Halt and Ferris’s relationship is one of the saddest things in the RA series.
They grew up together, played together, teased each other, and probably were regular children.
Up until a point.
I want to know at what point Ferris started hating Halt. Was it a certain event or was it over time? Did he make it clear immediately or did he wait? Did Halt think it was anything other than a small argument that would pass?
What was Halt feeling when Ferris first tried to kill him?
Did Ferris ever regret what he did? Did he ever think about Halt and worry about him? Regardless of the fact he betrayed Halt, Ferris is a man who is ruled by emotion. I find it difficult to believe he wouldn’t.
Halt and Ferris had a very complicated relationship and I think it says a lot about them- and makes it much more bitter- that they were never able to patch it up.
Does Halt still think about Ferris? Yes.
I think he does think about his twin, brother, closest friend, and worst betrayal everyday.
i don’t wanna wait we’re used to the night that leaves us unstable we’re used to the night we take more than we’re able we’re used to the night and whatever’s on the table you don’t wanna wait i don’t wanna wait take, take anything
If a man is crossing a river and an empty boat collides with his own skiff, even though he be a bad-tempered man he will not become very angry. But if he sees a man in the boat, he will shout at him to steer clear. If the shout is not heard, he will shout again, and yet again, and begin cursing. And all because there is somebody in the boat. Yet if the boat were empty, he would not be shouting, and not angry. If you can empty your own boat crossing the river of the world, no one will oppose you, no one will seek to harm you….
As Ferris and Sloane kiss in front of a stained-glass window, Cameron concentrates on George Seurat’s painting “A Sunday Afternoon on the Island of La Grande Jatte”. Explaining the pointillist style — and moviemanking, teenage angst and adult insecurity — Hughes says, “I always thought this painting was sort of like making a movie, the pointillist style,” he says. “You don’t have any idea what you’ve made until you step back from it. … The closer he looks at the child, the less he sees. But the more he looks at, there’s nothing there. I think he fears that the more you look at him the less you see. There isn’t anything there. That’s him”. Ferris Bueller’s Day Off (1986) dir. John Hughes