During the mid-1980s, Molly Ringwald was the uncontested queen of teen movies and the poster child of suburban adolescent angst. Her three-picture run with filmmaker John Hughes – instant classics “Sixteen Candles” (1984), “The Breakfast Club” (1985) and “Pretty in Pink” (1986) – established Ringwald as a teen kindred spirit who awkwardly navigated secret crushes, school dances and bitter clique wars, bravely inching closer to adulthood by the time a triumphant pop song signaled the end credits. However, like all child and teen stars, the redhead’s flame never burned quite so bright as those
