The transition from June's promotional whirlwind for "Fast Times at Ridgemont High" to the intense focus of a new production was swift. As scheduled, shooting for "Risky Business" commenced in the first week of July. The primary location wasn't the glitz of Los Angeles, but the affluent suburb of Highland Park, Illinois, about 25 miles north of downtown Chicago, its leafy streets and comfortable homes providing the perfect backdrop for Joel Goodsen's upper-middle-class world about to be turned upside down.
Joining Alex Hayes on the call sheet was a talented ensemble cast, many of whom were poised for their own breakthroughs:
* Rebecca De Mornay (Lana): A striking young actress who had studied at Lee Strasberg's institute, De Mornay had only minor credits prior to landing the pivotal role of the enigmatic call girl, Lana. This was her launching pad.
* Joe Pantoliano (Guido): A tenacious character actor already building a solid resume with roles in films like The Idolmaker and recent television appearances, Pantoliano brought a necessary edge to the role of Lana's menacing pimp.
* Bronson Pinchot (Barry) & Curtis Armstrong (Miles): Both talented young actors making their feature film debuts, Pinchot (a Yale graduate) and Armstrong brought sharp comedic timing to their roles as Joel's close friends.
On set, Alex quickly impressed the cast and crew, particularly director Paul Brickman. Because Alex possessed such an innate, almost unnervingly deep understanding of Joel Goodsen, his scenes often required minimal takes. He'd step onto the mark, inhabit Joel's skin, deliver the lines with the precise nuance Brickman wanted, and more often than not, they'd nail it on the first take.
However, this efficiency hit a snag when it came to specific scenes involving physical intimacy or nudity. While Alex shared a fantastic, easy chemistry with Rebecca De Mornay in their normal dialogue scenes, finding sparks in their characters' charged interactions, the moments requiring physical closeness, particularly those involving partial nudity as scripted, proved challenging. Alex felt acutely uncomfortable, the confidence he projected elsewhere faltering.
"It just feels... awkward," Alex admitted quietly to Rebecca during a break after a particularly hesitant take for one of the early love scenes.
Rebecca offered a supportive smile. "It is awkward, Alex. For both of us. We'll get through it. Just breathe." Their professional rapport remained strong, but the discomfort was a hurdle.
Help arrived during a weekend visit from Phoebe Cates. Sensing his anxiety about the love scenes, Alex confided in her. Understanding immediately, Phoebe offered to run lines and even roleplay with him in the privacy of his hotel room. Away from the pressure of the set, practicing the choreography of intimacy with someone he trusted implicitly, made a world of difference.
Later, lying closely entwined beneath the soft hotel covers, the world outside forgotten, their legs tangled in comfortable intimacy, the lingering warmth of their connection filled the space between them. The 'rehearsal' had become something more profound, a reaffirmation of their trust. Phoebe gently brushed a stray lock of hair from Alex's forehead, her touch feather-light.
"See?" she whispered, her voice a soft murmur against his skin, a tender smile playing on her lips. "Not so terrifying."
Alex let out a soft, low laugh, a sound imbued with relief, affection, and contentment. He turned his head slightly, capturing her lips in a slow, lingering kiss – a kiss that spoke of deep gratitude, trust, and the easy romance they shared. Pulling back just enough to meet her gaze in the dim light, he conceded, his voice husky, "Okay, yeah. With you... it's different. Easier." A genuine, deeply grateful smile finally relaxed the tension in his features. "Thanks, Pheebs. Seriously."
This shared intimacy, this unique blend of unwavering personal support and understanding of his professional challenges, provided Alex with the anchor he needed. It allowed him to compartmentalize, to approach the difficult scenes ahead with Rebecca De Mornay holding onto the emotional truth of connection, mitigating the inherent awkwardness of the physical performance required by the camera. The production continued, navigating the complexities on and off-screen as July unfolded in suburban Chicago.
******
As July ended and August began, the focus shifted briefly from the ongoing production of "Risky Business" back to Alex Hayes's finished work. "Fast Times at Ridgemont High" hit theaters on Friday, August 6th, 1982. Produced on a lean budget of just $4.5 million, the film received a surprisingly wide release, opening in 1010 theaters across North America – a decision largely fueled by distributor Universal Pictures banking on Alex's soaring popularity and the significant media buzz surrounding his real-life relationship with co-star Phoebe Cates.
There was no splashy Hollywood premiere. Instead, Alex and Phoebe made the short trip into Chicago from the "Risky Business" set in Highland Park for a day, doing photos and brief interviews at a packed local theatre to interact with his fans and to generate publicity.
That opening weekend, theaters showing "Fast Times" buzzed with teenage energy. Audiences, particularly younger viewers, reacted strongly. Laughter echoed during scenes featuring the unforgettable surfer-stoner Jeff Spicoli played by Alex, his laid-back pronouncements and clashes with Mr. Hand becoming instant touchstones. A collective holding of breath, followed by whistles and cheers invariably accompanied Linda Barrett's iconic bikini scene by the pool. For many teenagers watching, the film felt like something new – franker, funnier, maybe a little messier, and more resonant with their actual high school experiences than many sanitized depictions they were used to seeing. It felt, in parts, excitingly authentic.
This connection was reflected in the initial audience metrics. Exit polls indicated an 82 percent positive rating, and the film earned a coveted "A" CinemaScore from surveyed moviegoers, suggesting strong word-of-mouth potential among its target demographic.
However, the critical reception painted a more complex picture. While audiences seemed to embrace the film, only 58 percent of critics logged positive reviews, a notably lower score than Alex's previous outings had enjoyed. Reviews widely praised the young cast: almost all critics acknowledged Alex Hayes was "phenomenal," bringing unexpected depth to his role, Phoebe Cates was consistently singled out as "gorgeous" and charismatic and praising Jennifer Jason Leigh. But consensus fractured beyond that.
Some critics echoed the audience's enthusiasm. Roger Ebert, typically a champion of films with authentic voices, delivered a particularly brutal one-star (out of four) review. He allegedly referred to Amy Heckerling's directorial debut chronicling teenage life as a "scuz-pit," arguing it wallowed in crudeness while being "completely lacking any comedic awareness" or genuine insight. He found the episodic structure aimless and the focus on casual sex and drug use exploitative rather than observational.
Interestingly, even in his harsh assessment, Ebert couldn't deny the appeal of the lead actors, offering specific praise for Alex Hayes's "phenomenal" central performance, Phoebe Cates's undeniable screen presence ("gorgeous"), and Jennifer Jason Leigh's vulnerable portrayal. However, this praise was framed negatively overall
Janet Maslin in The New York Times acknowledged the film had "talented young players" but found the overall approach "scattered," suggesting it "doesn't much develop the situations it introduces." Variety's review called it "an entertaining, if light-weight, look at teenage sex habits" but worried about its pacing. More pointedly, some dismissed it as a "teen exploitation film," criticizing its focus on sex and partying. Several reviews lamented that Alex Hayes and Phoebe Cates were the "saving graces," and that Alex, in particular, had "wasted his considerable talent" on what they considered an "average" or even "crude" movie.
This stark critical divide, particularly the negative takes from influential voices, put Universal Studios in a state of palpable tension. Early Saturday morning, Thom Mount, the relatively young President of Universal Pictures, found himself pacing in the office of Sidney Sheinberg, the formidable President and COO of MCA Universal. Sheinberg, never one to mince words, leaned back in his chair, steepling his fingers.
Sheinberg: "So, the kids like it, the critics are split down the middle, leaning towards nasty. Ebert calls it a 'scuz-pit' but praises the leads? What does that even mean for us, Thom?"
Mount: "It means the 'A' CinemaScore is good, Sid. It means the target demo is connecting. The problem is if that demo is enough. Are we just pulling in Alex Hayes fans and kids looking for T&A, or does this thing have actual crossover potential? Those 'teen exploitation' labels sting, and they could limit us."
Sheinberg: "Exploitation that cost $4.5 million... and banks on Hayes and his girlfriend's fan base." He grunted. "It's soft. It feels front-loaded. If the weekend numbers don't hold after the initial rush..."
Mount: "I know. We took a risk widening the release based on the buzz. If it fails, we look like fools."
Just then, an assistant knocked and entered tentatively, holding a slip of paper. "Mr. Mount, Mr. Sheinberg... the Friday numbers for 'Fast Times'."
Mount snatched the paper almost before the assistant could offer it. He scanned it, then handed it to Sheinberg. "$1.71 million," Mount read aloud.
Sheinberg looked at the number, his expression unreadable for a moment. "$1.71 million..." he repeated slowly. "It's not a disaster. Better than some were predicting after those reviews."
Mount nodded, some of the tightness leaving his shoulders. "It's solid. Respectable. It means people showed up on Friday." Their immediate fears of a complete bomb were somewhat reduced, but the underlying caution remained.
"It means Friday was okay," Sheinberg corrected, his tone still wary. "Doesn't tell us about Saturday night, doesn't tell us about Sunday afternoon. We wait and see. Let's see if the kids drag their friends back, or if the bad reviews scare everyone else off." Their attitude was clear: hold judgment, wait for the full picture.
Despite the mixed reviews and executive anxiety, the positive audience buzz seemed to hold sway over the weekend. Reports indicated continued strong attendance on Saturday and Sunday.
The final opening weekend numbers came in strong. Saturday saw a bump to $1.92 million, and Sunday held well at $1.83 million.
The three-day total of $5.46 million meant "Fast Times at Ridgemont High" had already easily surpassed its $4.5 million production budget in its opening weekend alone. It was undeniably a hit out of the gate, but the question hanging heavy in the Universal offices was: Was the audience primarily Alex's dedicated fanbase and those drawn by the promise of racy content? Would the film have "legs" and play steadily over the coming weeks, or burn out quickly? The mixed reviews certainly wouldn't help broaden its appeal.