Teen comedies weren’t quite a thing yet when Fast Times at Ridgemont High hit
theaters in 1982. Porky’s had been a
big hit the year before, but Bob Clark’s puerile approach was very different
from Amy Heckerling’s more nuanced one even if a lot of critics couldn’t tell
the difference. The dawn of John Hughes’s teen comedies that would define the
decade was still a couple of years away, and his glossier, more mannered, more
melodramatic approach was very different from Heckerling and screenwriter
Cameron Crowe’s inclination toward realism.
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