In The Mood (1987) Apr 2026
At the heart of In the Mood is a sharp critique of societal double standards and the rigid morality of the 1940s. The film heavily utilizes the media circus surrounding Sonny, who was dubbed the "Woo Woo Kid" by sensationalist press outlets. Robinson uses this media frenzy to highlight the hypocrisy of the adult world. Sonny is put on trial and condemned by judges, parents, and moral authorities who claim to be protecting him and the institution of marriage. Yet, the film contrasts this performative outrage with the reality of Sonny’s relationships, which are characterized by mutual respect and emotional support—qualities often lacking in the legally sanctioned marriages of the adults condemning him. The film cleverly positions Sonny’s "crimes" as acts of pure romanticism in a world preoccupied with rigid rules.
The film stars Patrick Dempsey as Sonny, delivering a performance brimming with charisma, earnestness, and a touch of wide-eyed innocence. Sonny is not depicted as a manipulative predator or a troubled delinquent, but rather as a highly romantic, mature-minded boy who simply happens to fall in love with women who appreciate his devotion. Dempsey’s portrayal is crucial to the film’s success. He infuses Sonny with a sincere chivalry that makes his romantic successes believable. When he elopes first with a 21-year-old mother of two and later with a 25-year-old woman, the audience is guided to see the genuine affection and mutual care in these relationships, rather than viewing them through a purely scandalous lens. In the Mood (1987)
Ultimately, In the Mood is much more than a simple comedy about a precocious teenager. It is a defense of unconventional love and a celebration of youthful idealism standing up against the cynicism of the adult world. By treating Sonny and his partners with dignity rather than ridicule, Phil Alden Robinson crafted a film that is simultaneously funny, romantic, and socially perceptive. Decades after its release, it remains a delightful and overlooked gem of 1980s cinema, proving that sometimes the strangest true stories make for the most humanizing art. At the heart of In the Mood is