until Martin realizes Candy’s a tragically lonesome noble person, and invites him back for Thanksgiving.

The whole Martin-reminisces-fondly-about-their-escapade scene on the train was just an outtake of Martin sitting in the car, going over his lines in his head between takes.

I haven't been home in years,,,,, in years,,,,,IN YEARS,,,,,....

As originally written, Candy follows Martin home to Chicago in a cab, and then asks him to pay the fare, which is $84,688

Fantastic review of the 30th anniversary blu:

I don't know how much the subjective storytelling in Planes, Trains & Automobiles reflects Hughes's identification with Neal, but his auteur idiosyncrasies are all over the film, from this distrust of slumber to the short-spanning narrative (Tuesday-Thursday); from the eclectic yet cohesive soundtrack (Ira Newborn's score alone incorporates blues harp, Vangelis-style synth riffs, and an insanely catchy computerized rendition of "When the Saints Go Marching In") to the closing freeze-frame; from the devastation of an automobile to the Leone-style close-ups during Martin's opening showdown with Bacon. (When Hughes samples from pop-culture, it's a tonal cue (i.e., the use of the "Dragnet" and "Twilight Zone" themes in Sixteen Candles), not a riff on what's being referenced.) And of course there are the surreal beats, which, owing to the picture's focus on Neal, feel more anchored in the realm of expressionism than usual, and pull us deeper into the emotional reality of the character. (See: Del briefly turning into the Devil when Neal realizes they're driving against the flow of traffic on the highway.) My favourite of these is when Neal recognizes Del's face at the airport: Instead of flashing back to Del's surprised reaction in the back of the cab, Hughes recreates the moment inside the airport, complete with the door to the taxi! It's difficult to imagine any of the filmmakers currently working in Hughes's shadow going this extra mile, let alone being so inspired or audacious in the first place.