In 1987, Matthew Broderick stood at a rare crossroads in Hollywood. He was already a recognizable face thanks to the massive cultural footprint of Ferris Buellers Day Off, but 1987 demanded a transition. Instead of repeating the cheeky persona that made him a household name the year prior, Broderick navigated a diverse slate of projects that tested his range as a dramatic actor, a romantic lead, and a straight man in chaotic comedies. While the year didn't produce another box-office juggernaut on the scale of Ferris, it permanently shaped his career trajectory and solidified his status as a defining young star of the decade.
Evaluating 1987 requires looking closely at the specific choices Broderick made after sudden superstardom. Rather than coasting on teen comedy tropes, he leaned into dramatic tension, military history, and high-stakes farce. This article breaks down how the pivotal year of 1987 unfolded for Broderick, examining the films he released, the risks he took, and why this twelve-month period remains crucial to understanding his longevity in the entertainment industry.
Moving Past Ferris Bueller: The 1987 Landscape
By January 1987, the shadow of Ferris Bueller loomed large over Broderick's career. The John Hughes classic had turned him into an icon of adolescent rebellion, making every studio eager to cast him as the witty slacker. However, typecasting threatened to truncate his career before it fully matured.
Broderick's strategy in 1987 involved deliberate diversification. He accepted roles that stripped away the effortless charm of Bueller. He played characters dealing with profound moral dilemmas, military discipline, and chaotic adult environments. This pivot was risky. Audiences accustomed to seeing him break the fourth wall and coast through Chicago found themselves watching him navigate the grim realities of the Vietnam War and corporate espionage.
Despite the mixed commercial results of some 1987 releases, this willingness to experiment prevented him from becoming a stale one-note actor. It laid the groundwork for heavier dramatic work in the late 1980s and early 1990s, most notably his acclaimed performance in Edward Zwick's Glory in 1989.
Project X and the Shift Toward Drama
One of Broderick's major 1987 releases was Project X, directed by Jonathan Kaplan. In the film, Broderick plays Jimmy Garrett, a young U.S. Air Force airman assigned to a secret military research project involving chimpanzees trained in sign language. When he discovers the animals are slated for dangerous radiation experiments, he works to save them.
The film offered Broderick a stark contrast to his previous work. Jimmy Garrett wasn't a cool mastermind manipulating his environment; he was a low-ranking serviceman caught inside a cold, bureaucratic machine.
Critics noted that Broderick brought an earnest vulnerability to the role. The film tapped into growing animal rights awareness in the late 1980s, positioning Broderick as a reluctant hero rather than a slick protagonist. While Project X performed modestly at the box office, it proved to industry insiders that Broderick could anchor a picture requiring emotional weight and ethical urgency rather than punchlines.
Planes, Trains and Automobiles: The Comedy Masterclass
Later that year, Broderick appeared in John Hughes's beloved holiday comedy Planes, Trains and Automobiles. While Steve Martin and John Candy carried the film as the central duo, Broderick made a memorable cameo appearance as the man whose car rental is stolen right out from under Martin and Candy at the Wichita airport.
Though brief, this appearance served as a clever meta-nod to his relationship with Hughes. It demonstrated that Broderick didn't need to be the lead to command a scene; his quick-witted, slightly exasperated delivery fit seamlessly into the rich tapestry of Hughes's comedic universe. It reminded audiences of his comedic timing while allowing him to step back from the intense pressure of carrying an entire feature film on his shoulders.
Navigating Stardom in the Late Eighties
The pressure on young actors in the 1980s was immense. The media cycle was ruthless, and the gap between indie credibility and mainstream box-office expectations could destroy a promising career overnight. Broderick's choices in 1987 reflected a quiet resilience.
He didn't chase blockbuster paydays immediately after Ferris Bueller's Day Off. Instead, he balanced commercial viability with character-driven storytelling. This era of his career coincided with his successful transition to the stage, where he debuted in Neil Simon's Biloxi Blues on Broadway, winning a Tony Award for Best Featured Actor in a Play. This theatrical grounding informed his film work, giving him the discipline to handle varied material without relying on recycled mannerisms.
Common Misconceptions About Broderick in 1987
Many pop culture retrospectives paint 1987 as a quiet year for Broderick because it lacked a singular cultural touchstone on the level of his 1986 hits. This perspective misses the point of career architecture.
- The Slump Myth: Some critics label 1987 as a commercial slump for the actor. In reality, it was a consolidation period. By diversifying his portfolio, Broderick avoided the burnout that sidelined many of his contemporaries.
- Typecasting Concerns: While fans wanted another teen comedy, Broderick actively resisted the urge to repeat himself, prioritizing longevity over immediate box-office repetition.
Frequently Asked Questions
What was Matthew Broderick's biggest movie before 1987?
His breakout role came in 1986 as the charismatic truant in Ferris Bueller's Day Off, following his earlier success in the 1983 techno-thriller WarGames.
Did Matthew Broderick win any awards for his work around this time?
Yes, he won his first Tony Award for Best Featured Actor in a Play for Biloxi Blues in 1986, establishing his theatrical credentials just as his film career peaked.
How did Project X influence his later career choices?
Project X demonstrated his ability to handle dramatic, socially conscious material, paving the way for his pivotal role as Colonel Robert Gould Shaw in the 1989 Civil War epic Glory. Learn more about his broader filmography on TCM.
Why was 1987 considered a transitional year for him?
It marked his shift from adolescent comedies to more mature, grounded roles in drama and independent features, helping him sustain a decades-long career in both film and theater.
