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it is as fairy tales rendered from experience, rather than as blunt records of life, that his mid-’80s movies live on. They capture — with a winning mixture of optimism and melancholy, with a generosity of spirit tempered by a punitive sense of right and wrong — something essential in the experience of youth. Not only in that specific era, but also before and, I’m guessing, since. Like most artists who are perceived as the voice of a generation, Mr. Hughes did not belong to the generation in question. He was a baby boomer, a member of the high school class of 1968 in Northbrook, Ill. And his vision of the classes of 1984 and after was certainly colored by a post-’60s sense of wariness and counter-counterculture suspicion. A few years ago an article in Slate pegged Mr. Hughes as a conservative, even a reactionary, whose celebration of rebellion had more to do with the middle-class resentments that brought Reagan into office than with residual anti-establishment radicalism. The answers to this accusation are: maybe so, and so what? It is true that while his heroes, most notably Ferris Bueller and the members of the Breakfast Club, are in conflict with authority, they are also stubborn in their individualism and often unapologetically materialistic. Which is part of what makes them authentic, and authentically confused. The unspecified North Shore Chicago suburb where most of these stories take place is, at first glance and in its own mind, a paradise of uniformity and privilege. And this setting, rather than being the facile hell imagined in movies like “American Beauty,” is shown as a genuine expression of the American utopian ideal, a pastoral city on a hill where everyone is comfortable and everyone’s the same. The paradox is that most people feel, and want to be, different. Not to smash the system or flee its clutches, but rather to find a place within it where they can be themselves, even if they like strange music, come from a poorer family or favor eccentric styles of dress. That desire is what motivates Sam, the birthday girl in “Sixteen Candles,” and it also drives both the cocky Ferris Bueller and his nervous buddy Cameron. The great, paradoxical insight of “The Breakfast Club” is that alienation is the norm, that nerds, jocks, stoners, popular girls and weirdos are all, in their own ways, outsiders.