Emilio Estevez’s sensitive portrayal of a menacing stalker and Demi Moore’s character Jules’ glorious apartment are two of the most memorable aspects of the 1985 ensemble film St. Elmo’s Fire. A bubblegum pink, crimson, and neon-lit paean to 1980s style, it was the interior design equivalent of Bette Midler’s costumes in Ruthless People.
Purchased entirely on credit, the apartment was the creation of Jules’ neighbour (“he’s gay and he’s so fabulous”) Ron Dellasandro. “How do we know he’s gay?” Ali Arikan told Slant Magazine, “Well, he’s holding a giant cocktail glass filled to the brim with a pink drink: the universal symbol of male homosexuality.”
Stripped by the bailiffs by the end of the film, Jules is left with only some billowing curtains, a bust of Pierrot, a satin star-shaped mauve pillow, and a stately Billy Idol mural.