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correct_starring_00056
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FactBench
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0
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https://letterboxd.com/film/a-hard-days-night/
|
en
|
A Hard Day's Night (1964)
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[] |
[] |
[
""
] | null |
[] | null |
Capturing John Lennon, Paul McCartney, George Harrison and Ringo Starr in their electrifying element, 'A Hard Day's Night' is a wildly irreverent journey through this pastiche of a day in the life of The Beatles during 1964. The band have to use all their guile and wit to avoid the pursuing fans and press to reach their scheduled television performance, in spite of Paul's troublemaking grandfather and Ringo's arrest.
|
en
|
https://letterboxd.com/film/a-hard-days-night/
|
86/100
"How did you find America?"
"Turned left at Greenland."
The frenzied, volatile opening to A Hard Day's Night is equivalent to being on a rollercoaster without a seat belt or a safety harness. It starts and you're like "ooooooh fuck nononono mister mister I'm not ready" and before you know it, you're holding on for dear life, exhilarated by going from 0 to 60 in a matter of seconds. This joyride of a movie, this indelible snapshot of an energy, a time, a place is as fresh and funny as ever. And it feels unstable; alive in ways which cannot be explained but only felt. Their music (and by extension, this movie) soothes the soul while still rollicking along with a rocking, experimental pace.
P.S: If you personally know someone who doesn't like The Beatles, please report them to your local authorities. Thank you.
|
||||||
correct_starring_00056
|
FactBench
|
0
| 8
|
https://archive.org/details/ahdn-1964
|
en
|
A Hard Day's Night (1964) : The Beatles : Free Download, Borrow, and Streaming : Internet Archive
|
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[] |
[
""
] | null |
[] | null |
A Hard Day's Night is a 1964 musical comedy film directed by Richard Lester and starring the English rock band the Beatles—John Lennon, Paul McCartney,...
|
en
|
Internet Archive
|
https://archive.org/details/ahdn-1964
|
Search the history of over 866 billion web pages on the Internet.
Search the Wayback Machine
Search icon An illustration of a magnifying glass.
Save Page Now
Capture a web page as it appears now for use as a trusted citation in the future.
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|
|||||
correct_starring_00056
|
FactBench
|
0
| 58
|
https://movie-locations.com/movies/h/Hard-Days-Night.php
|
en
|
A Hard Day's Night
|
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[
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[] | null |
Filming locations for The Beatles' screen debut A Hard Day's Night (1964), in London, including Marylebone, Fitzrovia, Notting Hill and Twickenham; and in the West Country.
|
The Worldwide Guide to Movie Locations
|
http://www.movie-locations.com/movies/h/Hard-Days-Night.php
|
A Hard Day's Night | 1964
A Hard Day's Night film location: Ringo disrupts the shove ha'penny and the skittles: Turk’s Head pub, Twickenham
Discover where The Beatles' screen debut A Hard Day's Night (1964) was filmed, around London and the West Country.
It’s amazing that, after 50 years, this film still comes over as fresh and funny as its first influential release, when many more recent movies are creaking with age.
Director Richard Lester, who started out making films with the Goons (The Running, Jumping, Standing Still Film), set the style for pop movies for decades to come with his freewheeling, machine-gun edited, surreal day-in-the-life musical.
A Hard Day's Night film location: The Beatles arrive at ‘Liverpool Lime Street Station’, to travel to London... : Marylebone Station, London NW1
The opening scenes of teen hysteria, meant to be Liverpool’s famous Lime Street Station, as fans pursue the boys onto the railway station, were filmed at London’s Marylebone Station (tube: Marylebone, Bakerloo Line).
A Hard Day's Night film location: ...they evade the fans to catch the train to... : Still Marylebone Station, London NW1
The rail journey itself shunts between Paddington Station in London and Minehead and Taunton in Somerset, and Newton Abbot in Devon. The scene where the boys run alongside the train to annoy a grumpy commuter, is Crowcombe, north Somerset.
And the final destination? Possibly the shortest journey in the cinema. Why, it’s Marylebone Station, London – OK, from a different angle.
A Hard Day's Night film location: ...arriving in the capital: Marylebone Station, London NW1
The Beatles are driven to the Scala Theatre, which used to stand at 21 Tottenham Street, just off Tottenham Court Road. It was demolished in 1969. A block of flats, Scala House, now occupies the site.
A Hard Day's Night film location: Scala House now stands on the site of the old Scala Theatre, where much of the movie was shot: Tottenham Street, Fitzrovia, London W1
Wilfred Brambell, as Paul’s – very clean – grandad, excuses himself to go gambling at Les Ambassadeurs, Hamilton Place, behind the Hilton Hotel in swanky Mayfair, W1. Another great British icon also debuted on screen at Les Ambassadeurs. Although the gaming room was recreated in the studio, this is where James Bond (Sean Connery) first spoke the line “The name’s Bond... James Bond.” at the chemin-de-fer table in 1962’s Dr No.
A Hard Day's Night film location: dancing the night away: Les Ambassadeurs, Hamilton Place, Mayfair, London W1
The club’s Garrison Room served as the nightclub where the group demonstrate those fabulous Sixties dances.
The TV studio, where the band rehearse and perform the climactic concert, is the Scala again, but when the four escape down the fire escape for a moment of pixilated fun, it’s the iron staircase behind the London Apollo Hammersmith, Queen Caroline Street, in the days when it was famous as the Hammersmith Odeon, a legendary music venue. They hurry down the steps, only to land on the helicopter pad at Gatwick Airport, where their scamperings about are matched up with more footage filmed on the Thornbury Road Playing Fields, south of the Great West Road, A4 (tube: Osterley, Piccadilly Line).
A Hard Day's Night film location: Ringo takes arty photos: Lancaster Road, Notting Hill, W11
Ringo takes off for a respite from the frenzy. With his camera, he ambles through Notting Hill Gate taking arty shots of milkbottles on Lancaster Road.
A Hard Day's Night film location: Ringo gets a disguise from the second-hand shop: All Saints Road, Notting Hill, W11
Spotted by a brace of squealing teen fans, he ducks into a junk shop to buy a disguise of peaked cap and old raincoat. The shop, at last look, a ladies’ lingerie shop, is Pret-a-Vivre, 20 All Saints Road, on the northeast corner of Lancaster Road.
A Hard Day's Night film location: Ringo goes walkabout: Turk’s Head pub, Twickenham
He meanders along the Putney Towpath, the south bank of the Thames just west of Kew Bridge, in west London, before sampling pub sandwiches in the Turk’s Head, 28 Winchester Road at the corner of St Margaret’s Grove, St Margaret’s, Twickenham, Greater London, conveniently close to the film studios.
The chase sequence is around Notting Hill Gate, with the since-demolished St John’s Secondary School, which stood at 83 Clarendon Road, used as the police station.
A Hard Day's Night film location: The Beatles arrive in the nick of time: Charlotte Mews, Fitzrovia, London W1
It's back to the Scala for climax. Although the theatre is long-gone, you can still see unchanged, opposite its old entrance, Charlotte Mews, the alleyway from which the Fab Four finally emerge for the frenzied TV concert.
|
||||
correct_starring_00056
|
FactBench
|
1
| 1
|
https://www.rogerebert.com/cast-and-crew/paul-mccartney
|
en
|
Paul McCartney movie reviews & film summaries
|
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[] |
[] |
[
""
] | null |
[] | null |
Paul McCartney movie reviews & film summaries | Roger Ebert
|
en
|
/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png
|
https://www.rogerebert.com/
|
https://www.rogerebert.com/cast-and-crew/paul-mccartney
| |||||
correct_starring_00056
|
FactBench
|
0
| 19
|
https://medium.com/rubber-souls/a-hard-days-night-the-beatles-first-feature-film-where-all-they-had-to-do-was-act-naturally-8119cb131e15
|
en
|
A Hard Day’s Night: The Beatles’ First Feature Film Where All They Had to Do Was Act Naturally
|
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[] |
[] |
[
""
] | null |
[
"Tom Brogan",
"tombrogan.medium.com"
] |
2021-03-08T20:06:50.007000+00:00
|
“Who are they?” Walter Shenson replied when he was asked if he would like to produce a film with The Beatles. Noel Rodgers, the British representative for United Artists Records, knew the UK’s…
|
en
|
Medium
|
https://medium.com/rubber-souls/a-hard-days-night-the-beatles-first-feature-film-where-all-they-had-to-do-was-act-naturally-8119cb131e15
|
“Who are they?” Walter Shenson replied when he was asked if he would like to produce a film with The Beatles. Noel Rodgers, the British representative for United Artists Records, knew the UK’s Beatlemania was heading for the States and figured a way to cash in. He approached Bud Ornstein, the British production head of UA’s film division, with the idea of signing the Beatles to a three-picture deal.
Once Shenson, producer of The Mouse That Roared (1959) had been brought up to speed with the Beatle phenomena, he agreed to look into the prospect. UA assured him that if the film only made a profit in the UK, that would be good enough. The film would be made cheaply and knocked out quickly as the property they were really after was the soundtrack. United Artists had discovered late in 1963 that EMI’s contract with the Beatles did not cover film soundtracks.
The soundtrack allowed A Hard Day’s Night to be the first feature film in history to turn a profit while still in production. United Artists, not EMI, would release…
|
|||||
correct_starring_00056
|
FactBench
|
0
| 81
|
https://www.primevideo.com/detail/A-Hard-Days-Night/0FO5U3U7Q8A77WSJ7VR1Y20JO5
|
en
|
Prime Video: A Hard Day's Night
|
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[
""
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[] | null |
The Beatles famous first foray into film is considered one of the most innovative and refreshing music movies ever made. Celebrating the phenomenon of Beatlemania in 1964 and capturing John Lennon, Paul McCartney, George Harrison and Ringo Starr in their electrifying element.
|
en
|
https://www.primevideo.com/detail/A-Hard-Days-Night/0FO5U3U7Q8A77WSJ7VR1Y20JO5
|
Store FilledFree trial or buy
Store FilledFree trial, rent, or buy
|
||||||
correct_starring_00056
|
FactBench
|
1
| 22
|
https://letterboxd.com/actor/paul-mccartney/
|
en
|
Films starring Paul McCartney
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[] |
[] |
[
""
] | null |
[] | null |
Films starring Paul McCartney
|
en
|
https://letterboxd.com/actor/paul-mccartney/
|
Sir James Paul McCartney, MBE (born 18 June 1942) is an English musician, singer-songwriter and composer. Formerly of The Beatles (1960–1970) and Wings (1971–1981), McCartney is the most commercially successful songwriter in the history of popular music, according to Guinness World Records.
McCartney gained worldwide fame as a member of The Beatles, alongside John Lennon, George Harrison, and Ringo Starr. McCartney and Lennon formed one of the most influential and successful songwriting partnerships and wrote some of the most popular songs in the history of rock music. After leaving The Beatles, McCartney launched a successful solo career and formed the band Wings with his first wife, Linda Eastman, and singer-songwriter Denny Laine. McCartney is listed in Guinness World Records as the "most successful musician and composer in popular music history", with 60 gold discs and sales of 100 million singles in the UK.
BBC News Online readers named McCartney the "greatest composer of the millennium", and BBC News cites his Beatles song "Yesterday" as the most covered song in the history of recorded music—by over 2,200 artists—and since its 1965 release, has been played more than 7,000,000 times on American television and radio according to the BBC. Wings' 1977 single "Mull of Kintyre" became the first single to sell more than two million copies in the UK, and remains the UK's top selling non-charity single. Based on the 93 weeks his compositions have spent at the top spot of the UK chart, and 24 number one singles to his credit, McCartney is the most successful songwriter in UK singles chart history. As a performer or songwriter, McCartney was responsible for 32 number one singles on the US Billboard Hot 100 chart, and has sold 15.5 million RIAA certified albums in the US alone.
McCartney has composed film scores, classical and electronic music, released a large catalogue of songs as a solo artist, and has taken part in projects to help international charities. He is an advocate for animal rights, for vegetarianism, and for music education; he is active in campaigns against landmines, seal hunting, and Third World debt. He is a keen football fan, supporting both Everton and Liverpool football clubs. His company MPL Communications owns the copyrights to more than 3,000 songs, including all of the songs written by Buddy Holly, along with the publishing rights to such musicals as Guys and Dolls, A Chorus Line, and Grease. McCartney is one of the UK's wealthiest people, with an estimated fortune of £475 million in 2010.
|
||||||
correct_starring_00056
|
FactBench
|
0
| 39
|
https://www.theguardian.com/film/2014/jul/03/a-hard-days-night-review-beatles-50th-anniversary
|
en
|
A Hard Day's Night review – a larky and quaint Beatles fantasy
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=A+Hard+Day%27s+Night%2CMusicals%2CThe+Beatles%2CComedy+films%2CPop+and+rock%2CJohn+Lennon%2CPaul+McCartney%2CMusic%2CFilm%2CCulture",
"https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/7/2/1404319576397/A-HARD-DAYS-NIGHT-BEATLES-008.jpg?width=465&dpr=1&s=none",
"https://i.guim.co.uk/img/uploads/2018/01/10/Peter_Bradshaw,_L.png?width=75&dpr=1&s=none"
] |
[] |
[] |
[
""
] | null |
[
"Peter Bradshaw",
"www.theguardian.com"
] |
2014-07-03T00:00:00
|
<p>The 50th anniversary reissue of the Beatles film captures the anarchic spirit of the times as Britain shook off postwar shackles, writes <strong>Peter Bradshaw</strong></p>
|
en
|
the Guardian
|
https://www.theguardian.com/film/2014/jul/03/a-hard-days-night-review-beatles-50th-anniversary
|
Not quite 20 years after the second world war, and with Winston Churchill technically not yet dead, Dick Lester directed this hugely popular and influential Beatles movie from a script by veteran TV writer Alun Owen. The film (now on re-release for its 50th anniversary) is a larky and quaint fantasy of the group on tour, bunking off, sprinting around like the Keystone Robbers and cheeking their elders and not-betters in the toffee-nosed south. Wilfrid Brambell plays Paul's glowering Irish grandad, surreally along for the ride.
A Hard Day's Night looks chaotic and slapdash enough (and just occasionally, for me, depressing enough) to count as an experimentalist or underground movie. Film was not a medium in which the Beatles showed any real interest (unlike Sinatra or Elvis), but A Hard Day's Night captures the spirit of the times and the band themselves are so unselfconsciously awful at acting that this has documentary value: a picture of a pinched and starved nation, waking up to this new energy. Undernourished Britons really did buy milk in those difficult-to-open triangular cartons from street-vending machines: Tom Courtenay has one at the end of Billy Liar. (There's also a sharp pre- or proto-Troubles moment when Brambell tells the west London coppers they've got sadism stamped all over their British kissers, and he'll go on hunger strike.)
John's own face – so sharp and humorous and shrewd – is enduringly fascinating, especially compared to Paul's childlike innocence, which remains angelic even as he smokes a fag.
|
|||||
correct_starring_00056
|
FactBench
|
3
| 83
|
https://www.news.com.au/entertainment/movies/upcoming-movies/paul-mccartney-elton-john-garth-brooks-to-star-in-this-is-spinal-tap-sequel/news-story/e66bfc6da7734a1a0d6d589784cf1dc6
|
en
|
Sir Paul McCartney, Elton John, Garth Brooks to star in This Is Spinal Tap sequel
|
https://content.api.news/v3/images/bin/0a0f675fe62b40b432671478092235fa
|
https://content.api.news/v3/images/bin/0a0f675fe62b40b432671478092235fa
|
[
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] |
[] |
[] |
[
"Christopher Guest",
"Harry Shearer",
"United States of America",
"Paul McCartney",
"England",
"Leicester Square Theatre",
"North America",
"comedy movie",
"Garth Brooks",
"America",
"heavy metal group",
"hit flick",
"Stephen Moyes",
"Rob Reiner",
"Dallas",
"official trailerGo",
"Northern Europe",
"Stephen Walton",
"Europe",
"Ric Parnell",
"hatchet job",
"Beloved movie",
"Michael McKean",
"Northern America",
"fictional heavy",
"Richard Herring",
"Texas",
"fictional British band",
"Elton John",
"rock bands"
] | null |
[
"Stephen Moyes – The Sun"
] |
2023-11-28T00:39:00+00:00
|
Sir Paul McCartney is to star in the sequel to rock mockumentary This Is Spinal Tap.
|
en
|
news
|
https://www.news.com.au/entertainment/movies/upcoming-movies/paul-mccartney-elton-john-garth-brooks-to-star-in-this-is-spinal-tap-sequel/news-story/e66bfc6da7734a1a0d6d589784cf1dc6
|
McCartney, 81, will appear alongside singing legends Elton John and Garth Brooks in the follow up to the 1984 comedy movie.
The original film followed members of the fictional heavy metal group Spinal Tap – dubbed “one of England’s loudest bands”.
As reported by The Sun, Director Rob Reiner, who made the first movie, says he is making a sequel featuring a host of stars.
He revealed Beatles icon Paul McCartney has a role during a chat on Richard Herring’s Leicester Square Theatre podcast.
Stars of the original hit flick Michael McKean, Harry Shearer and Christopher Guest will also return.
Reiner said: “We’re making a sequel. We’re going to start shooting at the end of February.
“Everybody is back, Paul McCartney is joining and Elton John, and a few other surprises, Garth Brooks.”
Discussing the success of the first film, he said: “The only thing that matters is getting people that are good at improvising. You have to get people who feel comfortable doing that.”
The plot of Spinal Tap will centre on the death of the fictional British band’s manager and his wife who then inherits a contract that requires them to do one last concert.
There’s bad blood and anger towards Reiner’s filmmaker Martin “Marty” Di Bergi who they feel did a hatchet job with the original documentary, but returns to film their final hurrah.
While the original movie was met with critical acclaim, it wasn’t an initial hit commercially, later finding an audience on VHS instead.
Reiner has said that initially, viewers were confused.
“The first time we screened in Dallas, they didn’t know what the hell it was,” he explained.
“People came up to me and said, I don’t understand why would you make a movie about a band no one has heard of and is so bad. Why would you do it?
“I said, it’s satire and I would explain, but it took a while for people to catch up to it. Now, it’s in the National Film Registry.”
Reiner went on: “I can tell you hardly a day goes by without someone saying, why don’t you do another one?”
“For so many years, we said, ‘nah.’ It wasn’t until we came up with the right idea how to do this. You don’t want to just do it, to do it. You want to honour the first one and push it a little further with the story.”
The new movie is set for release in two years’ time to coincide with the 1984 original’s 40th anniversary.
Earlier this year the fictional band’s drummer Ric Parnell, who later toured with them in real life, died aged 70.
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|||
correct_starring_00056
|
FactBench
|
3
| 95
|
https://www.businessinsider.com/the-beatles-movies-sam-mendes-biopics-everything-we-know-2024-2
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en
|
Everything we know about 4 Beatles biopics from director Sam Mendes
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[
"Eammon Jacobs"
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2024-02-21T11:51:21+00:00
|
Director Sam Mendes is working on four biopics about each of The Beatles: John Lennon, Paul McCartney, George Harrison, and Ringo Starr.
|
en
|
/public/assets/BI/US/favicons/apple-touch-icon-192x192.png?v=2023-11
|
Business Insider
|
https://www.businessinsider.com/the-beatles-movies-sam-mendes-biopics-everything-we-know-2024-2
|
Here’s everything we know about the four movies about The Beatles.
Each movie will focus on a different member of The Beatles
According to the press release, each movie will be from the perspective of a different member of the band, meaning Paul McCartney, John Lennon, George Harrison, and Ringo Starr will each have their own biopic.
It’s the first time that the band’s company, Apple Corps Ltd., has given permission for the group’s life story and music to be used in a scripted film about them.
Since 1979, 18 unauthorized biopics have been made about the band including 2009’s “Knowhere Boy" starring Aaron Taylor-Johnson as Lennon and Thomas Brodie-Sangster as McCartney.
The release also says that the four movies “will intersect to tell the astonishing story of the greatest band in history.” Yes, Mendes is effectively giving audiences The Beatles Cinematic Universe, so get those “Avengers” jokes out of the way now.
Sam Mendes will have 'no limits' telling The Beatles’ story
In an interview with Deadline published on Tuesday, Pippa Harris, who will produce the films, said the band’s surviving members, McCartney and Starr, have given their blessing for Mendes to work on the four films.
Related stories
“It’s a testament to his creative brilliance and powers of persuasion that Paul McCartney, Ringo Starr, Sean Lennon, and Olivia Harrison responded with such warmth and enthusiasm as soon as he spoke with them,” she said, referring to John Lennon's son and George Harrison's widow.
Harris went on to say that Mendes will have no restrictions on what he depicts from the band members’ lives.
She said: “What is truly exciting is for Sam to have the freedom to delve into the lives of each of the Beatles, with nothing off limits and no sense of the band wanting him to tell a particular ‘authorised’ version of their rise to success.”
Starr also gave his blessing on Tuesday via a post on X.
Nobody has been cast yet, but The Beatles movies should be released in 2027
Mendes is the only big name attached to all four movies as director, and no actors have been cast as Lennon, McCartney, Harrison, or Starr as of yet.
Per the press release, Sony is looking to release all four movies about The Beatles in 2027, which gives Mendes plenty of time to find the right people to play the Liverpudlian superstars.
Correction: March 1, 2024 — An earlier version of this story misstated the director of the film "No Time to Die." Cary Joji Fukunaga directed the film, not Sam Mendes.
|
||
correct_starring_00056
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FactBench
|
0
| 97
|
https://papercutshop.se/product/the-beatles-a-hard-days-night/
|
en
|
The Beatles A Hard Day's Night: A Private Archive
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[
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2016-09-18T15:06:42+00:00
|
In March of 1964 director Richard Lester began shooting A Hard Day’s Night, a black-and-white feature film starring the Beatles. With slapstick humor and a fantastic soundtrack, the movie imagines the excitement and chaos of thirty-six hours in the life of the Fab Four, and stars John Lennon, Paul McCartney, George Harrison and Ringo Starr, […]
|
Papercut
|
https://papercutshop.se/product/the-beatles-a-hard-days-night/
|
In March of 1964 director Richard Lester began shooting A Hard Day’s Night, a black-and-white feature film starring the Beatles. With slapstick humor and a fantastic soundtrack, the movie imagines the excitement and chaos of thirty-six hours in the life of the Fab Four, and stars John Lennon, Paul McCartney, George Harrison and Ringo Starr, with Wilfrid Brambell portraying McCartney’s grandfather.
The Beatles A Hard Day’s Night: A Private Archive” is a collection of photographs and rare ephemera that documents the band on set and behind the scenes. This private archive captures the infectious energy and anarchic spirit of this groundbreaking film.
An authoritative essay and lively captions by Beatles’ historian Mark Lewisohn provide context and explores its impact and enduring legacy.
|
||||||
correct_starring_00056
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FactBench
|
0
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https://www.alamy.com/stock-photo-a-hard-days-night-1964-ringo-starr-george-harrison-paul-mccartney-38933892.html
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A HARD DAY'S NIGHT (1964) RINGO STARR, GEORGE HARRISON, PAUL MCCARTNEY, JOHN LENNON RICHARD LESTER (DIR) 006 MOVIESTORE COLLECTI
Captions are provided by our contributors.
RMID:Image ID :C79GG4
Image details
Contributor :
Moviestore Collection Ltd / Alamy Stock Photo
Image ID :
C79GG4
File size :
51.7 MB (2.1 MB Compressed download)
Open your image file to the full size using image processing software.
Releases :
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Dimensions :
5279 x 3425 px | 44.7 x 29 cm | 17.6 x 11.4 inches | 300dpi
Date taken :
18 July 2011
Photographer :
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More information :
This image could have imperfections as it’s either historical or reportage.
Available for editorial use only. Get in touch for any commercial
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Taxes may apply to prices shown.
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||||||
correct_starring_00056
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FactBench
|
1
| 34
|
https://www.usatoday.com/story/entertainment/movies/2024/02/20/four-beatles-movies-sam-mendes/72669341007/
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en
|
Beatles movies on Paul McCartney, John Lennon, George Harrison and Ringo Starr in the works
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2024-02-20T00:00:00
|
Four movies about the Beatles, each of which will take the perspective of a different member of the band, are in the works from director Sam Mendes.
|
en
|
USA TODAY
|
https://www.usatoday.com/story/entertainment/movies/2024/02/20/four-beatles-movies-sam-mendes/72669341007/
|
NEW YORK — The Beatles are getting the big-screen biopic treatment in not just one film, but a Fab Four of movies that will give each band member their own spotlight — all of which are to be directed by Sam Mendes.
For the first time, the Beatles, long among the stingiest rights granters, are giving full life and music rights to a movie project. Sony Pictures announced Monday a deal that may dwarf all music biopics that have come before it, with the stories of Paul McCartney, John Lennon, George Harrison and Ringo Starr spread out over a quartet of films.
The films, conceived by Mendes, are expected to roll out theatrically in innovative fashion, with the movies potentially coexisting or intersecting in theaters. Precise release plans will be announced at a later date. Sony is targeting 2027 for their release.
McCartney, Starr and the families of John Lennon and George Harrison have all signed off on the project through the band's Apple Corps. Ltd. Sony Music Publishing controls the rights to the majority of Beatles songs.
"I'm honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies," Mendes said in a statement.
Each film will be from the perspective of a Beatle.
'Now and Then': If the Beatles song left you gently weeping, you weren't alone
"We intend this to be a uniquely thrilling, and epic cinematic experience: four films, told from four different perspectives which tell a single story about the most celebrated band of all time," said producer Pippa Harris. "To have The Beatles' and Apple Corps' blessing to do this is an immense privilege."
The Beatles' most famous forays into film were in their early years. Between 1964 and 1970, they appeared in five movies, including "A Hard Day’s Night" (1964) and the animated "Yellow Submarine" (1968). They've, of course, been the subject of many documentaries, most recently Peter Jackson's 2021 "The Beatles: Get Back."
In 2023, the Beatles reunited with the aid of artificial intelligence in the newly released song "Now and Then." The recording was made possible by technology used by Jackson on "Get Back," and featured a music video made by the New Zealand director.
Attempts to dramatize the Beatles' story have been more sporadic and less impactful. A 1979 biopic, made when Lennon was still alive, called "The Birth of the Beatles" was produced with Beatles original drummer Pete Best as an adviser. The 1994 indie drama "Backbeat" chronicled Lennon’s relationship with Stuart Sutcliffe before the Beatles were famous. "Nowhere Boy" (2009) starred Aaron Taylor-Johnson as a teenage Lennon.
50 fascinating facts you may not know about The Beatles
But in the last decade, music biopics have become big business. Box-office hits like "Bohemian Rhapsody," "Rocketman" and "Elvis" have sent Hollywood executives chasing the next jukebox blockbuster. Over Presidents Day weekend, "Bob Marley: One Love," produced with the Marley estate, was the No. 1 movie in theaters. A Michael Jackson biopic is in production.
"Theatrical movie events today must be culturally seismic. Sam's daring, large-scale idea is that and then some," said Tom Rothman, chair and chief executive of Sony Pictures' Motion Picture Group.
The combination of Mendes' team "with the music and the stories of four young men who changed the world, will rock audiences all over the globe," Rothman said. "We are deeply grateful to all parties and look forward ourselves to breaking some rules with Sam’s uniquely artistic vision."
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|||||
correct_starring_00056
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FactBench
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3
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https://www.the-paulmccartney-project.com/film/a-hard-days-night/
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en
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The Paul McCartney project
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A Hard Day’s Night is a 1964 musical comedy film directed by Richard Lester and starring the English rock band The Beatles—John Lennon, Paul McCartney, George...
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The Paul McCartney project
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A Hard Day’s Night is a 1964 musical comedy film directed by Richard Lester and starring the English rock band The Beatles—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—during the height of Beatlemania. It was written by Alun Owen and originally released by United Artists. The film portrays 36 hours in the lives of the group as they prepare for a television performance.
The film was a financial and critical success and was nominated for two Academy Awards including Best Original Screenplay. Forty years after its release, Time magazine rated it as one of the 100 all-time great films. In 1997, British critic Leslie Halliwell described it as a “comic fantasia with music; an enormous commercial success with the director trying every cinematic gag in the book” and awarded it a full four stars. The film is credited as being one of the most influential of all musical films, inspiring numerous spy films, the Monkees’ television show and pop music videos. In 1999, the British Film Institute ranked it the 88th greatest British film of the 20th century.
Plot
The Beatles evade a horde of fans while boarding a train for London. En route, they meet Paul’s trouble-making grandfather for the first time; he becomes so much trouble that Paul has him locked up in the brake coach’s luggage room, but he and the others soon join him inside. They play cards and entertain some schoolgirls before arriving at the London station, where they’re quickly driven to a hotel and begin to feel cooped up. Their manager Norm tasks them with answering all their fan mail, but they sneak out to party, only to be caught by Norm and taken back. They then find out that the grandfather went to a gambling club using an invitation sent to Ringo, and, after a brief dust-up, they bring him back to the hotel.
The next day, they arrive at a TV studio for a performance. After the initial rehearsal, the producer thinks they’re out to sabotage his career (thanks to something the grandfather said). There is a press conference, where the Beatles are bored by the mundane questioning. They leave through a fire escape and cavort in a field until forced off by the owner. Back in the studios, they are separated when a woman named Millie recognizes John but cannot recall who he is. George is lured into a trendmonger’s office to audition for an ad with a popular female model. The boys all return to rehearse a second song, and after a quick trip to makeup, smoothly go through a third and earn a break.
With an hour before the final run-through, Ringo is forced to chaperone Paul’s grandfather and takes him to the canteen for tea while he reads a book. The grandfather manipulates Ringo into going outside to experience life rather than reading books, passing a surprised John and Paul on the way out. He tries to have a quiet drink in a pub, takes pictures, walks alongside the river and rides a bicycle along a railway station platform. While the other three search in vain for Ringo, he is arrested on suspicion and taken to a police station, where Paul’s grandfather joins him shortly after attempting to sell Beatles photos with forged signatures. The grandfather makes a break for it, runs back to the studio and tells the others about Ringo. Norm sends John, Paul and George to retrieve him. While doing so, the boys wind up in a Keystone Cops-style foot chase before arriving back at the studio with Ringo, with only minutes to spare before airtime. The televised concert goes on as planned, after which the Beatles are whisked away to another performance via helicopter. […]
Screenplay
The screenplay was written by Alun Owen, who was chosen because the Beatles were familiar with his play No Trams to Lime Street, and he had shown an aptitude for Liverpudlian dialogue. McCartney commented, “Alun hung around with us and was careful to try and put words in our mouths that he might’ve heard us speak, so I thought he did a very good script.” Owen spent several days with the group, who told him their lives were like “a train and a room and a car and a room and a room and a room”; the character of Paul’s grandfather refers to this in the dialogue. Owen wrote the script from the viewpoint that the Beatles had become prisoners of their own fame, their schedule of performances and studio work having become punishing.
The script comments cheekily on the Beatles’ fame. For instance, at one point a fan, played by Anna Quayle, apparently recognises John Lennon, though she does not actually mention Lennon’s name, saying only “you are…”. He demurs, saying his face is not quite right for “him”, initiating a surreal dialogue ending with the fan, after she puts on her glasses, agreeing that Lennon doesn’t “look like him at all”, and Lennon saying to himself that “she looks more like him than I do”. Other dialogue is derived from actual interviews with the Beatles. When Ringo is asked if he’s a mod or a rocker, he replies: “Uh, no, I’m a mocker”, a line derived from a joke he made on the TV show Ready Steady Go!. The frequent reference to McCartney’s grandfather (Wilfrid Brambell) as a “clean old man” sets up a contrast with the stock description of Brambell’s character, Albert Steptoe in Steptoe and Son, as a “dirty old man”.
Audiences also responded to the Beatles’ brash social impudence. Director Richard Lester said, “The general aim of the film was to present what was apparently becoming a social phenomenon in this country. Anarchy is too strong a word, but the quality of confidence that the boys exuded! Confidence that they could dress as they liked, speak as they liked, talk to the Queen as they liked, talk to the people on the train who ‘fought the war for them’ as they liked. … [Everything was] still based on privilege—privilege by schooling, privilege by birth, privilege by accent, privilege by speech. The Beatles were the first people to attack this… they said if you want something, do it. You can do it. Forget all this talk about talent or ability or money or speech. Just do it.”
Despite the fact that the original working titles of the film were first The Beatles and then Beatlemania, the group’s name is never spoken in the film—it is, however, visible on Ringo’s drum kit, on the stage lighting, and on the helicopter in the final scene. The television performance scene also contains a visual pun on the group’s name, with photos of beetles visible on the wall behind the dancers.
Production
The film was shot for United Artists (UA) using a cinéma vérité style in black-and-white. The film was meant to be released in July 1964, and since it was already March when Lester got to filming, the entire film had to be produced over a period of sixteen weeks. It had a low budget for its time of £200,000 ($500,000) (equivalent to £4,082,788 in 2019) and filming was finished in under seven weeks, leaving the rest of the time for post-production. At first, the film itself was something of a secondary consideration to UA, whose primary interest was in being able to release the soundtrack album in the United States before Capitol Records (the American EMI affiliate who had first shot at releasing Beatles music in the States) got around to issuing their material; in the words of Bud Ornstein, the European head of production for United Artists: “Our record division wants to get the soundtrack album to distribute in the States, and what we lose on the film we’ll get back on this disc.” As film historian Stephen Glynn put it, A Hard Day’s Night was intended as “a low-budget exploitation film to milk the latest brief musical craze for all it was worth.”
Unlike most productions, it was filmed in near sequential order, as stated by Lennon in 1964. Filming began on 2 March 1964 at Marylebone station in London (sometimes misidentified as Paddington). The Beatles had joined the actors’ union, Equity, only that morning. The first week of filming was on a train travelling between London and Minehead. On 10 March, scenes with Ringo were shot at the Turk’s Head pub in Twickenham, and over the following week various interior scenes were filmed at Twickenham Studios. From 23 to 30 March, filming moved to the Scala Theatre, and on 31 March, concert footage was shot there, although the group mimed to backing tracks. On the 17 March and the 17 April scenes were shot at the Les Ambassadeurs Club in Mayfair. The “Can’t Buy Me Love” segment, which featured creative camera work and the band running and jumping around in a field was shot on 23 April 1964 at Thornbury Playing Fields, Isleworth, Middlesex. The final scene was filmed the following day in West Ealing, London, where Ringo obligingly drops his coat over puddles for a lady to step on, only to discover that the final puddle is actually a large hole in the road.
Before A Hard Day’s Night was released in America, a United Artists executive asked Lester to dub the voices of the group with mid-Atlantic accents. McCartney angrily replied, “Look, if we can understand a fucking cowboy talking Texan, they can understand us talking Liverpool.” Lester subsequently directed the Beatles’ 1965 film, Help!
The film’s costumes—except for those of the Beatles themselves—were designed by Julie Harris. The clothes of the Beatles were credited to Dougie Millings & Son.
Casting
Irish actor Wilfrid Brambell, who played Paul McCartney’s fictional grandfather John McCartney, was already well known to British television audiences as co-star of the British sitcom Steptoe and Son. The recurring joke that he was very “clean” reflects a contrast to his sitcom role, where he was always referred to as a “dirty old man”. In other roles, Norman Rossington played the Beatles’ manager Norm, John Junkin played the group’s road manager Shake, and Victor Spinetti played the television director. Brian Epstein, the group’s real manager, had an uncredited bit part.
The supporting cast included Richard Vernon as the “city gent” on the train and Lionel Blair as a featured dancer. There were also various cameos. John Bluthal played a car thief and an uncredited Derek Nimmo appeared as magician Leslie Jackson. David Janson (billed as David Jaxon here) played the small boy met by Ringo on his “walkabout”. Rooney Massara, who went on to compete in the 1972 Munich Olympics, was the sculler in the river in the “walkabout” scene by the river at Kew (uncredited). Kenneth Haigh appeared as an advertising executive who mistakes George for a “new phenomenon.” David Langton also made a cameo appearance as an actor in the dressing room scene.
Mal Evans, one of the Beatles’ road managers, also appears briefly in the film—moving an upright bass through a tight hallway as Lennon talks with the woman who mistakes him for someone else.
George Harrison met his wife-to-be, Patricia Boyd, on the set when she made a brief (uncredited) appearance as one of the schoolgirls on the train. His initial overtures to her were spurned because she had a boyfriend at the time, but he persisted and they were married within 18 months. The girl with Boyd in the dining car scene is Prudence Bury. Phil Collins, later a member of the band Genesis, was an uncredited schoolboy extra in the concert audience and would subsequently go on to be a very successful musician in his own right.
Playing the buxom woman with Paul’s grandfather in the casino scene was popular British 1960s pinup model Margaret Nolan (aka Vicky Kennedy), who also appeared as “Dink”, the golden girl during the opening credits of the James Bond film Goldfinger, later that same year.
Cut for BBFC
The film had to be edited slightly to obtain the U certificate for British cinemas. The phrase “get knotted” (allegedly in reel 7 of the original submission) was judged inappropriate for a U film and had to be removed. When the film was submitted for release on VHS, the British Board of Film Censors (BBFC) could not locate the phrase and presumed that the clip was “pre-cut”, but stated that the phrase was no longer of any concern. The BBFC noted a number of innuendos and one subtle reference to cocaine, but concluded that it was still within the “natural category” for a U certificate.
Reception
The film premiered at the Pavilion Theatre in London on 6 July 1964—the eve of Ringo Starr’s 24th birthday—and the soundtrack was released four days later. A Hard Day’s Night set records at the London Pavilion by grossing over $20,000 in the first week, ultimately becoming so popular that more than 1,600 prints were in circulation simultaneously.
Critical response
Reviews of the film were mostly positive; one oft-quoted assessment was provided by Andrew Sarris of The Village Voice, labeling A Hard Day’s Night “the Citizen Kane of jukebox musicals.” When The Village Voice published the results of its first annual film poll, A Hard Day’s Night placed second behind Stanley Kubrick’s Dr. Strangelove. On Rotten Tomatoes the film holds an approval rating of 98% based on 109 reviews, with an average rating of 8.5/10. The website’s critics consensus reads: “A Hard Day’s Night, despite its age, is still a delight to watch and has proven itself to be a rock-and-roll movie classic.” It is number four on Rotten Tomatoes’ list of the Top Ten Musicals and Performing Arts films. On Metacritic, it has a weighted average score of 96 out of 100, based on 24 critics, indicating “universal acclaim”.
Time magazine called the film “One of the smoothest, freshest, funniest films ever made for purposes of exploitation.” Film critic Roger Ebert described the film as “one of the great life-affirming landmarks of the movies”, and added it to his list of The Great Movies. In 2004, Total Film magazine named A Hard Day’s Night the 42nd greatest British film of all time. In 2005, Time.com named it one of the 100 best films of the last 80 years. Leslie Halliwell gave the film his highest rating, four stars, the only British film of 1964 to achieve that accolade.
The New York Times film critic Bosley Crowther noted the film was a subtle satire on Beatlemania and the Beatles themselves. The Beatles are portrayed as likeable young lads who are constantly amazed at the attention they receive and who want nothing more than a little peace and quiet; however, they have to deal with screaming crowds, journalists who ask nonsensical questions, and authority figures who constantly look down upon them. In fact, their biggest problem is McCartney’s elderly, but “clean” grandfather, played by Wilfrid Brambell. The New Yorker critic Brendan Gill wrote: “Though I don’t pretend to understand what makes these four rather odd-looking boys so fascinating to so many scores of millions of people, I admit that I feel a certain mindless joy stealing over me as they caper about uttering sounds.”
A Hard Day’s Night was nominated for two Academy Awards: for Best Screenplay (Alun Owen), and Best Score (Adaptation) (George Martin).
By 1971, the film was estimated to have earned $11 million worldwide (equivalent to $70,293,344 in 2020).
Influence
British critic Leslie Halliwell states the film’s influence as “it led directly to all the kaleidoscopic swinging London spy thrillers and comedies of the later sixties”. In particular, the visuals and storyline are credited with inspiring The Monkees’ television series. The “Can’t Buy Me Love” segment borrowed stylistically from Richard Lester’s earlier The Running Jumping & Standing Still Film, and it is this segment, in particular using the contemporary technique of cutting the images to the beat of the music, which has been cited as a precursor of modern music videos. Roger Ebert goes even further, crediting Lester for a more pervasive influence, even constructing “a new grammar”: “he influenced many other films. Today when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of A Hard Day’s Night“. Film theorist James Monroe writes, “The lively 1960s films of Richard Lester—especially his Musicals A Hard Day’s Night (1964), Help! (1965), and A Funny Thing Happened on the Way to the Forum (1966)—popularized jump cuts, rapid and ‘ungrammatical’ cutting. Over time, his brash editorial style became a norm, now celebrated every night around the world in hundreds of music videos on MTV and in countless commercials.” A Hard Day’s Night also inspired a 1965 film featuring Gerry and the Pacemakers, entitled Ferry Cross the Mersey. In an interview for the DVD re-release of A Hard Day’s Night, Lester said he had been labelled the father of MTV and had jokingly responded by asking for a paternity test.
Title
The film’s title originated from something said by Ringo Starr, who described it this way in an interview with disc jockey Dave Hull in 1964: “We went to do a job, and we’d worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, ‘It’s been a hard day …’ and I looked around and saw it was dark so I said, ‘… night!’ So we came to A Hard Day’s Night.”
According to Lennon in a 1980 interview with Playboy magazine: “I was going home in the car, and Dick Lester suggested the title, ‘Hard Day’s Night’ from something Ringo had said. I had used it in In His Own Write, but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny… just said it. So Dick Lester said, ‘We are going to use that title.'”
In a 1994 interview for The Beatles Anthology, however, McCartney disagreed with Lennon’s recollections, recalling that it was the Beatles, and not Lester, who had come up with the idea of using Starr’s verbal misstep: “The title was Ringo’s. We’d almost finished making the film, and this fun bit arrived that we’d not known about before, which was naming the film. So we were sitting around at Twickenham studios having a little brain-storming session … and we said, ‘Well, there was something Ringo said the other day.’ Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical … they were sort of magic even though he was just getting it wrong. And he said after a concert, ‘Phew, it’s been a hard day’s night.'”
Yet another version of events appeared in 1996; producer Walter Shenson said that Lennon had described to him some of Starr’s funnier gaffes, including “a hard day’s night”, whereupon Shenson immediately decided that that was going to be the title of the film.
Regardless of which of these origin stories is the true one, the original tentative title for the film had been “Beatlemania” and when the new title was agreed upon, it became necessary to write and quickly record a new title song, which was completed on 16 April, just eight days before filming was finished. John Lennon wrote the song in one night, (credited to Lennon-McCartney) basing the lyrics on a birthday card sent to his young son Julian, and it went on to win a Grammy for Best Performance by a Vocal Group.: p.xii
The film was titled Yeah Yeah Yeah in Germany and Sweden, Tutti Per Uno (All for One) in Italy, Quatre garçons dans le vent (Four Boys in the Wind[b]) in France Yeah! Yeah! Tässä tulemme! (Yeah! Yeah! Here We Come!) in Finland and Os Reis do Iê-Iê-Iê (The Kings of Yeah-yeah-yeah) in Brazil.
Novelisation
In 1964, Pan Books published a novelisation of the film by author John Burke, described as “based on the original screenplay by Alun Owen”. The book was priced at two shillings and sixpence and contained an 8-page section of photographs from the film. It is the first book in the English language to have the word ‘grotty’ in print.
Release history
1964: A Hard Day’s Night was released by United Artists.
1967: The film premiered on American television on the NBC network on 24 October; the usual Peacock introduction, which preceded all NBC color broadcasts of the era, was replaced by a humorous black-and-white animated cartoon penguin, with cartoon representations of the Beatles jumping out of its stomach, as A Hard Day’s Night was not shot in color;
1970: The film premiered on UK television on BBC1 on 28 December. John Lennon watched the broadcast at home and was inspired to write the song “I’m the Greatest”, which was later recorded by Ringo Starr on his 1973 album Ringo.
1979: Rights to the film were transferred to its producer, Walter Shenson;
1982: Universal Pictures, under license from Shenson, reissued the film in theaters. This release included a prologue consisting of production stills set to the song “I’ll Cry Instead”, which would remain on subsequent home video editions until 2000;
1984: MPI Home Video, under license from Shenson, first released A Hard Day’s Night on home video in the VHS, Betamax, CED Videodisc, and Laserdisc formats, which all included the prologue.
The film was also released by Janus Films as part of The Criterion Collection in both a single-disc CLV and a DualDisc CAV Laserdisc format. The additional features section on the CAV edition include the original theatrical trailer, an interview with Richard Lester, and his The Running Jumping & Standing Still Film.
There were notable pitch problems with the songs in this version, precisely one semitone lower than the original recordings. This was fixed in subsequent releases.
1993: Voyager Company produced a CD-ROM for Mac and PC platforms with video in QuickTime 1 format, containing most of Criterion’s elements, including the original script.
1997: MPI Home Video released the first DVD edition. It contains the 1982 prologue and trailer, newsreels, an interview with Richard Lester, and The Running Jumping & Standing Still Film.
2000: Miramax Films reissued the film in theatres in the United States and then as a collector’s edition DVD two years later, as well as its final issue in the VHS format. The film had been transferred from the restored 35 mm negative and presented in 1.66:1 Widescreen. The prologue that Universal added in 1982 is absent on the Miramax releases.
In addition to the original film, the DVD edition contained a bonus disc with over 7 hours of additional material including interviews with cast and crew members and Beatles associates. The DVD was produced by Beatles historian and producer Martin Lewis, a longtime friend of Walter Shenson.
2009: The film was released on Blu-ray Disc in Canada; however, the disc is region free and will play in any Blu-ray machine. It contains most of the 2000 DVD bonus features.
2010: Miramax was sold by Disney to Filmyard Holdings, LLC, and the home video sub-licence transferred to Lionsgate, although no U.S. Blu-ray release date had been announced.
2011: A new Blu-ray edition was released in Mexico, this version has Spanish subtitles.
2014: Janus Films acquired the rights to the film from Miramax (on behalf of the Shenson Estate, managed by Bruce A. Karsh) and announced a domestic video re-release via The Criterion Collection on 24 June 2014. This dual-format edition (which incorporates the first ever U.S. issue on Blu-ray) contains various supplements from all previous video re-issues. This marks the return of this film to Criterion for the first time in two decades. The film was also released in theaters across the U.S. and in the UK (by Metrodome in the latter region) on 4 July 2014. On 6 July 2014, the film was shown in re-mastered HD on BBC Four in the UK to mark its 50th anniversary. Criterion’s DVD/Blu-ray release of A Hard Day’s Night was duplicated by Umbrella Entertainment in Australia (released 2 July) and Second Sight Films in the UK (released 21 July).
2015: On 15 December, Criterion re-released their Blu-ray as part of The Rock Box, a collection of rock music-related films that also includes Monterey Pop (1968), Gimme Shelter (1970) and Quadrophenia (1979).
2021: On 11 August, Criterion announced their first 4K Ultra HD releases, a six-film slate, will include A Hard Day’s Night. Criterion indicate each title will be available in a 4K UHD+Blu-ray combo pack including a 4K UHD disc of the feature film as well as the film and special features on the companion Blu-ray. The titles will be released in November 2021.
40th anniversary cast and crew reunion screening
On 6 July 2004, the 40th anniversary of the film’s world premiere, a private cast and crew reunion screening was hosted in London by DVD producer Martin Lewis. The screening was attended by McCartney, actors Victor Spinetti, John Junkin, David Janson and many crew members. In media interviews at the event, McCartney disclosed that while he had seen the film many times on video, he had not seen the film on the “big screen” since its 1964 premiere. […]
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Watch A Hard Day's Night and more new movie premieres on Max. Plans start at $9.99/month. A rock and roll mockumentary that follows "a day in the life" of those four lads from Liverpool who would go on to make music history as the Beatles.
|
en
|
/favicon.ico
|
Max
|
https://www.max.com/movies/hard-days-night/bd1bc1f6-1680-424f-b5be-1ec92c4efa37
|
Oh no! This title currently isn’t available to watch in your country.
G
1964
Comedy
Musical Comedy
A Hard Day's Night
: A rock and roll mockumentary that follows "a day in the life" of those four lads from Liverpool who would go on to make music history as the Beatles.
Plans start at $9.99/month.
Sign Up Now
G
1964
Comedy
Musical Comedy
A Hard Day's Night
: A rock and roll mockumentary that follows "a day in the life" of those four lads from Liverpool who would go on to make music history as the Beatles.
Home
A Hard Day's Night
Genres
Comedy, Musical Comedy, Classic Comedy
Release Year
1964
Rating Information
G
About This Movie
A rock and roll mockumentary that follows "a day in the life" of those four lads from Liverpool who would go on to make music history as the Beatles.
Cast and Crew
Starring: John Lennon , Sir Paul McCartney , George Harrison , Ringo Starr , Gilbert Taylor
WriterAlun Owen
DirectorRichard Lester
ProducerWalter Shenson
A Hard Day's Night
Genres
Comedy, Musical Comedy, Classic Comedy
Release Year
1964
Rating Information
G
About This Movie
A rock and roll mockumentary that follows "a day in the life" of those four lads from Liverpool who would go on to make music history as the Beatles.
Cast and Crew
Starring: John Lennon , Sir Paul McCartney , George Harrison , Ringo Starr , Gilbert Taylor
WriterAlun Owen
DirectorRichard Lester
ProducerWalter Shenson
Find Iconic Entertainment for Every Mood
Plans start at $9.99/month.
Sign Up Now
Find Iconic Entertainment for Every Mood
Home
|
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correct_starring_00056
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FactBench
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1
| 18
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https://deadline.com/2022/07/get-back-peter-jackson-another-beatles-film-paul-mccartney-ringo-starr-1235073331/
|
en
|
After 5-Emmy-Nom Haul, ‘Get Back’s Peter Jackson Plots Another Beatles Film With Paul McCartney & Ringo Starr
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2022-07-20T20:41:29+00:00
|
'Get Back's Peter Jackson Plots Another Beatles Film With Paul McCartney & Ringo Starr: Q&A
|
en
|
Deadline
|
https://deadline.com/2022/07/get-back-peter-jackson-another-beatles-film-paul-mccartney-ringo-starr-1235073331/
|
EXCLUSIVE: When we think of recurring characters in Peter Jackson film franchises, names like Frodo, Gandalf, Gollum and Sauron stand out. Add John, Paul, George and Ringo to that list.
Following a five-Emmy-nomination haul for his Disney+ three-part docu The Beatles: Get Back, Jackson tells Deadline he is cooking up another film project with surviving Beatles members Paul McCartney and Ringo Starr.
“I’m talking to The Beatles about another project, something very, very different than Get Back,” Jackson told Deadline. “We’re seeing what the possibilities are, but it’s another project with them. It’s not really a documentary … and that’s all I can really say.”
The revelation comes after Jackson emerged from four years spent culling through 130 hours of audio and 57 hours of video shot by Michael Lindsay-Hogg for the Beatles breakup docu Let It Be. It wasn’t as long an immersion as Middle-earth, but close enough. It also didn’t dent his fanship or eagerness to do more with the surviving members of the band.
“It wasn’t as intense as making three Lord of the Rings back to back, but it was four years with a pandemic in the middle of it all,” he said. “We are never in a position where we have to do anything, but we’ve got a few things percolating.”
It has been nearly a decade since he directed the third installment of The Hobbit, and Jackson followed that with the WWI documentary They Shall Not Grow Old. Like Get Back, the making of the docu involved a painstaking process to restore footage and audio. Jackson said there is also a big narrative film on the docket, and like the Middle-earth films, Jackson’s ambitions will test existing technology. Which means part of his task is to develop the tools to make his vision a reality.
“One of them could be big scale, but it’s so technically complicated I’m trying to work how exactly I’ll do it,” Jackson said. “It’s a live-action movie, but it needs technology that doesn’t quite exist at the moment, so we’re in the middle of developing the technology to allow it to happen. I’m trying to anticipate what I might be able to do, before it even exists. They’re not fantasy epics, but they’re pretty interesting.”
As for the Emmy nominations, Jackson said he was gratified by the editing nomination Jabez Olsson received — Jackson got one for Best Director and Get Back is up for Best Documentary Series — and Jackson was sparked by the two noms for Sound Mixing. The latter, he said, “is always a category that people don’t hold in the highest esteem, I guess would be a way to say it, other than people who work in the field. Get Back is all about the sound, and restoring the sound and developing the AI things to separate the musical tracks. We did a lot of groundbreaking work, so it’s really great that the guys who did that work are part of the Emmy nominations. I’m really pleased with that.”
As for his editor, Jackson saidm “Jabez and I spent the four years in the trenches together, so I am very pleased for him.”
Jackson felt the positive results and strong reviews validate his decision to make creative decisions on the basis of being a fan of the band and not favoring one Beatle over another, as has been done in some past works.
That informed his decision to go against the plan to deliver a six-hour cut for Disney+ and a DVD, and make the latter 7.5 hours, with a separate rooftop concert cut for Imax. Being a superfan also sparked his idea to make it possible for McCartney to duet with his deceased songwriting partner John Lennon during McCartney’s recent tour.
“I delivered a six-and-a-half-hour cut earlier, and people thought, “It’s a bit long, can you cut it down to six hours?” I had final cut,” Jackson said, “but I think you’ve got to be careful about being a rogue operator. But then we had the conversation about the DVD, which was a victory. Disney hadn’t done or released a DVD or Blu-ray at the beginning, and I assumed I would do an extended cut because there was a lot of great stuff we didn’t have room for. I was told, ‘No, there’s no market for extended cuts anymore.’ Nobody at Disney was particularly enthusiastic about an extended cut.”
One of the great pleasures for rabid LOTR fans was watching the Extended Version DVD cuts of all three films, which each layered in 30 minutes or more of very worthy footage that made the theatrical releases too long. Jackson took no money to make those DVDs; instead, he kept every prop and costume, which he houses in Wellington, New Zealand.
This was a different situation.
“I went rogue, and without telling anybody — Apple Corps, Disney or The Beatles — I decided to put scenes in that we’d pulled out,” Jackson said. “I thought the trims from six-and-a-half hours to six were good because they were about pacing. But with no extended cut, this great stuff would go back in the archives, back in the vault for another 50 years. So I just started working with Jabez, which is why we delivered late. We were piling scenes back into the cut. What’s funny is, nobody knew it was going to be 7.5 hours, until we delivered to them. They were expecting a six-hour cut. And they never said a word — not a single note or word from anybody. They might have been talking amongst themselves behind the scenes, but nobody ever expressed any surprise. Somehow 7.5 hours was it. I did it because, as a Beatles fan, there was a lot of material where I’d have felt it was wrong from the point of view of musical history for it to go back into the vault. I thought, ‘If there’s not going to be the extended DVD, which I was putting things on one side for, it should go back into the movie.’ That’s what I did.”
The effort to separate Lennon’s vocal tracks from that rooftop concert on “I’ve Got a Feeling” for McCartney to be able to sing along with Lennon’s image on the screen behind him for the Got Back tour, also was pure Beatles fandom, and it haunted Jackson for a while.
“I had that idea when I started working on Get Back, four years ago,” Jackson said. “We had access to all that footage, and to do something like that, you need the footage. The shots have to be right. I didn’t mention it to Paul. I thought, ‘Suggesting to Paul that he sing onstage with John, he’s going to think I’m a fanboy geek idiot.’”
Still, Jackson went to McCartney’s concert at Dodger Stadium three and a half years ago, just in case he mustered the courage to ask.
“When he did ‘I’ve Got a Feeling,’ I sat there with my phone,” Jackson said. “I held it really still and filmed, with the idea I would take that in the cutting room and do a mockup, a simple CGI proof of concept. Rather than me pitching something to him, I thought it better if I can show him how it will look. Then the pandemic hit, and he wasn’t touring anymore and there was no point doing a demo for him.
“So the next 18 months I worked on Get Back and then Paul is rehearsing to go back out on tour, and I just thought, ‘I either have to suggest it to him, or I don’t.’ I’d gotten cold feet because I thought, ‘How many harebrained suggestions like this has Paul gotten over the years? I don’t want to appear too geeky.’ Finally, I thought, ‘I’m going to regret this for the rest of my life if I don’t even suggest it.’ I sent him a text. I didn’t send him the mockup version, just a text trying to describe it to him. Within 10 minutes, he replied to me: ‘Yeah, this is a fantastic idea; let’s go do it.’ Then it was a frantic rush to restore frames that were missing from that long shot of John from Let It Be. But Paul was thrilled by it.”
Jackson also generated the rooftop concert version for Imax. While Lindsay-Hogg’s film was viewed as a promotional film, Jackson tipped the hat over the amount of footage he shot.
“The great thing about documentaries is, you don’t have to shoot anything,” Jackson said. “I’ve always been the cutting-room guy who always found the process of shooting a movie to be highly stressful. In a way, my idea of heaven is to take footage from someone else. And Michael Lindsay-Hogg shot amazing footage. He should get more credit here than he has. People seem to react to Michael as we present him, they make fun of him a little, as this guy behind the camera. I admire him. He was doing a job and that’s what they hired him to do. He was pushing to make the best film he could. It’s a perfectly OK film. If you see it now, it’s not the depressing movie people thought. The way he should be thought of is, he not only made Let It Be, he shot all the footage we see in Get Back. That’s all his and Michael deserves a huge shout out.”
Here is the Lennon-McCartney duet that meant so much to Jackson:
|
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correct_starring_00056
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FactBench
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0
| 42
|
https://www.vanityfair.com/hollywood/2014/07/a-hard-days-night-making-of
|
en
|
Making Beatlemania: A Hard Day’s Night at 50
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[
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"hollywood",
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[
"Sam Kashner",
"David Canfield",
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"Hillary Busis",
"Jon Allsop",
"Anthony Breznican",
"Savannah Walsh",
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2014-07-02T11:48:49.136000-04:00
|
On its 50th anniversary, director Richard Lester relives the making of the movie and the tragedy that cut short his promising career.
|
en
|
https://www.vanityfair.com/verso/static/vanity-fair-global/assets/favicon.ico
|
Vanity Fair
|
https://www.vanityfair.com/hollywood/2014/07/a-hard-days-night-making-of
|
If you were lucky enough to be young in the summer of 1964, you would’ve been in a movie theater watching A Hard Day’s Night—not just once, but over and over again. Gobsmacked theater managers and frightened ushers (they had ushers in movie houses then) had trouble prying kids from their seats to let in a fresh crop of ticket holders. When you heard from George Harrison’s Rickenbacker that beautiful, thick, clanging chord, hanging in the charged air like a scimitar, you held your breath, and then, suddenly, miraculously, you saw them—running for their lives through the black-and-white streets of London, chased by their fans. Your own heart racing, you felt that the kingdom of youth had suddenly arrived. Who did that? Who drew this picture of the Beatles in their first flush of fame that will never be wiped away from our collective memories?
His name is Richard Lester, and A Hard Day’s Night was his first big movie. Like Icarus in reverse, he started out near the sun. Where could he possibly go from there?
As a matter of fact, he followed up with 20 more movies, including The Knack . . . And How to Get It, The Three Musketeers, and Superman II and Superman III, and he influenced a generation of younger directors, such as Francis Ford Coppola, Martin Scorsese, the Coen brothers, Steven Soderbergh. “It’s difficult to convey now exactly how important Lester’s films were,” wrote Scorsese in his appreciation of Help!, prepared for the 2007 DVD release. “Each new picture was eagerly awaited, and they set the style for so much—in commercials, in television . . . and certainly in movies—that it’s easy to take his influence for granted. He was one of the key figures of the era.”
The real mystery is why this brilliant director abandoned his post at the age of 57, when he made his last feature film, The Return of the Musketeers, in 1989. “I don’t know exactly why he left,” says screenwriter Charles Wood, a longtime friend of the director’s who co-wrote a number of his movies, including Help! “All I know is, it’s a shame, a terrible waste.”
Not only did Lester mysteriously walk away from a vibrant career, he largely stopped giving interviews as well. “I’m not optimistic about his sitting down with you,” his agent told Vanity Fair, in 2008. “He’s a lovely man, but I can’t get him to agree to anything.” However, Lester did finally consent to meet with us at a gastropub near a marina in Chichester, England, on a chilly March morning that year.
Tall, lean, aristocratic-looking, now in his 80s, he had gotten in three sets of tennis before lunch (“Mind you, I’m the only one on the court that doesn’t have an artificial hip”). There he was: cheerful, witty, gracious, if a bit reserved, with the slight English accent and impeccable manners of a lifelong expat—he was born and raised in Philadelphia—sharing an elegant lunch of fresh trout and a bottle of sauvignon blanc. Like any good director, he took charge, recommending dishes, ordering the wine, making sure the tape recorder worked. He seemed more like a retired member of Parliament than the man who, 50 years ago, found himself at the center of the youthquake in mod London.
“I think I have an amateur’s approach to filmmaking,” he explains when asked how he started out. “I tried to learn technically, but having never been an assistant, or a cameraman, or an editor. I never saw how anybody else made films. I used to call myself the Rousseau of Twickenham Studios. When Rousseau was shown Cezanne’s paintings, he said, ‘They’re very good. I could finish all those.’ ”
Lester—a prodigy who started school at three and went to college at 15—cut his teeth working as a stagehand in Philadelphia during the early years of television. “Nobody knew how to do anything,” Lester remembers. “We were working out of a radio studio and trying to move scenery up the stairs. It was easy to go from stagehand to floor manager, to assistant director, to director, within a year.”
Working on a set opposite The Ernie Kovacs Show, Lester fell in love with the anarchic comic. Kovacs, with his dark moustache, his Cuban cigars big as smoke stacks, and a voice like burnt toast, was a local legend before taking off for Hollywood. “I thought he was wonderful—his live television shows were brilliant,” says Lester.
After working on a variety of programs for nearly three years, Lester walked away from it all—just as he would walk away from filmmaking three decades later. “I found myself, at 22, with a girlfriend, a car, and an apartment,” he explains. “I thought, My life is settled and over. This is crazy. I want to get out. So I came to Europe and lived by my wits for a year.” He decided to stay in England because he “had to find someplace where English is the language and I can do the jokes.” He turned up at the beginning of commercial television in England, “and was grabbed . . . well not grabbed, but they said ‘if you agreed to teach other directors, we’ll allow you to stay for 13 weeks.’ So, I did.”
One of the shows Lester produced for English television lasted only one episode: The Dick Lester Show. “The premise was basically a show that had to go on an hour before it was ready. Everything was going wrong, but everything was there—cameras and booms and stage managers and arguments. It went appallingly. I promise you, it was atrocious.” Nonetheless, Peter Sellers—before Dr. Strangelove and his international fame as Inspector Clouseau in the Pink Panther movies—called Lester the next day, saying, “Either this is the worst television I have ever seen, or you’re on to something. Would you like lunch?”
By l952, Sellers was already famous on the legendary BBC radio series The Goon Show, with Spike Milligan and Harry Secombe, all comic performers who had been through the horrors of World War II. They redefined comedy for the next generation, inspiring Beyond the Fringe and Monty Python’s Flying Circus. When Lester first met him, “Sellers was happily married, living in a semi-detached house with two little terrier dogs and two young children. He was just an average lad. Quirky. Liked his toys even then.” Sellers introduced Lester to Milligan, his brilliant but unstable collaborator, convinced that this was the man who could put The Goon Show on television. Which is exactly what he did, in 1956, in A Show Called Fred (five episodes) and Son of Fred (eight episodes).
Milligan, an Irishman born in India, referred to himself and Sellers as “comic Bolsheviks.” What they had in common, besides their antic zaniness and theatrical gifts, was that they both suffered from psychiatric problems. Milligan, who was bipolar, had had his first breakdown in 1944, when discharged from the Royal Artillery and diagnosed with battle fatigue. “In those days,” Lester recalls, “the only way he could manage through the day was by giving him pills which were tranquilizers for horses. He had two of those pills each day, just to survive. Peter started to go towards madness, he passed Spike going in the other direction; Spike was able to control it better. But for Peter, who was a deeply troubled lad, it got harder and harder.”
The Goons’ inane parodies grew more dyspeptic, perhaps spurred by Milligan’s and Sellers’s bouts of depression. Many years later, Milligan would publicly describe his biggest fan, Prince Charles, as “a groveling little bastard.” The prince forgave him. You might say that the dark humor of the Goons—which made fun of the stiff-upper-lip stoicism of the Men Who Fought the War—would find a newer, lighter incarnation in the Beatles.
“We were the sons of The Goon Show,” John Lennon later remarked. From the age of 12 on, Lennon belonged heart and soul to the Goons: “We were the extension of that rebellion, in a way.” And it was Lester’s association with the Goons that led him to the Beatles. When United Artists’ producer Walter Shenson, also an American living in London, asked the band who they wanted to direct their first movie, Paul McCartney said, “The only person we could think of was, ‘Whoever made that Running Jumping and Standing Still film? Who did that? ’Cause it was brilliant’ . . . It was just what we liked, we could relate to the humor wholeheartedly.”
Richard Lester had made that 11-minute short, which consisted of Milligan and a few friends running, jumping, and standing still on Muswell Hill in North London, recorded on Sellers’s newly acquired 16-mm. movie camera. Lester composed the brief score. It was basically a home movie that found its way to the Edinburgh Festival and, remarkably, wound up being nominated for an Academy Award.
Ever since the success of using Bill Haley’s “Rock Around the Clock” over the opening and closing credits of Richard Brook’s 1955 movie, The Blackboard Jungle, movie producers were falling all over themselves to cash in on the popularity of rock ’n’ roll, churning out commercial claptrap such as Rock Around the Clock; Don’t Knock the Rock; Rock, Pretty Baby; Rock Around the World; Let’s Rock; Mister Rock and Roll; and Rock, Rock, Rock!—the titles pretty much tell the story. The Beatles—and Lester—knew all those pop-exploitation films and were determind to do something livelier and more original.
It was part of Lester’s genius to see A Hard Day’s Night in the tradition of the Marx Brothers and the Little Rascals, with homages to the silent-film-era comedies of Buster Keaton and the Keystone Cops. Film critic Andrew Sarris has called A Hard Day’s Night “the Citizen Kane of Jukebox musical.” He’s right. Not only did Lester get the fresh, exuberant tone of the Beatles’ early music, he introduced techniques he’d learned as a master-of-all-crafts working on television shows and commercials. He’d already used those techniques—three cameras instead of one, fracturing the screen into multiple images, showing us the cameras and the glaring lights—in his first music film, called It’s Trad, Dad, a 1962 survey of traditional jazz and pop groups in London just two short years before the Beatles changed pop music forever. (The Beatles also knew and admired It’s Trad, Dad, especially for the scene with rocker Gene Vincent, whom Lester filmed in white leather singing “Spaceship to Mars.”)
When A Hard Day’s Night opened, it was unlike any other pop-music movie that had come before. Here were the Beatles as we first knew them, on black-and-white television, arriving on tarmacs and interviewed in press receptions, before their drug busts, the Maharishi, and their divorces. “I suspect that the documentary style was the most logical, because you didn’t particularly want acting classes for the four boys while we were actually filming,” Lester modestly explains. “And the decision to film in black-and-white was an economic one.”
As for the day-in-the-life motif, that idea was inspired by the Beatles themselves. “The boys had just recently played Stockholm. I asked John, ‘How did you like it?’ ‘It was lovely,’ he said. ‘It was a car, and a room, and a stage, and a cheese sandwich.’ That became the script!”
Lester, Shenson, and Alun Owen, the brilliant, chain-smoking Liverpudlian actor and playwright who wrote the movie’s original screenplay (and who’d appeared in that one episode of The Dick Lester Show), followed the Beatles to Paris for their concerts at L’Olympia Theatre. They all checked into the George V, occupying the same floor. “The film was writing itself right in front of us,” Lester said to Steven Soderberg, referring to the screaming girls, the escapes into waiting cars, the day-and-night room service, the patronizing press conferences. Paul recalled, “Little jokes, the sarcasm, the humor, John’s wit, Ringo’s laconic manner”— all made it into the screenplay. Shenson felt that “the script was so good it sounded like they were making it up as they went along.” The spontaneity was helped by the fact that Lester kept multiple cameras going on the Beatles at all times.
While they were shooting, a lot of what seems planned happened by chance. At one point, all he had to do was turn one of his cameras on a group of screaming girls who had burst through the security barricades, surrounding the Beatles’ limousine. The exuberant sequence in which the Beatles escape to a field outside the studio to the music of “Can’t Buy Me Love” captures not only Lester’s own Running Jumping & Standing Still Film but, with its sped-up action, the look and feel of silent-film comedy. (It’s a curious footnote that Lester—skinny and in Beatle boots—stood in for John in the sequence, as Lennon was at Foyles bookstore at a literary luncheon for his first, Goon-inspired book, In His Own Write.)
The cinéma vérité quality “led to the fact that we shot on an actual train,” Lester explained. They started filming on Monday, March 2, 1964. For six days, cast and crew stayed on the train, which moved slowly through small suburban stations in England’s West Country — Minehead, Taunton, and Newton Abbot.
The scene in the train’s baggage car is a pure delight. Not only is their performance of “I Should Have Known Better” fresh and alive, they’re behind the iron mesh of the baggage car, caged in, surrounded by a handful of pretty girls in school uniforms. Lester had come to see how completely the Beatles were imprisoned by their fame. One of the girls is inside the Beatles’ cage—prophetically, it’s Pattie Boyd. The blond, cherubic-faced model first came to Lester’s attention when he chose her to appear in a commercial he was directing for Smith’s Crisps. “We had fun filming,” Boyd recalled from her home in England, “because part of the commercial required me to have a lisp as I said, ‘Smith’s Crisps.’ Quite difficult to say without laughing!” She found the director “terribly attractive, with his soft American accent. He seemed really cool, with a quirky sense of humor. Not being English himself, he could identify their humor in a fresher way than, say, an English director. He had no constraints or barriers.” In her 2007 memoir, Wonderful Tonight, she recounts how George Harrison proposed marriage to her on their first meeting. Though she turned him down, they did famously fall in love while filming A Hard Day’s Night, and she was indeed chosen to share George’s velvet captivity. Boyd inspired one of George’s most winning songs, “Something”.
The climactic concert performance sequence was filmed, with six cameras, before an audience of 350 screaming fans, including a 13-year-old Phil Collins, at the Scala Theatre on Charlotte Street, in London. A cameraman in the audience, Lester tells me, later complained that his fillings had been loosened by the fans’ deafening screams.
The famous press-conference scene—using some real journalists—was also filmed at the Scala, in the upstairs bar. Lester and Owen wanted to re-create the condescending quality of a reception that had taken place in New York, on the Beatles’ first tour of America, where they found themselves treated like a newly discovered species. Later, in Washington D.C., when someone cut off a lock of Ringo’s hair, the boys were so taken aback they fled the reception. It was part of Lester’s wit to edit several questions and answers so they’re mismatched: when asked if he had any hobbies, John scribbles on a piece of paper, and Paul replies, “No, we’re just good friends.” And when a reporter asks Ringo, “Are you a Mod or a Rocker,” his answer—“I’m a Mocker”—caught the movie’s irreverent spirit.
Lester even mocks himself, in Victor Spinetti’s role as the arrogant, paranoid television director putting on the live show in which the Beatles will perform. “Victor played the opposite of how Dick really was,” according to Boyd. Tall, lean, with a high dome like Lester’s, Spinetti wears an unfashionable mohair sweater while coping—badly—with the pressures of live TV. “I actually had one of those sweaters,” Lester admitted over lunch. It’s an inspired performance, and Spinetti would turn up again as the craven scientist in Help!, the second Beatles movie.
In Ringo’s scene, in which he goes AWOL in a self-pitying mood (spurred on by Paul’s irascible granddad, played by Wilfrid Brambell), he finds a grim landscape waiting for him. Without the protective mantle of the Beatles, he’s told, “Get out of here, Shorty,” by a working-class girl, he’s thrown out of a pub, and he’s arrested for malicious mischief. It’s a glimpse of what Ringo’s—Richard Starkey’s—life might have been like without the Beatles, but it’s also a glimpse of what Britain might have been like without the Beatles—the dispirited canal, the tired old Turk’s Head pub, the bored, joyless faces of adults with hard lives. The Beatles brought joy back to England. Their wild popularity ushered in the British invasion (the Rolling Stones, the Dave Clark Five, Gerry and the Pacemakers, the Searchers, Freddie and the Dreamers, Peter and Gordon, Billy J. Kramer, Chad and Jeremy) and brought in its wake Britain’s 60s-era ascendancy in fashion, music, and style. London owned the Swingin’ Sixties. In the final scene of A Hard Day’s Night when the lads escape by helicopter and their glossy photographs, like so much manna, swirl out of the open hatch.
Lester only had four months to shoot, edit, and present the film before its royal premiere at the London Pavilion, on July 6. Despite tremendous pre-release orders for the movie’s soundtrack, United Artists was worried about how the Beatles would translate into film: at one point the studio considered re-dubbing their voices with those of trained actors, but Lester absolutely refused.
A Hard Day’s Night was a phenomenal success, the first movie in history to realize a profit while it was still being filmed, because United Artists—and not the Beatles’ record label, EMI—owned the soundtrack, for which there were 2 million advance orders. (“If the truth be known, Brian Epstein was not a very good businessman,” Lester says.) Made for about $500,000, the movie brought in $5.8 million in six weeks, and it set an industry record for return on investment for years to come, so there was no doubt that Lester would direct their second film, Help!, in 1965. Ringo e-mailed to say that “Help! was A Hard Day’s Night for Richard Lester.”
A lot had happened to the Beatles in the intervening year, and one of them was Bob Dylan. If A Hard Day’s Night was done “on pills,” Help! was done “on pot,” John later admitted to Rolling Stone founder Jann Wenner. It was Dylan who had turned them on to grass at the Delmonico Hotel, when they first met. (In fact, Dylan was surprised the Beatles had never gotten high before. He had misheard the refrain “I can’t hide, I can’t hide” from “I Want to Hold Your Hand” as “I get high, I get high.”)
They had moved beyond being the Fab Four by then; they were more interested in making new music than in being the Beatles. (Paul said about this period of their lives, “It’s like working in a bell factory, you don’t hear the bells anymore.”) They were bored with the process of filmmaking, and smoking dope was their way of dealing with it, so Lester knew to shoot most of their scenes before lunch. “Help! was great, but it wasn’t our film—we were sort of guest stars,” Paul said. John went further and compared the Beatles to extras in their own movie. “Help! was a drag,” he famously remarked, “because we didn’t know what was happening. In fact, Richard Lester was a bit ahead of his time . . . but we were all on pot then, and all the best stuff ended up on the cutting-room floor.”
“The actual writing of Help! is a blur,” recalls Charles Wood, one of the movie’s screenwriters. “I don’t remember much about it—it only took me a week, I think.” Shot in England, Austria, and the Bahamas, it was a James Bond spoof in glorious color. Though the plot was comic, the subtext was not: the Beatles had gone from being chased in A Hard Day’s Night to being hunted in Help!. Strung throughout are fabulous new songs: “You’ve Got to Hide Your Love Away,” “Another Girl,” “The Night Before,” “Ticket to Ride,” “You’re Going to Lose That Girl,” “I Need You,” and, of course, the title song, “Help,” which was written and recorded in just 30 hours.
United Artists had a three-picture deal with the Beatles. The third movie was going to be adapted from a novel by the author of The Manchurian Candidate, Richard Condon, called A Talent for Loving—a Western! When that didn’t work out, Lester commissioned a script from the cheeky, subversive playwright Joe Orton, Up Against It. Orton was well on his way to transforming English theater with his outrageous, witty farces, such as Loot and What the Butler Saw.
“I took Up Against It and tried to turn it into something a bit different,” Lester remembers. The day he was supposed to meet with Orton at Twickenham Studios, however, something terrible happened. “We sent a car for him. It was our driver who looked through the letter box and then called his agent, Peggy Ramsay. They broke in and found the body.” Orton had been bludgeoned to death in a murder-suicide by his resentful companion, Kenneth Halliwell. In a wry observation that would have delighted Orton, Lester was able to joke, “Hence the expression, ‘People will do anything to get out of going to lunch with Lester.’ ”
The Beatles—after vetoing the idea to appear in Musketeers sequel—eventually fulfilled their third-picture requirement with Let It Be, directed by Michael Lindsay-Hogg. But by then they had pretty much broken up. It was like watching a divorced couple break bread for the sake of their children.
Lester followed up Help! with a wide range of movies over the next two decades. Many featured acting legends and were met with critical acclaim and box-office success. In 1965 he directed The Knack . . . and How to Get It, which won the Palme d’Or. Two years later came Lester’s satiric, anti-war movie, How I Won the War, with John Lennon playing a World War II soldier, Private Gripweed.
Much was made of John’s appearance in the movie. He showed up on the cover of Rolling Stone magazine as Gripweed, in an army helmet and those wire-rimmed, National Health eyeglasses, which launched a fashion trend. Lester was impressed with John’s ability and he told him, “If you really wanted to, John, you could be a very interesting actor.” John replied, “Yeah, but it’s fucking stupid, isn’t it?” He hated the endless waiting around between takes, but it wasn’t a total loss—he’d managed to write “Strawberry Fields Forever” while on location.
Lester directed George C. Scott, Richard Chamberlain, and a luminous Julie Christie in the 1968 film Petulia. Lester returned to America, shooting in San Francisco. And though the movie opened with concert footage of the Grateful Dead and Big Brother and the Holding Company with Janis Joplin, the rock music is more background than an integral part of the film. “There was still the sense of optimism in 1966,” Lester recalls, but “by the time we got back [to America] in ’67, the hard-nose drug culture, and the commercialization of it, had taken over. The Vietnam war was building up. There was that sense of anger. I suppose it’s a quite a cynical film in that respect.”
“Julie was a nervous actor and took a while to overcome inhibitions,” Lester recalled. He found it was best to catch her off-guard, “so if you look at the film, almost everything is done over the shoulder with closeups each way. It worked.” George C. Scott, on the other hand, “was the most instinctive actor I’ve ever worked with. The finest. There would be moments of insight which were so extraordinary that we would film everything that he did.” Photographed by a young Nicolas Roeg, who would go on to direct David Bowie in The Man Who Fell to Earth, Petulia was set to premiere at the Cannes Film festival that year. That was the good news. The bad news was that the 1968 May riots in Paris caused the festival to collapse.
Other notable films include A Funny Thing Happened on the Way to the Forum, with two of Lester’s hereos, Buster Keaton and Zero Mostel; Superman II and III, and a trio of films based on the Three Musketeers. The third of these, The Return of the Musketeers (1989), was marked by a tragedy that occurred during production and altered the course of Lester’s life.
With filming on the movie almost completed, Roy Kinnear, a comedic natural who was one of Lester’s favorite actors, was supposed to thunder across the Alcantara Bridge near Toledo, in one of his scenes as Planchet. He was thrown from his horse, fractured his pelvis, and suffered massive internal bleeding. At least two of his fellow actors, Oliver Reed and Michael York, regarded the stunt as hazardous and felt Kinnear should have been offered a stunt double. The following day, Kinnear suffered a fatal heart attack in the hospital. He was 54 years old.
Lester was devastated. Even now, 25 years later, he can’t talk about it. All he says when the subject comes up is, “It’s painful. I’m sure you appreciate that. He is—he was—wonderful.”
Six years after Kinnear’s death, his widow, Carmel Kinnear, filed a lawsuit against Lester and the film’s producer, Pierre Spengler of Falconfilms, for exposing her husband to unnecessary risk. Though Lester and Spengler maintained that the immediate cause of death had been by the Madrid hospital’s alleged medical negligence, Carmel was awarded £650,000 in damages.
Whether it was the death of his friend, the ensuing lawsuit, or changes in the movie industry, Lester would never again direct a feature film.
Actors with whom he had long collaborative relationships, like Michael Crawford and Rita Tushingham, who both starred in The Knack, lament his departure. Crawford confides, “You only meet that kind of director, who appreciates all that comic genius, once in a career. And I was lucky enough to meet him. I so wish Richard were still directing.”
“His retirement is such a loss,” says Tushingham. “But Richard always knows what he wants to do. He’s the only person who really knows why he retired so early. All I know is I’d love to do another film with him.”
After all, the pop musical came of age under Lester’s ingenious eye. After A Hard Day’s Night, other English bands started making movies (the Dave Clark Five in Catch Us If You Can, Gerry and the Pacemakers’ Ferry Cross the Mersey). Traces of Lester’s DNA can be found in the l966–l968 television series The Monkees, about the antics of a pre-fab Fab Four. You can see Lester’s influence in Trainspotting, and in the advertising campaign for High Fidelity, which copies Robert Freeman’s poster art for A Hard Day’s Night. Todd Haynes even slipped in a sly homage to A Hard Day’s Night in I’m Not There. And many believe that the music video, launched by MTV in the summer of 1981, was preconcieved by Richard Lester. He recalls being sent a vellum scroll citing him as the father of MTV. With typical modesty, Lester jokingly insisted on a paternity test, but you can tell it’s his offspring just by looking at it.
Whatever the reasons for his great disappearing act, we have little choice but to accept his decision that the joke is over. The public one, at least. While the fun may have gone out of it for Richard Lester, fortunately for the rest of us, the inspired mischief, the astonishing music—the pure joy of it—are still there.
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https://variety.com/1963/film/reviews/a-hard-day-s-night-1200420684/
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en
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‘A Hard Day’s Night’: Film Review
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1964-01-01T07:00:00+00:00
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A Hard Day's Night is a wacky, offbeat piece of filming, charged with vitality, and inventiveness by director Dick Lester, slickly lensed and put over at a fair lick. No attempt has been paid to build the Beatles up as Oliviers; they are at their best when the pic has a misleading air of off-the-cuff spontaneity.
|
en
|
Variety
|
https://variety.com/1963/film/reviews/a-hard-day-s-night-1200420684/
|
A Hard Day’s Night is a wacky, offbeat piece of filming, charged with vitality, and inventiveness by director Dick Lester, slickly lensed and put over at a fair lick. No attempt has been paid to build the Beatles up as Oliviers; they are at their best when the pic has a misleading air of off-the-cuff spontaneity.
Running at 83 minutes, in black and white, it keeps Beatles within their ability. Alun Owen’s screenplay merely attempts to portray an exaggerated 36 hours in the lives of the Beatles. But, though exaggerated, the thin story lines gives a shrewd idea of the pressure and difficulties under which they work and live.
Four set off by train to keep a live television date and, before taking off by helicopter for their next stint, they have some rum adventures. A skirmish with the police, mobbing by hysterical fans, then a press conference, riotous moments in a tavern, a jazz cellar, a gambling club and at TV rehearsals all work into the crazy tapestry and offer the Beatles a chance to display their sense of humor and approach to life.
To give the almost documentary storyline a boost scriptwriter Owen has introduced Paul’s grandfather, a mischief making mixer with an eye on the main chance. Played by Wilfrid Brambell with sharp perception, his presence is a great buffer for the boys’ throwaway sense of comedy.
– Rich
[In 1982, pic was reissued with an extra song, ‘I’ll Cry Instead’, added at the start, and all other songs remixed in stereo.]
1964: Nominations: Best Story & Screenplay, Adapted Music Score
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https://www.the-paulmccartney-project.com/film/a-hard-days-night/
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en
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The Paul McCartney project
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A Hard Day’s Night is a 1964 musical comedy film directed by Richard Lester and starring the English rock band The Beatles—John Lennon, Paul McCartney, George...
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The Paul McCartney project
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A Hard Day’s Night is a 1964 musical comedy film directed by Richard Lester and starring the English rock band The Beatles—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—during the height of Beatlemania. It was written by Alun Owen and originally released by United Artists. The film portrays 36 hours in the lives of the group as they prepare for a television performance.
The film was a financial and critical success and was nominated for two Academy Awards including Best Original Screenplay. Forty years after its release, Time magazine rated it as one of the 100 all-time great films. In 1997, British critic Leslie Halliwell described it as a “comic fantasia with music; an enormous commercial success with the director trying every cinematic gag in the book” and awarded it a full four stars. The film is credited as being one of the most influential of all musical films, inspiring numerous spy films, the Monkees’ television show and pop music videos. In 1999, the British Film Institute ranked it the 88th greatest British film of the 20th century.
Plot
The Beatles evade a horde of fans while boarding a train for London. En route, they meet Paul’s trouble-making grandfather for the first time; he becomes so much trouble that Paul has him locked up in the brake coach’s luggage room, but he and the others soon join him inside. They play cards and entertain some schoolgirls before arriving at the London station, where they’re quickly driven to a hotel and begin to feel cooped up. Their manager Norm tasks them with answering all their fan mail, but they sneak out to party, only to be caught by Norm and taken back. They then find out that the grandfather went to a gambling club using an invitation sent to Ringo, and, after a brief dust-up, they bring him back to the hotel.
The next day, they arrive at a TV studio for a performance. After the initial rehearsal, the producer thinks they’re out to sabotage his career (thanks to something the grandfather said). There is a press conference, where the Beatles are bored by the mundane questioning. They leave through a fire escape and cavort in a field until forced off by the owner. Back in the studios, they are separated when a woman named Millie recognizes John but cannot recall who he is. George is lured into a trendmonger’s office to audition for an ad with a popular female model. The boys all return to rehearse a second song, and after a quick trip to makeup, smoothly go through a third and earn a break.
With an hour before the final run-through, Ringo is forced to chaperone Paul’s grandfather and takes him to the canteen for tea while he reads a book. The grandfather manipulates Ringo into going outside to experience life rather than reading books, passing a surprised John and Paul on the way out. He tries to have a quiet drink in a pub, takes pictures, walks alongside the river and rides a bicycle along a railway station platform. While the other three search in vain for Ringo, he is arrested on suspicion and taken to a police station, where Paul’s grandfather joins him shortly after attempting to sell Beatles photos with forged signatures. The grandfather makes a break for it, runs back to the studio and tells the others about Ringo. Norm sends John, Paul and George to retrieve him. While doing so, the boys wind up in a Keystone Cops-style foot chase before arriving back at the studio with Ringo, with only minutes to spare before airtime. The televised concert goes on as planned, after which the Beatles are whisked away to another performance via helicopter. […]
Screenplay
The screenplay was written by Alun Owen, who was chosen because the Beatles were familiar with his play No Trams to Lime Street, and he had shown an aptitude for Liverpudlian dialogue. McCartney commented, “Alun hung around with us and was careful to try and put words in our mouths that he might’ve heard us speak, so I thought he did a very good script.” Owen spent several days with the group, who told him their lives were like “a train and a room and a car and a room and a room and a room”; the character of Paul’s grandfather refers to this in the dialogue. Owen wrote the script from the viewpoint that the Beatles had become prisoners of their own fame, their schedule of performances and studio work having become punishing.
The script comments cheekily on the Beatles’ fame. For instance, at one point a fan, played by Anna Quayle, apparently recognises John Lennon, though she does not actually mention Lennon’s name, saying only “you are…”. He demurs, saying his face is not quite right for “him”, initiating a surreal dialogue ending with the fan, after she puts on her glasses, agreeing that Lennon doesn’t “look like him at all”, and Lennon saying to himself that “she looks more like him than I do”. Other dialogue is derived from actual interviews with the Beatles. When Ringo is asked if he’s a mod or a rocker, he replies: “Uh, no, I’m a mocker”, a line derived from a joke he made on the TV show Ready Steady Go!. The frequent reference to McCartney’s grandfather (Wilfrid Brambell) as a “clean old man” sets up a contrast with the stock description of Brambell’s character, Albert Steptoe in Steptoe and Son, as a “dirty old man”.
Audiences also responded to the Beatles’ brash social impudence. Director Richard Lester said, “The general aim of the film was to present what was apparently becoming a social phenomenon in this country. Anarchy is too strong a word, but the quality of confidence that the boys exuded! Confidence that they could dress as they liked, speak as they liked, talk to the Queen as they liked, talk to the people on the train who ‘fought the war for them’ as they liked. … [Everything was] still based on privilege—privilege by schooling, privilege by birth, privilege by accent, privilege by speech. The Beatles were the first people to attack this… they said if you want something, do it. You can do it. Forget all this talk about talent or ability or money or speech. Just do it.”
Despite the fact that the original working titles of the film were first The Beatles and then Beatlemania, the group’s name is never spoken in the film—it is, however, visible on Ringo’s drum kit, on the stage lighting, and on the helicopter in the final scene. The television performance scene also contains a visual pun on the group’s name, with photos of beetles visible on the wall behind the dancers.
Production
The film was shot for United Artists (UA) using a cinéma vérité style in black-and-white. The film was meant to be released in July 1964, and since it was already March when Lester got to filming, the entire film had to be produced over a period of sixteen weeks. It had a low budget for its time of £200,000 ($500,000) (equivalent to £4,082,788 in 2019) and filming was finished in under seven weeks, leaving the rest of the time for post-production. At first, the film itself was something of a secondary consideration to UA, whose primary interest was in being able to release the soundtrack album in the United States before Capitol Records (the American EMI affiliate who had first shot at releasing Beatles music in the States) got around to issuing their material; in the words of Bud Ornstein, the European head of production for United Artists: “Our record division wants to get the soundtrack album to distribute in the States, and what we lose on the film we’ll get back on this disc.” As film historian Stephen Glynn put it, A Hard Day’s Night was intended as “a low-budget exploitation film to milk the latest brief musical craze for all it was worth.”
Unlike most productions, it was filmed in near sequential order, as stated by Lennon in 1964. Filming began on 2 March 1964 at Marylebone station in London (sometimes misidentified as Paddington). The Beatles had joined the actors’ union, Equity, only that morning. The first week of filming was on a train travelling between London and Minehead. On 10 March, scenes with Ringo were shot at the Turk’s Head pub in Twickenham, and over the following week various interior scenes were filmed at Twickenham Studios. From 23 to 30 March, filming moved to the Scala Theatre, and on 31 March, concert footage was shot there, although the group mimed to backing tracks. On the 17 March and the 17 April scenes were shot at the Les Ambassadeurs Club in Mayfair. The “Can’t Buy Me Love” segment, which featured creative camera work and the band running and jumping around in a field was shot on 23 April 1964 at Thornbury Playing Fields, Isleworth, Middlesex. The final scene was filmed the following day in West Ealing, London, where Ringo obligingly drops his coat over puddles for a lady to step on, only to discover that the final puddle is actually a large hole in the road.
Before A Hard Day’s Night was released in America, a United Artists executive asked Lester to dub the voices of the group with mid-Atlantic accents. McCartney angrily replied, “Look, if we can understand a fucking cowboy talking Texan, they can understand us talking Liverpool.” Lester subsequently directed the Beatles’ 1965 film, Help!
The film’s costumes—except for those of the Beatles themselves—were designed by Julie Harris. The clothes of the Beatles were credited to Dougie Millings & Son.
Casting
Irish actor Wilfrid Brambell, who played Paul McCartney’s fictional grandfather John McCartney, was already well known to British television audiences as co-star of the British sitcom Steptoe and Son. The recurring joke that he was very “clean” reflects a contrast to his sitcom role, where he was always referred to as a “dirty old man”. In other roles, Norman Rossington played the Beatles’ manager Norm, John Junkin played the group’s road manager Shake, and Victor Spinetti played the television director. Brian Epstein, the group’s real manager, had an uncredited bit part.
The supporting cast included Richard Vernon as the “city gent” on the train and Lionel Blair as a featured dancer. There were also various cameos. John Bluthal played a car thief and an uncredited Derek Nimmo appeared as magician Leslie Jackson. David Janson (billed as David Jaxon here) played the small boy met by Ringo on his “walkabout”. Rooney Massara, who went on to compete in the 1972 Munich Olympics, was the sculler in the river in the “walkabout” scene by the river at Kew (uncredited). Kenneth Haigh appeared as an advertising executive who mistakes George for a “new phenomenon.” David Langton also made a cameo appearance as an actor in the dressing room scene.
Mal Evans, one of the Beatles’ road managers, also appears briefly in the film—moving an upright bass through a tight hallway as Lennon talks with the woman who mistakes him for someone else.
George Harrison met his wife-to-be, Patricia Boyd, on the set when she made a brief (uncredited) appearance as one of the schoolgirls on the train. His initial overtures to her were spurned because she had a boyfriend at the time, but he persisted and they were married within 18 months. The girl with Boyd in the dining car scene is Prudence Bury. Phil Collins, later a member of the band Genesis, was an uncredited schoolboy extra in the concert audience and would subsequently go on to be a very successful musician in his own right.
Playing the buxom woman with Paul’s grandfather in the casino scene was popular British 1960s pinup model Margaret Nolan (aka Vicky Kennedy), who also appeared as “Dink”, the golden girl during the opening credits of the James Bond film Goldfinger, later that same year.
Cut for BBFC
The film had to be edited slightly to obtain the U certificate for British cinemas. The phrase “get knotted” (allegedly in reel 7 of the original submission) was judged inappropriate for a U film and had to be removed. When the film was submitted for release on VHS, the British Board of Film Censors (BBFC) could not locate the phrase and presumed that the clip was “pre-cut”, but stated that the phrase was no longer of any concern. The BBFC noted a number of innuendos and one subtle reference to cocaine, but concluded that it was still within the “natural category” for a U certificate.
Reception
The film premiered at the Pavilion Theatre in London on 6 July 1964—the eve of Ringo Starr’s 24th birthday—and the soundtrack was released four days later. A Hard Day’s Night set records at the London Pavilion by grossing over $20,000 in the first week, ultimately becoming so popular that more than 1,600 prints were in circulation simultaneously.
Critical response
Reviews of the film were mostly positive; one oft-quoted assessment was provided by Andrew Sarris of The Village Voice, labeling A Hard Day’s Night “the Citizen Kane of jukebox musicals.” When The Village Voice published the results of its first annual film poll, A Hard Day’s Night placed second behind Stanley Kubrick’s Dr. Strangelove. On Rotten Tomatoes the film holds an approval rating of 98% based on 109 reviews, with an average rating of 8.5/10. The website’s critics consensus reads: “A Hard Day’s Night, despite its age, is still a delight to watch and has proven itself to be a rock-and-roll movie classic.” It is number four on Rotten Tomatoes’ list of the Top Ten Musicals and Performing Arts films. On Metacritic, it has a weighted average score of 96 out of 100, based on 24 critics, indicating “universal acclaim”.
Time magazine called the film “One of the smoothest, freshest, funniest films ever made for purposes of exploitation.” Film critic Roger Ebert described the film as “one of the great life-affirming landmarks of the movies”, and added it to his list of The Great Movies. In 2004, Total Film magazine named A Hard Day’s Night the 42nd greatest British film of all time. In 2005, Time.com named it one of the 100 best films of the last 80 years. Leslie Halliwell gave the film his highest rating, four stars, the only British film of 1964 to achieve that accolade.
The New York Times film critic Bosley Crowther noted the film was a subtle satire on Beatlemania and the Beatles themselves. The Beatles are portrayed as likeable young lads who are constantly amazed at the attention they receive and who want nothing more than a little peace and quiet; however, they have to deal with screaming crowds, journalists who ask nonsensical questions, and authority figures who constantly look down upon them. In fact, their biggest problem is McCartney’s elderly, but “clean” grandfather, played by Wilfrid Brambell. The New Yorker critic Brendan Gill wrote: “Though I don’t pretend to understand what makes these four rather odd-looking boys so fascinating to so many scores of millions of people, I admit that I feel a certain mindless joy stealing over me as they caper about uttering sounds.”
A Hard Day’s Night was nominated for two Academy Awards: for Best Screenplay (Alun Owen), and Best Score (Adaptation) (George Martin).
By 1971, the film was estimated to have earned $11 million worldwide (equivalent to $70,293,344 in 2020).
Influence
British critic Leslie Halliwell states the film’s influence as “it led directly to all the kaleidoscopic swinging London spy thrillers and comedies of the later sixties”. In particular, the visuals and storyline are credited with inspiring The Monkees’ television series. The “Can’t Buy Me Love” segment borrowed stylistically from Richard Lester’s earlier The Running Jumping & Standing Still Film, and it is this segment, in particular using the contemporary technique of cutting the images to the beat of the music, which has been cited as a precursor of modern music videos. Roger Ebert goes even further, crediting Lester for a more pervasive influence, even constructing “a new grammar”: “he influenced many other films. Today when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of A Hard Day’s Night“. Film theorist James Monroe writes, “The lively 1960s films of Richard Lester—especially his Musicals A Hard Day’s Night (1964), Help! (1965), and A Funny Thing Happened on the Way to the Forum (1966)—popularized jump cuts, rapid and ‘ungrammatical’ cutting. Over time, his brash editorial style became a norm, now celebrated every night around the world in hundreds of music videos on MTV and in countless commercials.” A Hard Day’s Night also inspired a 1965 film featuring Gerry and the Pacemakers, entitled Ferry Cross the Mersey. In an interview for the DVD re-release of A Hard Day’s Night, Lester said he had been labelled the father of MTV and had jokingly responded by asking for a paternity test.
Title
The film’s title originated from something said by Ringo Starr, who described it this way in an interview with disc jockey Dave Hull in 1964: “We went to do a job, and we’d worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, ‘It’s been a hard day …’ and I looked around and saw it was dark so I said, ‘… night!’ So we came to A Hard Day’s Night.”
According to Lennon in a 1980 interview with Playboy magazine: “I was going home in the car, and Dick Lester suggested the title, ‘Hard Day’s Night’ from something Ringo had said. I had used it in In His Own Write, but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny… just said it. So Dick Lester said, ‘We are going to use that title.'”
In a 1994 interview for The Beatles Anthology, however, McCartney disagreed with Lennon’s recollections, recalling that it was the Beatles, and not Lester, who had come up with the idea of using Starr’s verbal misstep: “The title was Ringo’s. We’d almost finished making the film, and this fun bit arrived that we’d not known about before, which was naming the film. So we were sitting around at Twickenham studios having a little brain-storming session … and we said, ‘Well, there was something Ringo said the other day.’ Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical … they were sort of magic even though he was just getting it wrong. And he said after a concert, ‘Phew, it’s been a hard day’s night.'”
Yet another version of events appeared in 1996; producer Walter Shenson said that Lennon had described to him some of Starr’s funnier gaffes, including “a hard day’s night”, whereupon Shenson immediately decided that that was going to be the title of the film.
Regardless of which of these origin stories is the true one, the original tentative title for the film had been “Beatlemania” and when the new title was agreed upon, it became necessary to write and quickly record a new title song, which was completed on 16 April, just eight days before filming was finished. John Lennon wrote the song in one night, (credited to Lennon-McCartney) basing the lyrics on a birthday card sent to his young son Julian, and it went on to win a Grammy for Best Performance by a Vocal Group.: p.xii
The film was titled Yeah Yeah Yeah in Germany and Sweden, Tutti Per Uno (All for One) in Italy, Quatre garçons dans le vent (Four Boys in the Wind[b]) in France Yeah! Yeah! Tässä tulemme! (Yeah! Yeah! Here We Come!) in Finland and Os Reis do Iê-Iê-Iê (The Kings of Yeah-yeah-yeah) in Brazil.
Novelisation
In 1964, Pan Books published a novelisation of the film by author John Burke, described as “based on the original screenplay by Alun Owen”. The book was priced at two shillings and sixpence and contained an 8-page section of photographs from the film. It is the first book in the English language to have the word ‘grotty’ in print.
Release history
1964: A Hard Day’s Night was released by United Artists.
1967: The film premiered on American television on the NBC network on 24 October; the usual Peacock introduction, which preceded all NBC color broadcasts of the era, was replaced by a humorous black-and-white animated cartoon penguin, with cartoon representations of the Beatles jumping out of its stomach, as A Hard Day’s Night was not shot in color;
1970: The film premiered on UK television on BBC1 on 28 December. John Lennon watched the broadcast at home and was inspired to write the song “I’m the Greatest”, which was later recorded by Ringo Starr on his 1973 album Ringo.
1979: Rights to the film were transferred to its producer, Walter Shenson;
1982: Universal Pictures, under license from Shenson, reissued the film in theaters. This release included a prologue consisting of production stills set to the song “I’ll Cry Instead”, which would remain on subsequent home video editions until 2000;
1984: MPI Home Video, under license from Shenson, first released A Hard Day’s Night on home video in the VHS, Betamax, CED Videodisc, and Laserdisc formats, which all included the prologue.
The film was also released by Janus Films as part of The Criterion Collection in both a single-disc CLV and a DualDisc CAV Laserdisc format. The additional features section on the CAV edition include the original theatrical trailer, an interview with Richard Lester, and his The Running Jumping & Standing Still Film.
There were notable pitch problems with the songs in this version, precisely one semitone lower than the original recordings. This was fixed in subsequent releases.
1993: Voyager Company produced a CD-ROM for Mac and PC platforms with video in QuickTime 1 format, containing most of Criterion’s elements, including the original script.
1997: MPI Home Video released the first DVD edition. It contains the 1982 prologue and trailer, newsreels, an interview with Richard Lester, and The Running Jumping & Standing Still Film.
2000: Miramax Films reissued the film in theatres in the United States and then as a collector’s edition DVD two years later, as well as its final issue in the VHS format. The film had been transferred from the restored 35 mm negative and presented in 1.66:1 Widescreen. The prologue that Universal added in 1982 is absent on the Miramax releases.
In addition to the original film, the DVD edition contained a bonus disc with over 7 hours of additional material including interviews with cast and crew members and Beatles associates. The DVD was produced by Beatles historian and producer Martin Lewis, a longtime friend of Walter Shenson.
2009: The film was released on Blu-ray Disc in Canada; however, the disc is region free and will play in any Blu-ray machine. It contains most of the 2000 DVD bonus features.
2010: Miramax was sold by Disney to Filmyard Holdings, LLC, and the home video sub-licence transferred to Lionsgate, although no U.S. Blu-ray release date had been announced.
2011: A new Blu-ray edition was released in Mexico, this version has Spanish subtitles.
2014: Janus Films acquired the rights to the film from Miramax (on behalf of the Shenson Estate, managed by Bruce A. Karsh) and announced a domestic video re-release via The Criterion Collection on 24 June 2014. This dual-format edition (which incorporates the first ever U.S. issue on Blu-ray) contains various supplements from all previous video re-issues. This marks the return of this film to Criterion for the first time in two decades. The film was also released in theaters across the U.S. and in the UK (by Metrodome in the latter region) on 4 July 2014. On 6 July 2014, the film was shown in re-mastered HD on BBC Four in the UK to mark its 50th anniversary. Criterion’s DVD/Blu-ray release of A Hard Day’s Night was duplicated by Umbrella Entertainment in Australia (released 2 July) and Second Sight Films in the UK (released 21 July).
2015: On 15 December, Criterion re-released their Blu-ray as part of The Rock Box, a collection of rock music-related films that also includes Monterey Pop (1968), Gimme Shelter (1970) and Quadrophenia (1979).
2021: On 11 August, Criterion announced their first 4K Ultra HD releases, a six-film slate, will include A Hard Day’s Night. Criterion indicate each title will be available in a 4K UHD+Blu-ray combo pack including a 4K UHD disc of the feature film as well as the film and special features on the companion Blu-ray. The titles will be released in November 2021.
40th anniversary cast and crew reunion screening
On 6 July 2004, the 40th anniversary of the film’s world premiere, a private cast and crew reunion screening was hosted in London by DVD producer Martin Lewis. The screening was attended by McCartney, actors Victor Spinetti, John Junkin, David Janson and many crew members. In media interviews at the event, McCartney disclosed that while he had seen the film many times on video, he had not seen the film on the “big screen” since its 1964 premiere. […]
|
||||
correct_starring_00056
|
FactBench
|
2
| 11
|
https://www.ritzcinemas.com.au/movies/a-hard-days-night-1964
|
en
|
A Hard Day's Night (1964)
|
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] |
[] |
[] |
[
""
] | null |
[] |
2024-06-23T00:00:00
|
A "typical" day in the life of The Beatles, including many of their famous songs.
|
/content/social/favicon-ritz.ico?v=20221026
|
https://www.ritzcinemas.com.au/movies/a-hard-days-night-1964
|
The Beatles starring in their first full-length, hilarious action-packed film
Capturing John Lennon, Paul McCartney, George Harrison and Ringo Starr in their electrifying element, 'A Hard Day's Night' is a wildly irreverent journey through this pastiche of a day in the life of The Beatles during 1964. The band have to use all their guile and wit to avoid the pursuing fans and press to reach their scheduled television performance, in spite of Paul's troublemaking grandfather and Ringo's arrest.
|
||||||
correct_starring_00056
|
FactBench
|
0
| 73
|
https://www.express.co.uk/entertainment/films/1739132/beatles-a-hard-days-night-film-spt
|
en
|
Beatles were 'embarrassed' by huge hit Hard Day's Night
|
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[] |
[] |
[
""
] | null |
[
"Clive Hammond"
] |
2023-02-25T13:00:00+00:00
|
Three of the band members got up and left the flick's premiere, which aired in 1964.
|
en
|
https://cdn.images.express.co.uk/favicon.ico
|
Express.co.uk
|
https://www.express.co.uk/entertainment/films/1739132/beatles-a-hard-days-night-film-spt
|
The Beatles and India: 101 Films tease upcoming documentary
The Beatles' film, A Hard Day's Night — their album's namesake — airs from 3:05pm on BBC Two, allowing audiences to relive the cherished British flick from 1964. The musical comedy follows John Lennon, Paul McCartney, George Harrison, and Ringo Starr as they set off for London. Their plans, however, are thrown into doubt after one of the band meets his long-lost grandfather. And while the film garnered two Academy Awards nods — and was voted as the 88th greatest British film of the 20th century by the British Film Institute — unearthed accounts show what the band really thought of the feature.
Among the tracks on A Hard Day's Night include Tell Me Why, She Loves You, Can't Buy Me Love and All My Loving, creating with it an Oscar nomination for Best Score, an award that eventually went to André Previn for My Fair Lady.
Commercial and critical acclaim followed, with Time magazine calling the film "one of the smoothest, freshest, funniest films ever made for purposes of exploitation". Meanwhile, celebrated critic Roger Ebert labelled it among the "great life-affirming landmarks of the movies".
Despite its appeal, the band themselves were reportedly hugely embarrassed by the film, with only Harrison watching it, unearthed accounts show.
The film was made to cash in on the worldwide 'Beatlemania' craze that saw millions across the globe become obsessed with the Liverpauldlian four-piece.
McCartney, who would enjoy further success after the group split in 1970 with Wings and as a solo artist, noted that while they had fun making the film itself, any ambitions to become actors were quickly put to bed.
According to Ashley Khan's 2020 book George Harrison on George Harrison: Interviews and Encounters, McCartney said: "The first film we ever made, and we’re having a good time.
"We’re not very good actors, but we’re trying hard. That’s the most important thing, really — having a try, isn’t it?"
The filming process, McCartney noted, wasn't taken very seriously, and many of the group left it until the actual take to learn their lines. Among the worst offenders was Harrison.
JUST IN: The Beatles' iconic Minis to be reunited after 55 years
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McCartney explained: "I normally learn them about 10 minutes before we do the scene, actually. I feel it gives an air of impromptu-ity."
But when it came to watching the film, three-quarters of the group couldn't, the band's press officer Derek Taylor said in a 1964 article for Cosmopolitan.
He said: "A Hard Day’s Night is doing very well and they’re making another. They’re very proud of their first film and the good reviews, but actually looking at it embarrasses them."
The first to walk out from the screening, Taylor said, was Lennon. Just under 90 minutes later, and Harrison was the only one left.
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Taylor noted: "The first time John saw it, he said, ‘I can’t stand this lot,’ and rushed out. By the concert scene at the end, all but George had left."
Some claim it was because Harrison was in actual fact the best actor of the four. That was the verdict of the film's directors Richard Lester and Stephen Soderberg.
Lester told The Guardian: "Ringo, because his was the showy part, he was always the odd one out, so he was given characteristics that were more sympathetic.
"John, I don’t think was interested and didn’t bother. Paul was too interested and tried too hard and George was always the one that was forgotten. So he just did it and got on with it."
With the band already the world's biggest stars, commercial success was expected of A Hard Day's Night, and it was so well received the following year Help! was released.
But the filming process did not come without its issues. Producer Walter Shenson noted that he became concerned about the group smoking on set and how this could influence youngsters in wanting to take up the habit.
He said: "I was aware that the audience for our picture was young people, children and the Beatles were their idols.
"So I sneaked around them, every time the camera started to roll, and took the cigarette out of their hands. When the director said cut, I handed the cigarette back.
“I didn’t get it all out but there was a lot more smoking on the set than you saw in the film."
A Hard Day’s Night airs from 3.05pm on BBC Two today.
|
||||
correct_starring_00056
|
FactBench
|
1
| 87
|
https://www.billboard.com/culture/tv-film/sam-mendes-direct-four-beatles-feature-films-1235610656/
|
en
|
Sam Mendes to Direct Four 2027 Beatles Feature Films — One For Each Member
|
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[] |
[] |
[
""
] | null |
[
"Gil Kaufman"
] |
2024-02-20T16:22:15+00:00
|
Sam Mendes to direct 4 separate Beatles feature films, each one focusing on one member -- Paul McCartney, John Lennon, Ringo Starr and George Harrison.
|
en
|
Billboard
|
https://www.billboard.com/culture/tv-film/sam-mendes-direct-four-beatles-feature-films-1235610656/
|
Oscar-winning director Sam Mendes (1917, Spectre) has gotten the green light to begin work on four separate feature films that will tell the individual stories of all four Beatles. According to a release from Sony Pictures Entertainment announcing the project on Tuesday morning (Feb. 20), Mendes will direct the films focused on George Harrison, John Lennon, Paul McCartney and Ringo Starr due out in 2027.
The project will mark the first time the band’s Apple Corps Ltd. and the group — McCartney and Starr and the families of Harrison and Lennon — have given full access to life story and music rights for a scripted film. “I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” said Mendes in a statement.
Mendes will direct the four stand-alone theatrical movies — with each one told from one band member’s point of view — as well as intersecting to tell the full story of the Fab Four. SPE, which will finance and distribute the movies conceived by Mendes, will share the details of the roll-out, which it promised will be “innovative and groundbreaking.”
The director’s Neal Street Productions partner, Pippa Harris, added, “We intend this to be a uniquely thrilling, and epic cinematic experience: four films, told from four different perspectives which tell a single story about the most celebrated band of all time. To have The Beatles’ and Apple Corps’ blessing to do this is an immense privilege. From our first meeting with Tom Rothman and Elizabeth Gabler, it was clear that they shared both our passion and ambition for this project, and we can’t think of a more perfect home than Sony Pictures.”
One of the most scrutinized and studied groups in popular music history, the Fab Four have been the subjects of hundreds of books and docs, including Peter Jackson’s acclaimed 2021 four-part documentary series, Get Back, which incorporated previously unseen and unheard audio and video.
Apple Corps Ltd. CEO Jeff Jones said the company is “delighted to collaborate with Sam, Pippa and Julie to explore each Beatle’s unique story and to bring them together in a suitably captivating and innovative way. Sony Pictures’ enthusiastic support, championing the project’s scope and creative vision from the start, has been invaluable for all of us.”
|
|||||
correct_starring_00056
|
FactBench
|
3
| 71
|
https://www.radiox.co.uk/artists/beatles/best-beatles-biopics/
|
en
|
The best Beatles biopics
|
https://images.radiox.co.uk/images/634881?width=1200&crop=16_9&signature=bq-o09Bg5Qci_k3hLZ5ajnuC7eM=
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] |
[] |
[] |
[
""
] | null |
[
"Radio X",
"Martin O'Gorman"
] |
2024-02-20T14:58:36+00:00
|
If you’re in the mood for more rock biopics in the wake of Bohemian Rhapsody and Rocketman, then look no further than The Beatles, the greatest story in music. Here are some of the best Beatles film biopics to date.
|
en
|
/assets_v4r/xfm/img/favicon-16x16.png
|
Radio X
|
https://www.radiox.co.uk/artists/beatles/best-beatles-biopics/
|
Backbeat (1994)
Another look at the early years of the Beatles, zoning in on their days in the sleazy clubs of Hamburg. American actor Stephen Dorff plays the ill-fated Stu Sutcliffe, who dies aged just 21 and Sheryl “Laura Palmer off of Twin Peaks” Lee is his German girlfriend. Along the way, the Fab Four learn to become stars on stage and find their unique style. The music is performed by a supergroup featuring Dave Grohl, Mike Mills of R.E.M. and Thurston Moore of Sonic Youth.
Backbeat (1994) ORIGINAL TRAILER [HQ]
Nowhere Boy (2009)
Aaron Johnson plays the young John Lennon, who is just rebuilding his relationship with his mother, who abandoned him as a boy. Kristin Scott Thomas plays John’s Aunt Mimi, who has been the lad’s guardian and disapproves of this new, disrupting influence in his life. More of a family drama than a rock biopic, it’s a convincing look into the Beatle’s formative years.
Nowhere Boy [Official US Trailer]
The Hours And The Times (1991)
Before Ian Hart played John Lennon in Backbeat, he had a show-stopping appearance in this low key film about the Beatle’s relationship with his manager Brian Epstein. The movie is about the reported relationship that the pair had while on holiday in Spain and speculates as to what may have happened. Not the most orthodox of biopics, but a fascinating film all the same.
The Hours and Times - Official Trailer - Oscilloscope Laboratories HD
Birth Of The Beatles (1979)
John Lennon was still alive when this film came out, which must have been weird for him. It kicks off in 1961 with John Lennon and fifth Beatle Stu Sutcliffe are at art school and ends just as the band plan to hit America. It’s a fair attempt at summing up the period (which was barely twenty years before the movie was made, so it looks authentic) and some of the casting is notable today, namely John “Nasty Nick Cotton” Altman as George Harrison and Nigel Havers in the role of George Martin!
birth of beatles clip 1979
Two Of Us (2000)
Intriguing drama directed by Michael Lindsay-Hogg, the man who directed the real Beatles in their Let It Be film. Jared Harris is John Lennon and Aiden Quinn is Paul McCartney and the movie is another speculative play about what may have happened when the two former Beatles met up in New York in 1976. It’s a compelling two-handed drama that’s surprisingly effective.
Two Of Us - Elevator Scene
John And Yoko - A Love Story (1985)
It’s occasionally embarrassing, but if you want the bare bones story of what happened when Lennon met Ono, this film will do the trick. Mark McGann is John, who embarks on an intense relationship with Japanese artists Yoko, played by Kim Miyori and takes us right up to the fateful night in New York in December 1980. Worth it to see future Doctor Who Peter Capaldi play George Harrison.
John Lennon 1 15 Love Story
The Linda McCartney Story (2000)
If John can do it, so can Paul. Gary Bakewell (who played Macca in Backbeat) is Paul, Elizabeth Mitchell (from the TV show Lost) is the woman who meets him when he’s the biggest star in the world. Together they buy a farm, go veggie and form an even bigger band, Wings. It’s obviously filmed in Vancouver rather than Britain, but this is an efficient look at the post-split McCartney and the live he forged for his family.
LMS 7
The Rutles (1978)
If you can’t be arsed with the real thing, here’s Monty Python star Eric Idle’s bizarre take on the story as the Pre-Fab Four shoot to fame and then fall out over the usual. Neil Innes writes some amazing Beatle parodies and Saturday Night Live alumni like Dan Aykroyd and John Belushi show up as weird characters. Can you spot genuine Beatle George Harrison’s cameo?
THE RUTLES: ALL YOU NEED IS CASH Trailer
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See Paul McCartney full list of movies and tv shows from their career. Find where to watch Paul McCartney's latest movies and tv shows
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Paul McCartney Teams Up With Emma Stone For "Who Cares" Short Music Film
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Throughout his ongoing Got Back tour, Paul McCartney has reliably opened with "Can't Buy Me Love."
It's not the Beatles' deepest song, nor their most beloved hit — though a hit it was. But its zippy, rollicking exuberance still shines brightly; like the rest of the oldies on his setlist, the 82-year-old launches into it in its original key. For two minutes and change, we're plunged back into 1964 — and all the humor, melody, friendship and fun the Beatles bestowed with A Hard Day's Night.
This week in 1964 — at the zenith of Beatlemania, after their seismic appearance on "The Ed Sullivan Show" — the planet received Richard Lester's silly, surreal and innovative film of that name. Days after, its classic soundtrack dropped — a volley of uber-catchy bangers and philosophical ballads, and the only Beatles LP to solely feature Lennon-McCartney songs.
As with almost everything Beatles, the impact of the film and album have been etched in stone. But considering the breadth of pop culture history in its wake, Fab disciples can always use a reminder. Here are six things that wouldn't be the same without A Hard Day's Night.
All Music Videos, Forever
Right from that starting gun of an opening chord, A Hard Day's Night's camerawork alone — black and white, inspired by French New Wave and British kitchen sink dramas — pioneers everything from British spy thrillers to "The Monkees."
Across the film's 87 minutes, you're viscerally dragged into the action; you tumble through the cityscapes right along with John, Paul, George, and Ringo. Not to mention the entire music video revolution; techniques we think of as stock were brand-new here.
According to Roger Ebert: "Today when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of A Hard Day's Night."
Emergent Folk-Rock
George Harrison's 12-string Rickenbacker didn't just lend itself to a jangly undercurrent on the A Hard Day's Night songs; the shots of Harrison playing it galvanized Roger McGuinn to pick up the futuristic instrument — and via the Byrds, give the folk canon a welcome jolt of electricity.
Entire reams of alternative rock, post-punk, power pop, indie rock, and more would follow — and if any of those mean anything to you, partly thank Lester for casting a spotlight on that Rick.
Read more: Living Legends: Roger McGuinn On The History Of The Byrds, His One-Man Show And Editing His Own Wikipedia Page
The Ultimate Love Triangle Jam
From the Byrds' "Triad" to Leonard Cohen's "Famous Blue Raincoat," music history is replete with odes to love triangles.
But none are as desperate, as mannish, as garment-rending, as Derek and the Dominoes' "Layla," where Eric Clapton lays bare his affections for his friend Harrison's wife, Pattie Boyd. Where did Harrison meet her? Why, on the set of A Hard Day's Night, where she was cast as a schoolgirl.
Debates, Debates, Debates
Say, what is that famous, clamorous opening chord of A Hard Day's Night's title track? Turns out YouTube's still trying to suss that one out.
"It is F with a G on top, but you'll have to ask Paul about the bass note to get the proper story," Harrison told an online chat in 2001 — the last year of his life.
A Certain Strain Of Loopy Humor
No wonder Harrison got in with Monty Python later in life: the effortlessly witty lads were born to play these roles — mostly a tumble of non sequiturs, one-liners and daffy retorts. (They were all brought up on the Goons, after all.) When A Hard Day's Night codified their Liverpudlian slant on everything, everyone from the Pythons to Tim and Eric received their blueprint.
The Legitimacy Of The Rock Flick
What did rock 'n' roll contribute to the film canon before the Beatles? A stream of lightweight Elvis flicks? Granted, the Beatles would churn out a few headscratchers in its wake — Magical Mystery Tour, anyone? — but A Hard Day's Night remains a game-changer for guitar boys on screen.
The best part? The Beatles would go on to change the game again, and again, and again, in so many ways. Don't say they didn't warn you — as you revisit the iconic A Hard Day's Night.
Explore The World Of The Beatles
Whether it be "Band on the Run" or "Jet" or "My Love," chances are you've heard a Wings song at least once — in all their polished, '70s-arena-sized glory. More than four decades after they disbanded in 1981, we're getting a helping of raw, uncut Wings.
Last February, Wings' classic 1973 album Band on the Run got the 50th anniversary treatment, with a disc of "underdubbed" remixes, allowing Paul McCartney, spouse and keyboardist Linda McCartney, and guitarist Denny Laine to be heard stripped back, with added clarity.
After a few months to digest that, it was time to reveal a session that, for ages, fans had been clamoring for. On June 14, in came One Hand Clapping, a live-in-the-studio set from August 1974 that captured Wings at the zenith of their powers.
Back then, Wings had the wind in their sails, with a reconstituted lineup Band on the Run at the top of the charts. They opted to plug in at Abbey Road Studios with cameras rolling, and record a live studio album with an attendant documentary. The film wouldn’t come out until a 2010 reissue of Band on the Run; the music’s popped up on bootlegs, but had never been released in full.
That long absence is a shame; while One Hand Clapping is a bit of a historical footnote, it absolutely rips; Giles Martin shining up the mixes certainly helped. Epochal Macca ballads, like "Maybe I'm Amazed" and "Blackbird," are well represented, but when Wings rock out, as on "Jet," "Nineteen Hundred and Eighty Five," and "deep cut "Soily," they tear the roof off.
Basically, in range and sequencing, One Hand Clapping shows McCartney prepping Wings like a rocket; soon, it'd rip through the live circuit. If you've never taken a spin through McCartney's post-Fabs discography, though, you may not know where to go from here.
So, for neophytes (or just fans wanting a refresher), here's a framework through which to sift through the Wings discography — with One Hand Clapping still ringing in your ears.
The Essentials
Remember, as you get into Wings: don't cordon off their catalog from McCartney's solo work as a whole. In other words: if you haven't heard masterpieces like 1971's Ram yet, don't go scrounging through Back to the Egg deep cuts yet: check all that stuff out, then return to this list.
That being established: the proper Wings entryway is almost unquestionably Band on the Run. Like Sgt. Pepper's and Abbey Road before it, it's an exhilarating melodic and stylistic rush, a sonic adventure — whether you go for the original or the "underdubbed" version.
In the grand scheme of solo Beatles, Band on the Run is also the one McCartney album that slugs it out with John Lennon's Plastic Ono Band and George Harrison's All Things Must Pass, in terms of artistic realization.
That being said: despite slightly inferior contemporaneous reviews, its follow-up, 1975's Venus and Mars, is almost as good — and if grandiosity isn't your bag, you might actually enjoy it more than Band on the Run. (Think of Harrison following up All Things with the sparser, more spacious Living in the Material World, and you'll get the picture.)
Between those two albums, you've got a wealth of indispensable Macca songs — "Jet," "Let Me Roll It," "Nineteen Hundred and Eighty Five," "Rock Show," "You Gave Me the Answer" — as well as satisfying deep cuts, like doomed Wingsman Jimmy McCulloch's "Medicine Jar."
From there, it's time to understand Weird Wings — which rewinds the clock to their beginnings.
The Weirdness
As the McCartney canon goes, Ram's stock seems to shoot up every year, single handedly inspiring new generations of psych-pop weirdos. By comparison, Wings' debut, Wild Life, was critically savaged in 1971, and its reputation isn't much better today.
As you'll learn so often in your solo Macca voyage — you've just got to ignore the critics sometimes. Even McCartney himself said "Bip Bop" "just goes nowhere" and "I cringe every time I hear it." What he leaves out it's a maddening earworm — to hear this loony, circuitous little sketch once is to carry it to your deathbed.
Indeed, Wild Life is full of moments that will stick with you. In the title track, McCartney screams about the zoo like his hair's on fire; "I Am Your Singer" is a swaying dialogue between Paul and Linda; "Dear Friend" is one of McCartney's most moving songs about Lennon.
Wild Life's follow-up, Red Rose Speedway, is a little more candy-coated and commercial — but outside of the polarizing hit "My Love," it has some integral McCartney tunes, like "Little Lamb Dragonfly" and "Single Pigeon."
In the end, though, Wild Life is arguably the early Wings offering that will really stick to your ribs. It's not a crummy follow-up to Ram, but an intriguing off-ramp from its harebrained universe — and as the opening statement from McCartney's post-Beatles vehicle, worth investigating just on that merit.
The Deep Cuts
McCartney has always been a hit-or-miss solo artist by design — digging through the half-written pastiches and questionable experiments is part of the deal.
1976's Wings at the Speed of Sound features a key track in the irrepressibly jaunty "Let 'Em In," and an (in)famous disco-spangled hit in "Silly Love Songs." From there, with tunes like "Cook of the House" and "Warm and Beautiful," your mileage may vary wildly.
The ratio holds for 1978's London Town: you could put the gorgeous "I'm Carrying" on your playlist and scrap the rest, or you can go spelunking. And McCartney being McCartney, despite 1979's Back to the Egg being choppy waters, he nailed it at least once — on the lithe, sophisticated, Stevie Wonder-like "Arrow Through Me."
Today, at 81, McCartney is an 18-time GRAMMY winner and an enormous concert draw — charging through his six-decade catalog in stadiums the world over. These albums only comprise one decade in his history, where he flourished as a mulleted stadium act alongside his keyboarding wife. But his catalog would be so much different if he never got his Wings.
5 Lesser Known Facts About The Beatles' Let It Be Era: Watch The Restored 1970 Film
What is about the Beatles' Let it Be sessions that continues to bedevil diehards?
Even after their aperture was tremendously widened with Get Back — Peter Jackson's three-part, almost eight hour, 2021 doc — something's always been missing. Because it was meant as a corrective to a film that, well, most of us haven't seen in a long time — if at all.
That's Let it Be, the original 1970 documentary on those contested, pivotal, hot-and-cold sessions, directed by Michael Lindsay-Hogg. Much of the calcified lore around the Beatles' last stand comes not from the film itself, but what we think is in the film.
Let it Be does contain a couple of emotionally charged moments between maturing Beatles. The most famous one: George Harrison getting snippy with Paul McCartney over a guitar part, which might just be the most blown-out-of-proportion squabble in rock history.
But superfans smelled blood in the water: the film had to be a locus for the Beatles' untimely demise. To which the film's director, Michael Lindsay-Hogg, might say: did we see the same movie?
"Looking back from history's vantage point, it seems like everybody drank the bad batch of Kool-Aid," he tells GRAMMY.com. Lindsay-Hogg had just appeared at an NYC screening, and seemed as surprised by it as the fans: "Because the opinion that was first formed about the movie, you could not form on the actual movie we saw the other night."
He's correct. If you saw Get Back, Lindsay-Hogg is the babyfaced, cigar-puffing auteur seen throughout; today, at 84, his original vision has been reclaimed. On May 8, Disney+ unveiled a restored and refreshed version of the Let it Be film — a historical counterweight to Get Back. Temperamentally, though, it's right on the same wavelength, which is bound to surprise some Fabs disciples.
With the benefit of Peter Jackson's sound-polishing magic and Giles Martin's inspired remixes of performances, Let it Be offers a quieter, more muted, more atmospheric take on these sessions. (Think fewer goofy antics, and more tight, lingering shots of four of rock's most evocative faces.)
As you absorb the long-on-ice Let it Be, here are some lesser-known facts about this film, and the era of the Beatles it captures — with a little help from Lindsay-Hogg himself.
The Beatles Were Happy With The Let It Be Film
After Lindsay-Hogg showed the Beatles the final rough cut, he says they all went out to a jovial meal and drinks: "Nice food, collegial, pleasant, witty conversation, nice wine."
Afterward, they went downstairs to a discotheque for nightcaps. "Paul said he thought Let it Be was good. We'd all done a good job," Lindsay-Hogg remembers. "And Ringo and [wife] Maureen were jiving to the music until two in the morning."
"They had a really, really good time," he adds. "And you can see like [in the film], on their faces, their interactions — it was like it always was."
About "That" Fight: Neither Paul Nor George Made A Big Deal
At this point, Beatles fanatics can recite this Harrison-in-a-snit quote to McCartney: "I'll play, you know, whatever you want me to play, or I won't play at all if you don't want me to play. Whatever it is that will please you… I'll do it." (Yes, that's widely viewed among fans as a tremendous deal.)
If this was such a fissure, why did McCartney and Harrison allow it in the film? After all, they had say in the final cut, like the other Beatles.
"Nothing was going to be in the picture that they didn't want," Lindsay-Hogg asserts. "They never commented on that. They took that exchange as like many other exchanges they'd had over the years… but, of course, since they'd broken up a month before [the film's release], everyone was looking for little bits of sharp metal on the sand to think why they'd broken up."
Recently, Ringo Starr opined that there was "not a lot of joy" in the Let it Be film; Lindsay-Hogg says Starr framed it to him as "no joy."
Of course, that's Starr's prerogative. But it's not quite borne out by what we see — especially that merry scene where he and Harrison work out an early draft of Abbey Road's "Octopus's Garden."
"And Ringo's a combination of so pleased to be working on the song, pleased to be working with his friend, glad for the input," Lindsay-Hogg says. "He's a wonderful guy. I mean, he can think what he wants and I will always have greater affection for him.
"Let's see if he changes his mind by the time he's 100," he added mirthfully.
Lindsay-Hogg Thought It'd Never Be Released Again
"I went through many years of thinking, It's not going to come out," Lindsay-Hogg says. In this regard, he characterizes 25 or 30 years of his life as "solitary confinement," although he was "pushing for it, and educating for it."
"Then, suddenly, the sun comes out" — which may be thanks to Peter Jackson, and renewed interest via Get Back. "And someone opens the cell door, and Let it Be walks out."
Nobody Asked Him What The Sessions Were Like
All four Beatles, and many of their associates, have spoken their piece on Let it Be sessions — and journalists, authors, documentarians, and fans all have their own slant on them.
But what was this time like from Lindsay-Hogg's perspective? Incredibly, nobody ever thought to check. "You asked the one question which no one has asked," he says. "No one."
So, give us the vibe check. Were the Let it Be sessions ever remotely as tense as they've been described, since man landed on the moon? And to that, Lindsay-Hogg's response is a chuckle, and a resounding, "No, no, no."
The Beatles' Final Song: Giles Martin On The Second Life Of "Now And Then" & How The Fab Four Are "Still Breaking New Ground"
As expected, much buzz followed the release of Taylor Swift's 11th studio album, The Tortured Poets Department, on April 19. Fans and critics alike have devoured the sprawling double album’s 31 tracks, unpacking her reflections from "a fleeting and fatalistic moment in time" in search of Easter eggs, their new favorite lyrics and references to famous faces (both within the pop supernova’s closely guarded orbit and the historical record).
Shoutouts abound in The Tortured Poets Department: Charlie Puth gets his much-deserved (and Taylor-approved) flowers on the title track, while 1920s screen siren Clara Bow, the ancient Greek prophetess Cassandra and Peter Pan each get a song titled after them. Post Malone and Florence + the Machine’s Florence Welch each tap in for memorable duets. Relationships old (Joe Alwyn), new (Travis Kelce) and somewhere in between (1975’s Matty Healy) are alluded to without naming names, as is, possibly, the singer’s reputation-era feud with Kim Kardashian.
Swift casts a wide net on The Tortured Poets Department, encompassing popular music, literature, mythology and beyond, but it's far from the first time the 14-time GRAMMY winner has worn her influences on her sleeve. While you digest TTPD, consider these 10 figures who have influenced the poet of the hour — from Stevie Nicks and Patti Smith to Emily Dickinson, William Wordsworth, Arya Stark and more.
Stevie Nicks
If Taylor Swift is the chairman of The Tortured Poets Department, Stevie Nicks may as well be considered its poet laureate emeritus. The mystical Fleetwood Mac frontwoman earns an important mention on side A closer "Clara Bow," in which Swift ties an invisible string from herself to a pre-Rumours Nicks ("In ‘75, the hair and lips/ Crowd goes wild at her fingertips"), and all the way back to the 1920s It Girl of the song’s title.
For her part, Nicks seems to approve of her place in Swift’s cultural lineage, considering she penned the poem found inside physical copies of The Tortured Poets Department. "He was in love with her/ Or at least she thought so," the Priestess of Rock and Roll wrote in part, before signing off, "For T — and me…"
Swift’s relationship with Nicks dates back to the 2010 GRAMMYs, when the pair performed a medley of "Rhiannon" and "You Belong With Me" before the then-country upstart took home her first Album Of The Year win for 2009’s Fearless. More recently, the "Edge of Seventeen" singer publicly credited Swift’s Midnights cut "You’re On Your Own, Kid" for helping her through the 2022 death of Fleetwood Mac bandmate Christine McVie.
Patti Smith
Swift may see herself as more "modern idiot" than modern-day Patti Smith, but that didn’t stop the superstar from name-dropping the icon synonymous with the Hotel Chelsea and punk scene of ‘70s New York on a key track on The Tortured Poets Department. Swift rather self-deprecatingly compares herself to the celebrated Just Kids memoirist (and 2023 Songwriters Hall of Fame nominee) on the double album’s synth-drenched title track, and it’s easy to see how Smith’s lifelong fusion of rock and poetry influenced the younger singer’s dactylic approach to her new album.
Smith seemed to appreciate the shout-out on "The Tortured Poets Department" as well. "This is saying I was moved to be mentioned in the company of the great Welsh poet Dylan Thomas. Thank you Taylor," she wrote on Instagram alongside a photo of herself reading Thomas’ 1940 poetry collection Portrait of the Artist as a Young Dog.
Emily Dickinson
When it comes to iconic poets, Swift has also taken a page or two over her career from Emily Dickinson. While the great 19th century poet hasn’t come up explicitly in Swift’s work, she did reference her poetic forebear (and actual sixth cousin, three times removed!) in her speech while accepting the award for Songwriter-Artist of the Decade at the 2022 Nashville Songwriter Awards.
"I’ve never talked about this publicly before, because, well, it’s dorky. But I also have, in my mind, secretly, established genre categories for lyrics I write. Three of them, to be exact. They are affectionately titled Quill Lyrics, Fountain Pen Lyrics and Glitter Gel Pen Lyrics," Swift told the audience before going on to explain, "If my lyrics sound like a letter written by Emily Dickinson’s great-grandmother while sewing a lace curtain, that’s me writing in the Quill genre," she went on to explain.
Even before this glimpse into Swift’s writing process, Easter eggs had been laid pointing to her familial connection to Dickinson. For example, she announced her ninth album evermore on December 10, 2020, which would have been the late poet’s 190th birthday. Another clue that has Swifties convinced? Dickinson’s use of the word "forevermore" in her 1858 poem "One Sister Have I in Our House," which Swift also cleverly breaks apart in Evermore’s Bon Iver-assisted title track ("And I couldn’t be sure/ I had a feeling so peculiar/ That this pain would be for/ Evermore").
The Lake Poets
Swift first put her growing affinity for poetry on display during her folklore era with "the lakes." On the elegiac bonus track, the singer draws a parallel with the Lake Poets of the 19th century, wishing she could escape to "the lakes where all the poets went to die" with her beloved muse in tow. In between fantasizing about "those Windermere peaks" and pining for "auroras and sad prose," she even manages to land a not-so-subtle jab at nemesis Scooter Braun ("I’ve come too far to watch some name-dropping sleaze/ Tell me what are my words worth") that doubles as clever wordplay on the last name of Lake Poet School members William and Dorothy Wordsworth.
Swift revealed more about why she connected to the Lake Poets in her 2020 Disney+ documentary folklore: the long pond studio sessions. "There was a poet district, these artists that moved there. And they were kind of heckled for it and made fun of for it as being these eccentrics and these kind of odd artists who decided that they just wanted to live there," she explained to her trusted producer Jack Antonoff. "So ‘the lakes,’ it kind of is the overarching theme of the whole album: of trying to escape, having something you wanna protect, trying to protect your own sanity and saying, ‘Look, they did this hundreds of years ago. I’m not the first person who’s felt this way.’"
Paul McCartney
Paul McCartney and Swift have publicly praised one another’s work for years, leading to the 2020 Rolling Stone cover they posed for together for the special Musicians on Musicians issue. The younger singer even counts Sir Paul’s daughter Stella McCartney as a close friend and collaborator (Stella designed a capsule collection for Swift’s 2019 studio set Lover and earned a shout-out of her own on album cut "London Boy").
However, Swift took her relationship with the Beatles founder and his family a step further when it was rumored she based Midnights deep cut "Sweet Nothing" on McCartney’s decades-long romance with late wife Linda. While the speculation has never been outright confirmed, it appears Swift’s lyrics in the lilting love song ("On the way home, I wrote a poem/ You say, ‘What a mind’/ This happens all the time") were partially inspired by a strikingly similar quote McCartney once gave about his relationship with Linda, who passed away in 1998. To add to the mystique, the Midnights singer even reportedly liked a tweet from 2022 espousing the theory.
The admiration between the duo seems to go both ways as well, with the former Beatle admitting in a 2018 BBC profile that the track "Who Cares" from his album Egypt Station was inspired by Swift’s close relationship with her fans.
The Chicks
From her days as a country music ingénue to her ascendance as the reigning mastermind of pop, Swift has credited the Chicks as a seminal influence in her songwriting and career trajectory. (Need examples? Look anywhere from early singles like "Picture to Burn" and "Should’ve Said No" to Evermore’s Haim-assisted murder ballad "no body, no crime" and her own Lover-era collab with the band, "Soon You’ll Get Better.")
In a 2020 Billboard cover story tied to the Chicks’ eighth album Gaslighter, Swift acknowledged just how much impact the trio made on her growing up. "Early in my life, these three women showed me that female artists can play their own instruments while also putting on a flamboyant spectacle of a live show," she said at the time. "They taught me that creativity, eccentricity, unapologetic boldness and kitsch can all go together authentically. Most importantly, they showed an entire generation of girls that female rage can be a bonding experience between us all the very second we first heard Natalie Maines bellow ‘that Earl had to DIE.’"
"Game of Thrones"
When reputation dropped in 2017, Swift was on a self-imposed media blackout, which meant no cover stories or dishy sit-down interviews on late-night TV during the album’s roll-out. Instead, the singer let reputation speak for itself, and fans were largely left to draw their own conclusions about their queen’s wildly anticipated comeback album. Two years later, though, Swift revealed the dark, vengeful, romantic body of work was largely inspired by "Game of Thrones."
"These songs were half based on what I was going through, but seeing them through a 'Game of Thrones' filter," she told Entertainment Weekly in 2019. "My entire outlook on storytelling has been shaped by ["GoT"] — the ability to foreshadow stories, to meticulously craft cryptic story lines. So, I found ways to get more cryptic with information and still be able to share messages with the fans. I aspire to be one one-millionth of the kind of hint dropper the makers of 'Game of Thrones' have been."
Joni Mitchell
Swift has long made her admiration of Joni Mitchell known, dating back to her 2012 album Red, which took a cue from the folk pioneer’s landmark 1971 LP Blue for its chromatic title. In an interview around the time of Red’s release, the country-pop titan gushed over Blue’s impact on her, telling Rhapsody, "[Mitchell] wrote it about her deepest pains and most haunting demons. Songs like ‘River,’ which is just about her regrets and doubts of herself — I think this album is my favorite because it explores somebody’s soul so deeply."
Back in 2015, TIME declared the "Blank Space" singer a "disciple of Mitchell in ways both obvious and subtle" — from her reflective songwriting to the complete ownership over her creative process, and nearly 10 years later, Swift was still showing her appreciation for Mitchell after the latter’s triumphant and emotional appearance on the GRAMMY stage to perform "Both Sides Now" on the very same night Taylor took home her historic fourth GRAMMY for Album Of The Year for Midnights.
Fall Out Boy & Paramore
When releasing the re-recording of her third album Speak Now in 2023, Swift cited two unexpectedly emo acts as inspirations to her early songwriting: Fall Out Boy and Paramore.
"Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she wrote in an Instagram post revealing the back cover and complete tracklist for Speak Now (Taylor’s Version), which included Fall Out Boy collaboration "Electric Touch" and "Castles Crumbling" featuring Paramore frontwoman Hayley Williams.
Tim McGraw
For one of Swift’s original career inspirations, we have to go all the way back to the very first single she ever released. "Tim McGraw" was not only as the lead single off the 16-year-old self-titled 2006 debut album, but it also paid reverent homage to one of the greatest living legends in the history of country music.
In retrospect, it was an incredibly gutsy risk for a then-unknown Swift to come raring out of the gate with a song named after a country superstar. But the gamble clearly paid off in spades, considering that now, when an entire generation of music fans hear "Tim McGraw," they think of Taylor Swift.
Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album
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A Hard Day's Night - Full Cast & Crew
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Learn more about the full cast of A Hard Day's Night with news, photos, videos and more at TV Guide
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https://www.tvguide.com/movies/a-hard-days-night/cast/2000098580/
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96 Metascore
1964
1 hr 26 mins
Music, Comedy, Action & Adventure
NR
Watchlist
Where to Watch
The Beatles' first film, a delightful, Marx Brothers-like romp, depicts a "typical day" in the lives of the beloved foursome, with a fresh, freewheeling tone and many of the band's songs. Restored version.
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The 10 times Paul McCartney’s music made movies better
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Paul McCartney is celebrating his 80th birthday after decades of success. He was one of the four Beatles with John Lennon, George Harrison and Ringo Starr...
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Far Out Magazine
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https://faroutmagazine.co.uk/the-10-times-paul-mccartney-music-made-movies-better/
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Few artists are truly unique and even The Beatles drew from several creative inspirations, including the Nigerian conga player Jimmy Scott and the classic novelist Lewis Carroll to name just two. Paul McCartney also recently revealed on the radio show ‘John Lennon at 80’ that he, George Harrison, Ringo Starr and Lennon had been greatly influenced by the work of Bob Dylan.
Speaking on the show, McCartney stated, “Yeah, we certainly got a lot from Dylan, and I know I had one of his first LPs at home before The Beatles. I used to play that quite a lot so I was steeped in him”.
Mostly, however, it was McCartney and the Beatles who did much of the mid-20th century inspiring, eclipsing the entire concept of a rock band by embodying the spirit of an ever-changing western world. As such, they have gone on to influence some of the finest minds in music and cinema, including the likes of Dave Grohl, Brian Wilson, Billy Joel, Joni Mitchell, Bruce Springsteen and Noel and Liam Gallagher.
With Paul McCartney hitting his 80th birthday on June 17th, we thought we’d take a look back at some leftfield ways in which the Scouse icon has inspired the world of cinema, analysing ten times that he made movies better.
10 times Paul McCartney’s music made movies better:
American Hustle (David O. Russell, 2013)
With a star-studded lead cast including Jennifer Lawrence, Christian Bale, Bradley Cooper, Amy Adams and Jeremy Renner, American Hustle was David O. Russell’s Hollywood statement piece with a glitzy storyline that involved the FBI, powerbrokers and the Mafia. Nominated for a total of ten Academy Awards, including Best Picture, Russell’s punchy, stylish crime drama is a Hollywood powerhouse.
The film was made all the better by one scene in which Russell uses ‘Live and Let Die’ by The Beatles when Jennifer Lawrence’s character is cleaning the house. Writing the scene with this particular song in mind, the moment stands out as one of the very best in this Oscar-nominated drama.
Boyhood (Richard Linklater, 2014)
One of the best scenes in Richard Linklater’s largely forgettable coming-of-age drama comes when Ethan Hawke’s character gives his son a specially made CD of The Beatles’ solo careers, naming the collection, The Black Album. “There is no favourite Beatle. It’s in the balance,” Hawke’s father character utters after the young protagonist names Paul as his outright favourite.
It’s a heartwarming moment that The Beatles themselves would be proud of, particularly as it’s topped off by the McCartney song ‘Band on the Run’.
The Killing Fields (Roland Joffé, 1984)
A classic biographical movie from Roland Joffé, The Killing Fields follows a journalist who is trapped in Cambodia during tyrant Pol Pot’s bloody ‘Year Zero’ cleansing campaign, which led to the death of two million civilians. What follows is a tense drama as the journalist seeks safety in a land that is quickly losing control of its sanity and humanity.
Though it’s not the first song you might think of to appear in such a dark film, it is the Paul McCartney and the Wings song ‘Band on the Run’ that elevates this 1984 classic, providing an eerie mood to the dramatic proceedings.
Licorice Pizza (Paul Thomas Anderson, 2021)
Like many of the films of Paul Thomas Anderson, Licorice Pizza gives audiences an objective, atmospheric impression of a certain place and time. His latest film is no different, following two young individuals as they navigate their lives under the glitz, sun and eccentricity of the San Fernando Valley in LA. Infused with a passion for the 1970s, Anderson’s nostalgic tale is a joy to behold.
Ever the creative contrarian, Anderson used the lesser-known love song ‘Let Me Roll In’ for his unconventional coming-of-age movie, suggesting that the relationship between the two leads is anything but normal.
Live and Let Die (Guy Hamilton, 1973)
The clue’s in the title of this 1973 James Bond classic. Giving the franchise one of its very best themes, ‘Live and Let Die’ is a rousing, dramatic piece of music that perfectly underpins Guy Hamilton’s bombastic adventure starring Roger Moore. Standing alone as a great song, as well as an iconic Bond tune, this song is a favourite for many Paul McCartney and Wings fans across the world.
The film itself is one of Bond’s craziest adventures, with the British spy sent to stop a diabolically brilliant heroin magnate armed with a complex organisation and a reliable psychic tarot card reader.
Once Upon a Time in America (Sergio Leone, 1984)
Sergio Leone’s final film before his death five years later is in many ways an ode to his past career. Pioneering a spaghetti western genre punctuated by violence and savage individuals, Once Upon a Time in America illustrates the personal sorrow that such a criminal life can bring, showing, in this epic tale of endearing nostalgia, how the ghosts of the past can return to possess you.
It’s also made all the better by a brief but brilliant use of The Beatles song ‘Yesterday’ when the protagonist, played by Robert De Niro is thinking back to a time long gone. It’s a poignant and emotional moment.
The Royal Tenenbaums (Wes Anderson, 2021)
It’s no secret that Wes Anderson loves a good musical score, with The Royal Tenenbaums featuring one of the very best of his entire filmography. Including the likes of Nico, Paul Simon and Bob Dylan, each of these musical moments are eclipsed by the use of ‘Hey Jude’ over the film’s opening sequence, though this version isn’t performed by The Beatles, it’s more of an atmospheric take.
Originally using The Beatles version for the test screenings, certain complications meant that they had to record a cover for the release of the final film, with no ounce of quality being lost from this decision.
The Social Network (David Fincher, 2010)
The invention of social media is one of the most culturally significant moments in all of modern history, and Facebook creator Mark Zuckerberg is one of the leading voices in this field, responsible for much of the madness we see on similar platforms. David Fincher’s semi-fictional retelling of Zuckerberg’s life details the education of the Harvard student, creating the social media site on a whim one day as a result of his own social dissatisfaction.
Using the song ‘Baby You’re a Rich Man’ from the B-side of All You Need Is Love just before the credits roll, Fincher’s choice of music here is impeccable, heightening the film’s triumphant and melancholy finale.
Vanilla Sky (Cameron Crowe, 2001)
Considered something of a cult classic, Cameron Crowe’s Vanilla Sky stars Tom Cruise as a former publishing magnate who recounts his life before prison, with a few fantastical details added in. The strange fantasy movie was the perfect film for Paul McCartney to jump onboard for and write an original piece of music, writing ‘Vanilla Sky’ specifically for the 2001 Hollywood movie.
With bizarre dreamlike lyrics like ‘Melted tin beads cast your fortune. In a glass of wine. Snail or fish, balloon or dolphin,’ Paul McCartney proved an excellent choice to score the movie.
Wild (Jean-Marc Vallée, 2014)
Nominated for two Academy Awards, including Best Performance by an Actress in a Leading Role for Reese Witherspoon, Jean-Marc Vallée’s 2014 film Wild is a biography that tells the story of one woman’s 1,100-mile solo hike, undertaken as a way to get over personal tragedy. Beloved by both critics and audiences, Wild was unfortunate to walk away with nothing at the 2015 Academy Awards.
One moment in the film utilises the classic Paul McCartney song ‘Let ‘Em In’, with the song perfectly capturing the optimism of the story at hand, as well as the need to accept life and move on.
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Paul McCartney: From The Beatles to solo success and everything in between
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With a career spanning 60 years, 18 Grammys and a knighthood under his belt, Sir Paul McCartney is a name that will forever go down in music history. Read up on him here...
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His career has spanned more than 60 years!
Sir Paul McCartney has had quite the career, spanning more than 60 years and earning him 18 Grammys, and a knighthood along the way. While known to many as the bass player and singer-songwriter in The Beatles, Sir Paul has also enjoyed success as part of Wings and as a solo artist.
Thanks to his amazing talents as a songwriter and musician, Paul composed dozens of hit songs including 'Hey Jude' and 'Let it Be', which continue to have multi-generational appeal. From his time in The Beatles and Wings to going it alone as a solo artist, here’s everything you need to know about Paul McCartney and his amazing career. This year, the musician was reunited with a bass guitar which was stolen more than 50 years ago, released a previously unreleased live album called 'One Hand Clapping'.
Where was Paul McCartney born?
Paul McCartney was born in Liverpool, England on 18th June 1942.
How old is he?
Paul McCartney turned 82-years-old in 2024.
He celebrated his 81st birthday on Father's Day in 2023, sharing a photo of himself in front of Cliveden House in Berkshire which is where The Beatles filmed their 1965 movie Help!.
Back in 2022, he celebrated his 80th by performing with Bruce Springsteen and Jon Bon Jovi as part of his US 'Got Back' tour.
Watch Paul McCartney and Bruce Springsteen perform 'Glory Days' and 'I Wanna Be Your Man':
Paul McCartney's career with The Beatles
The Beatles, which consisted of Paul McCartney, John Lennon, George Harrison and Ringo Starr, shot to fame in 1963 after releasing their first single in the UK, 'Love Me Do'. But it wasn’t until they toured the US in 1964 that they truly reached international stardom. According to Official Charts Company, The Beatles went on to have 18 Number 1 singles in the UK (their 18th being 'Now And Then' in 2023), they also had 16 Number 1 albums in the UK.
Thanks to their unique look and sound, the band captivated a younger generation of music lovers during a period of immense change. Artists such as Oasis, Black Sabbath, Lady Gaga, Nirvana and Paul Weller have all cited the band as being major influences in their work.
When did Paul join The Beatles?
On July 6th 1957, Paul McCartney met John Lennon through a mutual friend at Woolton Village Fete when he was 15-years-old. John was performing in his skiffle band, The Quarrymen, and a few months later, Paul was invited to join. Several name changes later, The Beatles was born, along with a new rock ‘n’ roll sound.
Despite only being together for eight years, The Beatles recorded a whopping 209 songs. Their biggest hit was 'She Loves You' which spent six non-consecutive weeks at Number 1 in the UK and sold 1.92 million copies worldwide. 'I Want to Hold Your Hand' and 'Can’t Buy Me Love' were also huge successes for the quartet, selling 1.78 million and 1.54 million copies respectively.
Which songs did Paul McCartney write for The Beatles?
Of the 209 songs recorded by The Beatles, it’s claimed that Paul McCartney wrote 43. His most successful songs include 'Hey Jude', 'Let It Be', 'Eleanor Rigby' and 'Yesterday'. Paul also co-wrote numerous hit songs with bandmate John Lennon, including 'She Loves You' and 'I Want to Hold Your Hand'.
How was the breakup of The Beatles announced?
On 10th April 1970, Paul McCartney unintentionally announced the breakup of The Beatles. He was about to release his debut solo album 'McCartney' on the 17th April, but rather than do promotional interviews, Paul answered questions written for him by Peter Brown, an assistant at The Beatles' label, Apple Records.
Although he did not confirm that the band had split up, his answers to this 'self-interview' press release included disparaging comments about the band and the end of his songwriting partnership with John Lennon. After its contents were revealed to the media, the band decided to cut ties for good.
The Beatles 'final' song 'Now And Then'
In June 2023, Paul McCartney revealed he has recorded the 'final' Beatles song, using AI to recreate John Lennon's voice. He explained how John's voice was isolated by Peter Jackson for the film Get Back, which was about their 1970 album 'Let It Be'.
"When we came to make what will be the last Beatles record, it was a demo that John had (and) we were able to take John’s voice and get it pure through this AI," Paul told the BBC.
'Now And Then' was released on 2nd November 2023 as a double A side with the band's 1962 debut single 'Love Me Do'. Along with the song, a documentary was released which follows the creation of the song, dating back to the 70s when John Lennon wrote the song and recorded it on a cassette tape.
John Lennon and Paul McCartney's friendship
Aside from being the most legendary songwriting duo in music history, John Lennon and Paul McCartney were also kindred spirits, meeting when they were just teenagers. The unique friendship between the pair began through a like-mindedness for music but their connection was further strengthened over the shared loss of their mothers.
While the pair were undeniably close, there was also a brotherly sense of competitiveness between them when it came to writing songs. This eagerness to out-do each other by writing the best songs arguably helped the band to continuously produce hit after hit.
During the promotional tour for his album, 'Egypt Station' in 2018, Paul McCartney was asked by CBS if he and John ever complimented each other’s song writing face to face. He said 'Once. Once John gave me a compliment. It was only once the whole time. It was ‘Here, There and Everywhere,’ one of my songs on 'Revolver'. John says just as it finishes, ‘That’s a really good song, lad. I love that song.’ And I’m like, ‘Yes! He likes it!’"
Paul wrote the song 'Dear Friend' about John in an attempt to reach out following the band's split. He revealed that in the song, he was: "Talking to John after we’d had all the disputes about The Beatles break up" and also revealed that he gets emotional listening to the song to this day.
Despite their arguments following the breakup of The Beatles, the pair managed to reconcile and rebuild their friendship before John was sadly killed in 1980. In his last interview, John spoke of his friendship with Paul, saying: "He's like a brother. I love him. Families, we certainly have our ups and downs and our quarrels, but at the end of the day, when it's all said and done, I would do anything for him, and I think he would do anything for me."
Paul McCartney's tribute to John Lennon
Whilst grieving the loss of John Lennon, Paul McCartney recorded the song 'Here Today' as a personal tribute to his friend and former Beatles bandmate. The song was included on the 1982 album 'Tug of War' and Paul often plays the song when he’s on tour, even to this day.
In 2019, Paul McCartney and Ringo Starr teamed up to perform a rendition of John Lennon’s 'Grow Old with Me' for Ringo’s 2019 album, 'What’s My Name'. The last two surviving members of the Beatles said they collaborated on the song to pay tribute to John, 40 years after the singer’s untimely death.
Paul recalls his last meeting with George Harrison
Paul spent time with George not long before his death from cancer in 2001 and opened up about the last time he saw his bandmate: "I sat with him for a few hours when he was in treatment just outside New York. He was about 10 days away from his death, as I recall. We joked about things - just amusing, nutty stuff.
"It was good. It was like we were dreaming. He was my little baby brother, almost, because I’d known him that long. We held hands. It’s funny, even at the height of our friendship – as guys – you would never hold hands. It just wasn’t a Liverpool thing. But it was lovely."
The Beatles: Get Back
A documentary following The Beatles' career in 1969 and their final performance together on the rooftop of the Apple Corps building, called The Beatles: Get Back came out in November 2021 on Disney+.
Since then, the rooftop concert got a cinematic release and the documentary has come out on DVD.
Reflecting on his favourite parts of Get Back, Paul said: "There were quite a few smiles: me and John goofing around on ‘Two of Us’ acting like ventriloquists and singing through our teeth; me and John goofing around on ‘Bathroom Window’ where we start ringing Tuesday - "Hello Tuesday!" - that was nice. But the one that immediately comes to mind is John dancing - just seeing him dancing. It’s very cute, and he was actually a really good mover!'"
Paul McCartney's career with Wings
Wings were a British-American rock band created in 1971 by Paul McCartney, his wife Linda McCartney, drummer Denny Seiwell, and guitarist Denny Laine. The band were notorious for frequent changes to their line-up, going through three lead guitarists and four drummers in a short space of time. However, the trio of the McCartneys and Laine remained throughout.
During the 10 years the band were together, they wrote huge hits such as 'Hi, Hi, Hi', 'Mull of Kintyre' and 'Red Rose Speedway', as well as the James Bond theme song 'Live and Let Die'. Their biggest album 'Band on the Run' spent four weeks at Number 1 in the US charts and eventually went Triple Platinum.
Which are the most successful Wings songs?
Throughout their 10 years together, Wings achieved 12 Top 10 singles in the UK and 14 Top 10 singles in the US. Their song, 'Mull of Kintyre' reached Number 1 in the UK in 1977 and stayed there for nine consecutive weeks. This earned the song the title of best-selling UK single in history at the time.
'Jet' and 'Band on the Run' were also successful songs for Wings. 'Band on the Run' made it to Number 1 in several countries, including the US, Canada and New Zealand and sold over 1 million copies in the US alone. 'Jet' was also a Top 10 hit for Wings and Paul McCartney, peaking at Number 7 in both the US and the UK.
In 1972, Paul and Linda brought their daughters Heather, Mary and Stella on tour with them, and Paul opened up about the experience of touring with his family.
Explaining the decision, Paul said: "Our main reason was, we worried about leaving the kids at home and then getting a nanny or somebody ringing up saying, ‘Oh they’ve gone into hospital’ or ‘they’re very ill’, and we’d be far away in Australia or something."
He added: "When we decided to bring them along we tried to be very careful about the sensible stuff like their education. We did things like going to their school and asking the teachers what the class are going to be doing while we’re away, and then we had a tutor that came with us - the kids hated him! They did not like being told in the afternoon that it was ‘school time!’. They’d protest: ‘No, we wanna go to the beach!’."
How many albums has Paul McCartney released?
During their eight years together, The Beatles released 12 studio albums, including 'Sgt. Pepper's Lonely Hearts Club Band' in 1967 and 'Abbey Road' in 1969.
Wings released seven studio albums, one live album and two compilation albums during their time together. This included 'Wild Life', 'Band on the Run' and 'Venus and Mars'. Paul has now announced another album will be released in June, which will feature unreleased recordings from 1974. The album is called 'One Hand Clapping'.
Throughout his career as a solo artist, the ex-Beatle has also released 26 studio albums, nine live albums and four compilation albums.
What is 'Wonderful Christmastime' about?
Paul released his festive anthem 'Wonderful Christmastime' in 1979, and there has since been confusion over some of the lyrics with fan theories developing about the meaning behind the song. In December 2022, Paul cleared it all up in a Q & A session as he explained what the song was really about.
Confirming that he sings "the mood is right" and not "the moon is right", Paul also dispelled rumours that the song is about people performing witchcraft and trying to play it off as a Christmas celebration when they get caught.
He explained: "I’m thinking about Liverpool Christmas parties, that’s really all I’m doing with that song. 'The mood is right, let’s raise a glass, the spirit’s up' – you know, all the stuff you do at Christmas. Particularly with my old Liverpool family parties."
Paul also spoke about an unreleased Christmas album he recorded: "When the kids were little, I suddenly thought there wasn’t the ideal Christmas record, in my opinion. There’s some great Christmas records like the Phil Spector one, and Nat King Cole and Bing Crosby on the old standards, but I just wanted an instrumental of all the tunes.
"So, I ended up recording one for the family in my studio. And Eddie Klein, my engineer at the time, helped me. I now have this album I pull out every year, and it’s a bit of fun for the kids when we’re carving the veggie roast. I’ll stick it on and it means Christmas is here. It’s quite a cute little record actually! But it’s just for the family."
Watch Paul McCartney's 'Wonderful Christmastime':
How many Number 1 singles has he had?
Paul McCartney has achieved an amazing 22 Number 1s across his long career, which includes collaborations with Stevie Wonder, Michael Jackson, Wings and his late wife Linda.
Paul McCartney earns the title of best-selling songwriter
After selling 100 million singles worldwide and writing 43 Platinum songs, Paul was awarded the title of best-selling songwriter in the history of recorded music by the Guinness Book of World Records.
What is Paul McCartney’s net worth?
Paul McCartney is now a billionaire according to the Sunday Times Rich List. The singer was revealed to be the first UK musician to become a billionaire on 17th May 2024.
Paul McCartney's new music
In 2020, Paul McCartney reissued his iconic, 10th studio album 'Flaming Pie' as part of his Grammy-winning Archive Collection. The reissue is available in several different formats including a Collector's Edition and Deluxe Edition.
He also shared his 18th studio album 'McCartney III' in 2020, which features Paul playing all instruments on the songs. The album follows on from 'McCartney I' and 'McCartney II' and topped the UK Albums Chart as well as being nominated for a Grammy Award for Best Rock Album.
The following year he released 'McCartney III Imagined' which included remixes of his latest songs.
If These Walls Could Sing: The Abbey Road documentary
Paul took part in the documentary If These Walls Could Sing, directed by his daughter Mary McCartney. It focused on how artists who had recorded music at the famous Abbey Road Studios really felt about the building - and, of course, Paul contributed.
Other artists who were interviewed for the documentary include Kate Bush, Elton John, Pink Floyd's David Gilmour, Noel Gallagher and Liam Gallagher, to name a few. It was released on Disney+ in the UK in January 2023 - and a snippet video taken by Mary shows Paul recreating the famous crossing walk from The Beatles' 'Abbey Road' album... And nearly being run over!
Collaboration with Dolly Parton
Country singer Dolly Parton has now released her first rock music album called 'Rockstar'. Paul McCartney is one of the artists who features on the album, with other icons like Cher and Stevie Nicks.
Paul features on a new recording of 'Let It Be' along with Ringo Starr.
Is Paul McCartney on tour?
Paul McCartney embarked the North American leg of his 'Got Back' throughout April, May and June 2022.
He then continued on to Australia, where he performed a song originally released by The Beatles back in 1964, called 'She's a Woman'.
In June 2024, Paul announced he would be performing four UK dates, two in London and two in Manchester, as part of his 'Got Back' tour. It's been a massive six years since Paul last performed in London, with his last performance in Manchester way back in 2011.
Paul McCartney at Glastonbury
Paul McCartney was meant to play at the 2020 Glastonbury Festival but it was cancelled due to Covid-19 restrictions. He was announced as a headline act for Glastonbury 2022 where he performed on the Pyramid Stage on Saturday 25th June.
The last time he'd played at the festival was in 2004, playing Beatles songs as well as Wings, plus his solo music in the Saturday headline slot.
Paul wowed the crowd at the festival with a duet performed with John Lennon on-screen, using footage from their 1969 rooftop concert. To the audience's surprise during Paul's performance of Beatles' track 'I've Got A Feeling', John appeared on screen to sing part of the song.
Watch Paul McCartney perform 'I've Got A Feeling' at Glastonbury:
John Lennon's son Julian watched the performance and revealed how he felt about seeing his father's posthumous performance. Although he initially was "shocked" when he saw a video of the duet, he said: "When I saw it at Glastonbury, on a big screen with a good sound system - near enough to being there - you know, I actually enjoyed it."
Paul's record-breaking bass guitar sale
In December 2021, Paul McCartney gave his Yamaha BB-1200 bass guitar to an auction organised by U2's The Edge, and producer Bob Ezrin for their Music Rising charity. It broke the world record for the most expensive sale of a bass guitar, selling for an incredible £374,905.
Paul has been reunited with his stolen bass guitar
In February 2024, the exciting news broke that Paul has now been reunited with a bass guitar which was stolen in the 70s! After more than 50 years of searching, the unique, violin-shaped bass guitar was found. The guitar, which was bought for just £30, had been stolen from a van in Notting Hill in London in 1972. It was found in a loft of a terrace house on the South Coast of England.
Is there a film about Paul McCartney?
There are several films about Paul McCartney and/or The Beatles, however there is much excitement over the news that Oscar-winning director Sam Mendes has had the go-ahead for four films, one about each member of The Beatles.
The films will all be directed by Sam himself, who conceived the ambitious the idea, and presented it to several studios in Hollywood, with Sam explaining to Deadline: "We went out to LA just before Christmas to pitch the project, and it’s fair to say we were met with universal enthusiasm."
Does Paul McCartney sign autographs?
In October 2021, Paul McCartney revealed that he doesn't like signing autographs and that he was going to stop doing it: "It always struck me as a bit strange - 'here, can I write your name down on the back of this till receipt please?' Why? We both know who I am."
He also feels the same way about selfies and explained that he would rather use the time with fans to talk to them, saying: "Let's chat, let's exchange stories."
Paul McCartney's stamp collection
A special collection of stamps from Royal Mail to honour Paul McCartney's incredible music career went on sale in May 2021. The collection includes 12 different stamps with eight album covers and four images of Paul recording music in the studio.
The Forthlin Sessions
In April 2022, it was announced that Paul McCartney's childhood home at 20 Forthlin Road would be open to unsigned musicians to come in and work on their music. The Forthlin Sessions also involved Paul's brother Mike who helped select the lucky artists for the initiative.
The house is a special landmark for Beatles fans as it is where Paul and John Lennon spent many hours making music together and is where they wrote 'When I'm 64' and 'I Saw Her Standing There', among other songs.
The Lyrics: 1956 to the Present
In November 2021, Paul shared a book about his life called The Lyrics which tells his story through 154 songs from his music catalogue. The biography follows his childhood through to his time with The Beatles, and Wings, and as a solo artist. It also includes never-before-seen letters, lyric drafts and photos.
As well as looking at his life and career, the book includes information about Paul's songs including their meanings and inspiration as well as how they came about. He said of the book: "The one thing I’ve always managed to do, whether at home or on the road, is to write new songs. I know that some people, when they get to a certain age, like to go to a diary to recall day-to-day events from the past, but I have no such notebooks. What I do have are my songs, hundreds of them, which I’ve learned serve much the same purpose. And these songs span my entire life."
You can hear Paul McCartney songs on the Greatest Hits Radio playlist.
Check out The Beatles' career timeline:
Now read:
Ringo Starr and Paul McCartney recall their last meeting with George Harrison
Paul McCartney explains why he will no longer sign autographs
Sir Paul McCartney announces new biography ‘The Lyrics’ looking through over 150 of his songs
How to listen to Greatest Hits Radio:
Listen to Greatest Hits Radio on the free Rayo app, online or on your DAB digital radio. You can also listen on your smart speaker by saying “Play Greatest Hits Radio”.
|
||||
correct_starring_00056
|
FactBench
|
0
| 65
|
https://www.tvguide.com/movies/a-hard-days-night/2000098580/
|
en
|
A Hard Day's Night
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[] |
[] |
[
""
] | null |
[] | null |
Find out how to watch A Hard Day's Night. Stream A Hard Day's Night, watch trailers, see the cast, and more at TV Guide
|
en
|
/favicon.ico
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TVGuide.com
|
https://www.tvguide.com/movies/a-hard-days-night/2000098580/
|
Eric Idle Recalls Monty Python's Best
Eric Idle has every reason to gab. He's not only the creator (with John Du Prez) of the Tony-winning musical Spamalot, he's also the main attraction in the opener of Monty Python's Personal Best (premiering tonight on PBS; check local listings), a three-week series of specials featuring each Python player's favorite bits, along with new material. (Example: In addition to introducing gems like "Nudge, Nudge," Idle plays a German with a weird theory about Python humor.) To mark this recycling of material, Idle spoke with TV Guide about "the Beatles of comedy," one of his greatest influences and his plans for another stage musical. TV Guide: The Pythons have been described as "the Bea
|
||||
correct_starring_00056
|
FactBench
|
2
| 1
|
https://www.imdb.com/title/tt0058182/characters/nm0005200
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en
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Yeah! Yeah! Yeah! (1964)
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[] |
[] |
[
"Trivia",
"Facts",
"Cameos",
"Quiz",
"Quizzes",
"Factoids",
"Spoilers",
"References"
] | null |
[] | null |
Yeah! Yeah! Yeah! (1964) Paul McCartney as Paul
|
IMDb
|
https://www.imdb.com/title/tt0058182/characters/nm0005200
| |||||||
correct_starring_00056
|
FactBench
|
3
| 47
|
https://faroutmagazine.co.uk/the-cooler-ringo-starr-paul-mccartney-film/
|
en
|
'The Cooler': Ringo Starr and Paul McCartney's strange film
|
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[
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[
""
] | null |
[
"Arun Starkey"
] |
2022-05-24T11:00:00+01:00
|
In 1981 after he'd released 'Stop and Smell the Roses', Ringo Starr enlisted former Beatles bandmate Paul McCartney to help him create a short promotional film.
|
en
|
/favicon.ico
|
Far Out Magazine
|
https://faroutmagazine.co.uk/the-cooler-ringo-starr-paul-mccartney-film/
|
Revisiting ‘The Cooler’: Ringo Starr and Paul McCartney’s experimental film
It is a well-known fact that former Beatles drummer Ringo Starr had a penchant for acting. He’s starred in a string of films, including Candy, The Magic Christian, 200 Motels and Lisztomania, in a host of roles that range from the utterly bizarre to the completely forgettable; how can we get past his seriously dated role as ‘Larry the Dwarf’ in 200 Motels?
However, as the 1980s dawned, Starr decided to strike it out on his own and attempt to display his talent as an actor away from the confines of other peoples’ scripts, and I guarantee that what ensued is one of the most surreal things you’ll see this week.
To promote his 1981 album Stop and Smell the Roses, an 11-minute promotional film, The Cooler, was created in order to showcase three of its highlights. Wanting the album to be a success, Starr enlisted the help of his old bandmate, Paul McCartney, who wrote the tracks ‘Private Property’ and ‘Attention’.
The Cooler features the aforementioned tracks as well as ‘Sure to Fall’, which was originally written by Carl Perkins, Quinton Claunch and William Cantrell. Leaning on McCartney heavily, these three tracks were produced by him, and the film was produced by his company, MPL Communications. It was directed by former 10CC members Lol Creme and Kevin Godley and featured Starr and his wife Barbara Bach as well as Paul and Linda McCartney.
Remarkably, the mini-film was entered into the short film category at the Cannes Film Festival, and it is styled in the form of a musical psychodrama. It is set in a prison camp in a dystopian future and contains flecks of The Great Escape, The Prisoner and perhaps even Westworld.
The former Beatles drummer plays a regular escapee who is caught at the start of the film and thrown into ‘The Cooler’, a form of solitary confinement that he knows very well, and it is here that the influence of The Great Escape is made very clear, as Steve McQueen’s iconic character Captain Virgil Hilts is routinely placed in ‘The Cooler’ at the Nazi POW camp Stalag Luft III.
In ‘The Cooler’ we witness Starr’s mental state rapidly deteriorate, and during this period of mania, he fantasises about being imprisoned and the strange relationship he has with the camp commandant, played by Bach, who channels the essence of a classic femme fatale. Strangely, McCartney appears as three different characters in the film: a fellow prisoner, the cowboy father of Ringo and the bass player in a country band.
It’s an extraordinary watching experience, but one that should be undertaken nonetheless. The ’80s was a weird time for everyone, let alone Starr and McCartney.
Watch The Cooler below.
|
||||
correct_starring_00056
|
FactBench
|
0
| 45
|
https://www.bfi.org.uk/film/a7370bdc-ed2e-560d-a368-de5892bb4a1c/a-hard-days-night
|
en
|
A Hard Day's Night (1964)
|
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[
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] | null |
[
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] | null |
Richard Lester’s film charts a fictionalised day in the life of The Beatles, back in the UK after conquering America, and on the run from their fans.
|
en
|
BFI
|
https://www.bfi.org.uk/film/a7370bdc-ed2e-560d-a368-de5892bb4a1c/a-hard-days-night
|
“The playful anarchism and exuberant vitality of this work – a thumbing of noses at the ‘straight’ adult world – caught the essence of the Beatles mystique.” Amos Vogel, Film as a Subversive Art, 1974 The Beatles chose the American Richard Lester to direct their first feature film on the strength of his association with Peter Sellers and Spike Milligan. The script was written by actor-turned-screenwriter Alun Owen, who John Lennon later dismissed as a “professional Liverpudlian”. The result is a mix of faux cinema vérité and kitchen-sink surrealism, aiming but failing to deflate the Beatlemania phenomenon. The songs aren’t worked into the story as anything other than songs, heard as the band rehearse then perform a televised concert in London. Shot on the hoof in March 1964 in order to make a July release date, it mixes Lester’s visual trickery with the Fab Four’s deadpan shtick, honed at press conferences like the one featured in the film. George Harrison, whom Lester considered the best actor of the four, later executive-produced such films as Monty Python’s Life of Brian (1979) and Withnail & I (1987).
1964 United Kingdom, USA
Directed by
Richard Lester
Produced by
Walter Shenson
Written by
Alun Owen
Featuring
John Lennon, Paul McCartney, George Harrison
Running time
85 minutes
|
|||||
correct_starring_00056
|
FactBench
|
0
| 53
|
https://www.thefilmagazine.com/a-hard-days-night-beatles-movie-1964-retrospective-review/
|
en
|
A Hard Day’s Night (1964) Retrospective Review
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[
"a hard day\\'s night",
"hard day\\'s night movie",
"hard day\\'s night beatles",
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"john lennon",
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] | null |
[
"Katie Doyle"
] |
2019-06-04T14:36:49+01:00
|
"With the likes of 'A Hard Day’s Night', their music and joie de vivre of their early days will never die." Review of 'A Hard Day's Night' starring The Beatles.
|
en
|
The Film Magazine
|
https://www.thefilmagazine.com/a-hard-days-night-beatles-movie-1964-retrospective-review/
|
A Hard Day’s Night (1964)
Director: Richard Lester
Screenwriter: Alun Owen
Starring: John Lennon, Paul McCartney, George Harrison, Ringo Starr, Wilfrid Brambell, Norman Rossington, John Junkin and Victor Spinetti
Contemporary analyses on popular media often fixate on the influences of nostalgia and escapism as it is now a universal acknowledgement that the crowds that fill cinemas are seeking some sort of escape route: be it Middle Earth, the Marvel Cinematic Universe or a galaxy far, far away. One unlikely but very strong contender for zapping people away from the 21st century is A Hard Day’s Night – never have 1964 London and Liverpool looked so appealing in all of their black and white glory. For the likes of audiences born after “Let It Be”, there is the overwhelming desire to get the opportunity to experience the hysteria of Beatlemania first-hand; and those lucky enough to have actually been a part of The Beatles’ hey-day are going to wish they can go back to do it all again. Even beyond this retrospective viewpoint, in 1964 it was A Hard Day’s Night that brought the world’s eyes to firmly rest upon the UK, thus letting the British Invasion well and truly let loose.
A Hard Day’s Night is one the greatest PR stunts of all time. Two years prior, The Beatles had their first hit with “Love Me Do” and by the time of the film’s release, they were reaping the rewards of their first three massively successful albums and had triumphantly returned from their now historical world tour.
“How did you find America?”
“Turned left at Greenland.”
In 1964 The Beatles were the hottest sensation in the whole world, driving millions of love-sick teenagers crazy with their catchy bops and hooking in adults with their clever banter popularly showcased through their legendary TV appearances and gigs. It seemed impossible for the Fab Four to acquire greater fame and love but A Hard Day’s Night did just that. With only a few thousand out of their millions upon millions of fans nabbing seats to witness their most famous appearances, the idea of everyone and anyone finally having an intimate hour and a half with The Beatles would have been intoxicating.
The genius of the film lies in its deliberate individuality; unlike the other rock and roll movie efforts from Elvis Presley and Cliff Richard (and funnily enough the rest of the Beatles movies), A Hard Day’s Night follows the style of a Mockumentary, though it does go beyond the expectations established by cinephiles via the likes of This is Spinal Tap as the movie bestows the almost unshakeable reputation that The Beatles are made up of four likely lads from Liverpool.
The film follows John, Paul, George and Ringo on their journey down South to perform a live broadcast of their music from a TV studio with Paul’s “grandfather” in tow. The movie never tries to dupe the audience with fake, constructed personas, but merely sands down the edges of four extremely talented, charismatic and witty young men. Within the first few minutes, their individual characters and personalities become apparent: John, the evil mastermind of chaos; Paul, the charming pretty boy who just wants to enjoy himself; George, devastatingly level-headed, down to Earth and effortlessly cool; and last but not least Ringo, who’s sulky, adorably self-conscious and very much beloved. For the first time ever, fans were able to get to know the real Beatles, in all of their Scouse glory.
By 1964, The Beatles were beginning to earn a reputation for their playful wit, with the likes of John Lennon’s quip at the 1963 Royal Variety Show:
“Would the people in the cheaper seats clap your hands? And the rest of you… if you just rattle your jewellery.”
Alun Owen’s screenplay and Richard Lester’s direction combines the boys’ natural Liverpudlian repartee with lashings of slapstick and surreal comedy, creating something downright bizarre and even magical. Such outlandish moments include the band’s sudden appearance outside their moving train whilst taunting a stuffed shirt – “Can we have our ball back Mister?!” – and of course, John Lennon’s disappearance from the bath. Lester’s orchestration of the lads through these memorable moments upgraded them to the status of some sort of mischievous cosmic imps, making them the perfect voice of youth as they butt heads and infuriate every single authority figure they come across. It’s glorious. From TV directors to police officers, no one is left untouched and all have their cage rattled, embodying the desires of the youth of 1964 (and of all generations that have discovered this movie since). At the time, the significance probably wasn’t realised, but The Beatles’ on-screen mischief was one of the first pre-cursors, or indicators, of the massive social upheaval that was to come in the 1960s; all boiled down into their wry sarcasm:
“I fought the war for your sort!”
“I bet you’re sorry you won.”
Richard Lester’s dab-hand at humour ensures different nuances and gags to discover upon repeated viewings, but the reason audiences continue to return time and time again is The Beatles themselves. To the massive relief of the entire production, the Fab Four turned out to be absolute naturals. Insults and witticisms are dispensed at a pace that would have made Groucho Marx proud; but beyond the comedy, the boys are more than adequate at carrying the story and are even capable of some pathos, especially Ringo. After some vicious stirring by Wilfrid Brambell (of ‘Steptoe and Son’ fame), Ringo does a runner an hour before their live performance, going incognito and generally dicking about. There is an almost bittersweet moment in which Ringo encounters a 10 year old playing truant, made all the more heartfelt and endearing as Ringo’s performance is dominated by the raging hangover he had at the time.
The rhythm and the pace of the movie is driven by the soundtrack comprised of The Beatles’ world-famous music, with the band themselves jumping on screen to the picture’s titular song. There are plenty of articles available regarding the extraordinary hits of the Lennon-McCartney powerhouse, and I do not feel qualified to analyse them at length. However, what is apparent is the boundless energy, enthusiasm, passion and joy the boys have for performing their music. As they play their TV studio gig in the film’s finale, John, Paul, George and Ringo can barely contain their face-splitting grins or suppress their laughter. Looking at their audience, it’s hard to not see why. They are the unsung stars of the movie that required no direction: can any other rock music film boast the deafening screams of thousands of girls on the verge of unconsciousness, overwhelmed by the sight of their idols? A feature length film in its own right could be made from the footage of Beatles fans – teenagers losing their minds, sobbing, shouting and dancing. It’s endearing but more so beautiful: humans have never changed; people have always had the tendency to Fangasm. The movie’s climax is heralded in by “She Loves You”, the song that is proof that anyone who claims they don’t like The Beatles is a liar. Sounding as fresh as when it was first released over 50 years ago, it finishes the film on a positive triumph. As the Fab Four hit us with their “yeah, yeah, yeah”, it takes enormous amounts of self-control to stop yourself from dancing across the living room (but you end up doing it anyway!)
To end on a solemn note, it is difficult to view and analyse A Hard Day’s Night as just a film, with many film buffs and critics agreeing that it is in fact a cultural icon. The film itself is a ship in a bottle, forever preserving The Beatles in what some would say was their peak. At the time of the movie’s production, they were indeed four likely lads from Liverpool; but as Roger Ebert points out, the crushing pressure of their impending enormous fame was soon to come and change their lives irrevocably. Their egos and disenchantment were to grow exponentially and their normality disappear – John Lennon ended up leaving the UK and never returned because of constant mobs and harassment (especially after The Beatles’ break-up). A Hard Day’s Night allows us to turn back the clock and go back to, quite literally, a “simpler time”. For many die-hard Beatles fans, contemplating the band’s demise can be genuinely tear-inducing, but with the likes of A Hard Day’s Night, their music and joie de vivre of their early days will never die.
24/24
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https://pirates.fandom.com/wiki/Paul_McCartney
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Pirates of the Caribbean Wiki
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2024-07-12T14:06:28+00:00
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Sir James Paul McCartney (born June 18, 1942), better known as Paul McCartney, is an English singer, songwriter, and musician who gained worldwide fame as co-lead vocalist, co-songwriter, and bassist for The Beatles. After the Beatles split up in 1970, McCartney pursued his own successful solo...
|
en
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https://static.wikia.nocookie.net/pirates/images/4/4a/Site-favicon.ico/revision/latest?cb=20210521004421
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Pirates of the Caribbean Wiki
|
https://pirates.fandom.com/wiki/Paul_McCartney
|
Sir James Paul McCartney (born June 18, 1942), better known as Paul McCartney, is an English singer, songwriter, and musician who gained worldwide fame as co-lead vocalist, co-songwriter, and bassist for The Beatles. After the Beatles split up in 1970, McCartney pursued his own successful solo career, recording with a variety of artists, including his group ‘Wings’. One of the most successful composers and performers of all time, he is known for his melodic approach to bass-playing, versatile and wide tenor vocal range, and musical eclecticism, exploring styles ranging from pre-rock 'n' roll pop to classical and electronica. Paul McCartney portrayed Uncle Jack in Pirates of the Caribbean: Dead Men Tell No Tales.
Biography[]
Pirates of the Caribbean[]
Paul McCartney portrayed Uncle Jack for the fifth film, Pirates of the Caribbean: Dead Men Tell No Tales, directed by Joachim Rønning and Espen Sandberg. The character was named after McCartney's own uncle, John "Jack" McCartney.[1][2] According to directors Rønning and Sandberg, Paul McCartney's character Uncle Jack takes the role that would have been filled by Keith Richards as Captain Jack Sparrow's father Captain Teague. However, when Richards was unavailable, reportedly because of scheduling issues, the directing duo brainstormed with Johnny Depp, believing they should "honour the tradition of showing a Jack Sparrow family member." Depp texted Paul McCartney, who agreed to appear in the film.[3] But due to his demanding schedule during the main shoot of the film in Australia, McCartney wasn't free to make it happen until the Vancouver shoot.[4] Screenwriter Jeff Nathanson created an appropriate scene for Depp and McCartney, to which the duo then added their own very particular and personal spin.[2]
Appearances[]
Pirates of the Caribbean: Dead Men Tell No Tales - Uncle Jack
Trivia[]
Paul McCartney portrayed "Uncle Jack" in Dead Men Tell No Tales. Having previously been rumored to appear as a jail guard, McCartney was listed as "Jail Guard #2" on IMDB. Even after the film's release, as of 2023, such information was still written on the the official Disney D23 website.[5]
[]
Paul McCartney on Wikipedia
Paul McCartney at the Internet Movie Database
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[Watch] Paul McCartney’s screen debut in ‘A Hard Day’s Night’
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2016-03-25T09:00:00+05:30
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The most photogenic Beatle will be seen in the next edition of the ‘Pirates of the Carribbean’.
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en
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Scroll.in
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https://scroll.in/reel/805647/watch-paul-mccartneys-screen-debut-in-a-hard-days-night
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Former lead singer of The Beatles, lyricist and musician Paul McCartney has been added to the cast of the fifth Pirates of the Caribbean movie. Dead Men Tell No Tales stars Johnny Depp’s rapscallion pirate Jack Sparrow in a new set of adventures that is possibly the last in the blockbuster franchise. The movie, directed by Joachim Rønning and Espen Sandberg, also stars Javier Bardem as the villain, while Orlando Bloom and Geoffrey Rush return as Will Turner and Captain Barbossa, respectively. The details of McCartney’s role haven’t been announced yet, and the movie will be released only on May 26, 2017. But it can safely be predicted that the ex-Beatle will be most comfortable in front of the camera, just the way he has been ever since the band burst onto the music scene in 1962.
The 73-year-old singer and songwriter made his screen debut in A Hard Day’s Night, which was released in 1964 to cash in on Beatlemania. Directed by Richard Lester and shot in a documentary style (the scenes of shrieking fans chasing McCartney, John Lennon, George Harrison and Ringo Starr everywhere must surely have been very easy to stage), the comedy features the Fab Four as their irreverent and adventurous selves. A Hard Day’s Night was a critical and commercial hit.
The movie opens with the chart-busting titular song and follows the Beatles, who are never named in the film, on a train journey to London, where they are scheduled to perform at a concert. Paul’s grandfather accompanies the cheeky foursome on the journey, and the old man proves to be far more troublesome than the band members. Ringo goes missing and is found just in time for the concert. The soundtrack includes songs that have become Beatles standards, such as “I Feel Fine”, which is performed on the train, “I Wanna Be Your Man” and “All My Loving”, which plays in the background as the Beatles dance at a club, and “If I Fell” and “And I Love Her”, performed during practice sessions.
The Criterion DVD label restored the movie in 2014, and the audio remastering was carried out by Giles Martin, the son of the band’s legendary producer, George Martin, who died on March 8, 2016. Richard Lester directed another movie around the band in 1965. Help! was a parody of spy movies revolving around a Hindu cult that pursues drummer Ringo Starr for a magical ring that he has inadvertently come to possess.
The Fab Four were stoned during the production, write Peter Brown and Steven Gaines in The Beatles biography The Love You Make. The band was hooked after an initiation by Bob Dylan in America the previous year, and “their continuous giggling, plus their periodic trips to the dressing trailer to ‘have a laugh,’ was enough of a clue to what was going on without the sweet telltale scent of pot that followed them around”, write Brown and Gaines. The soundtrack, which included the title track, “Yesterday”, “The Night Before” and “You’ve Got To Hide Your Love Away”, topped the charts, but the movie was poorly received. The Beatles made a third film, Magical Mystery Tour (1967), inspired the characters in the acclaimed animated movie Yellow Submarine (1968), and appeared together for one last time in the documentary Let It Be (1969), which captured the break-up of one of the greatest quartets in musical history.
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https://www.facebook.com/PaulMcCartney/videos/sneak-peek-the-beatles-get-back/3551237918294999/
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Peter Jackson has released an exclusive sneak peek of his upcoming documentary "The Beatles: Get Back” for fans everywhere to enjoy. “We wanted to give...
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Peter Jackson has released an exclusive sneak peek of his upcoming documentary "The Beatles: Get Back” for fans everywhere to enjoy.
“We wanted to give...
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https://www.facebook.com/PaulMcCartney/videos/sneak-peek-the-beatles-get-back/3551237918294999/
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correct_starring_00056
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FactBench
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3
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https://grammy.com/news/paul-mccartney-teams-emma-stone-who-cares-short-music-film
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Paul McCartney Teams Up With Emma Stone For "Who Cares" Short Music Film
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As the world's leading society of music professionals, the Recording Academy is dedicated to celebrating, honoring, and sustaining music's past, present, and future.
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https://grammy.com/news/paul-mccartney-teams-emma-stone-who-cares-short-music-film
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Throughout his ongoing Got Back tour, Paul McCartney has reliably opened with "Can't Buy Me Love."
It's not the Beatles' deepest song, nor their most beloved hit — though a hit it was. But its zippy, rollicking exuberance still shines brightly; like the rest of the oldies on his setlist, the 82-year-old launches into it in its original key. For two minutes and change, we're plunged back into 1964 — and all the humor, melody, friendship and fun the Beatles bestowed with A Hard Day's Night.
This week in 1964 — at the zenith of Beatlemania, after their seismic appearance on "The Ed Sullivan Show" — the planet received Richard Lester's silly, surreal and innovative film of that name. Days after, its classic soundtrack dropped — a volley of uber-catchy bangers and philosophical ballads, and the only Beatles LP to solely feature Lennon-McCartney songs.
As with almost everything Beatles, the impact of the film and album have been etched in stone. But considering the breadth of pop culture history in its wake, Fab disciples can always use a reminder. Here are six things that wouldn't be the same without A Hard Day's Night.
All Music Videos, Forever
Right from that starting gun of an opening chord, A Hard Day's Night's camerawork alone — black and white, inspired by French New Wave and British kitchen sink dramas — pioneers everything from British spy thrillers to "The Monkees."
Across the film's 87 minutes, you're viscerally dragged into the action; you tumble through the cityscapes right along with John, Paul, George, and Ringo. Not to mention the entire music video revolution; techniques we think of as stock were brand-new here.
According to Roger Ebert: "Today when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of A Hard Day's Night."
Emergent Folk-Rock
George Harrison's 12-string Rickenbacker didn't just lend itself to a jangly undercurrent on the A Hard Day's Night songs; the shots of Harrison playing it galvanized Roger McGuinn to pick up the futuristic instrument — and via the Byrds, give the folk canon a welcome jolt of electricity.
Entire reams of alternative rock, post-punk, power pop, indie rock, and more would follow — and if any of those mean anything to you, partly thank Lester for casting a spotlight on that Rick.
Read more: Living Legends: Roger McGuinn On The History Of The Byrds, His One-Man Show And Editing His Own Wikipedia Page
The Ultimate Love Triangle Jam
From the Byrds' "Triad" to Leonard Cohen's "Famous Blue Raincoat," music history is replete with odes to love triangles.
But none are as desperate, as mannish, as garment-rending, as Derek and the Dominoes' "Layla," where Eric Clapton lays bare his affections for his friend Harrison's wife, Pattie Boyd. Where did Harrison meet her? Why, on the set of A Hard Day's Night, where she was cast as a schoolgirl.
Debates, Debates, Debates
Say, what is that famous, clamorous opening chord of A Hard Day's Night's title track? Turns out YouTube's still trying to suss that one out.
"It is F with a G on top, but you'll have to ask Paul about the bass note to get the proper story," Harrison told an online chat in 2001 — the last year of his life.
A Certain Strain Of Loopy Humor
No wonder Harrison got in with Monty Python later in life: the effortlessly witty lads were born to play these roles — mostly a tumble of non sequiturs, one-liners and daffy retorts. (They were all brought up on the Goons, after all.) When A Hard Day's Night codified their Liverpudlian slant on everything, everyone from the Pythons to Tim and Eric received their blueprint.
The Legitimacy Of The Rock Flick
What did rock 'n' roll contribute to the film canon before the Beatles? A stream of lightweight Elvis flicks? Granted, the Beatles would churn out a few headscratchers in its wake — Magical Mystery Tour, anyone? — but A Hard Day's Night remains a game-changer for guitar boys on screen.
The best part? The Beatles would go on to change the game again, and again, and again, in so many ways. Don't say they didn't warn you — as you revisit the iconic A Hard Day's Night.
Explore The World Of The Beatles
Whether it be "Band on the Run" or "Jet" or "My Love," chances are you've heard a Wings song at least once — in all their polished, '70s-arena-sized glory. More than four decades after they disbanded in 1981, we're getting a helping of raw, uncut Wings.
Last February, Wings' classic 1973 album Band on the Run got the 50th anniversary treatment, with a disc of "underdubbed" remixes, allowing Paul McCartney, spouse and keyboardist Linda McCartney, and guitarist Denny Laine to be heard stripped back, with added clarity.
After a few months to digest that, it was time to reveal a session that, for ages, fans had been clamoring for. On June 14, in came One Hand Clapping, a live-in-the-studio set from August 1974 that captured Wings at the zenith of their powers.
Back then, Wings had the wind in their sails, with a reconstituted lineup Band on the Run at the top of the charts. They opted to plug in at Abbey Road Studios with cameras rolling, and record a live studio album with an attendant documentary. The film wouldn’t come out until a 2010 reissue of Band on the Run; the music’s popped up on bootlegs, but had never been released in full.
That long absence is a shame; while One Hand Clapping is a bit of a historical footnote, it absolutely rips; Giles Martin shining up the mixes certainly helped. Epochal Macca ballads, like "Maybe I'm Amazed" and "Blackbird," are well represented, but when Wings rock out, as on "Jet," "Nineteen Hundred and Eighty Five," and "deep cut "Soily," they tear the roof off.
Basically, in range and sequencing, One Hand Clapping shows McCartney prepping Wings like a rocket; soon, it'd rip through the live circuit. If you've never taken a spin through McCartney's post-Fabs discography, though, you may not know where to go from here.
So, for neophytes (or just fans wanting a refresher), here's a framework through which to sift through the Wings discography — with One Hand Clapping still ringing in your ears.
The Essentials
Remember, as you get into Wings: don't cordon off their catalog from McCartney's solo work as a whole. In other words: if you haven't heard masterpieces like 1971's Ram yet, don't go scrounging through Back to the Egg deep cuts yet: check all that stuff out, then return to this list.
That being established: the proper Wings entryway is almost unquestionably Band on the Run. Like Sgt. Pepper's and Abbey Road before it, it's an exhilarating melodic and stylistic rush, a sonic adventure — whether you go for the original or the "underdubbed" version.
In the grand scheme of solo Beatles, Band on the Run is also the one McCartney album that slugs it out with John Lennon's Plastic Ono Band and George Harrison's All Things Must Pass, in terms of artistic realization.
That being said: despite slightly inferior contemporaneous reviews, its follow-up, 1975's Venus and Mars, is almost as good — and if grandiosity isn't your bag, you might actually enjoy it more than Band on the Run. (Think of Harrison following up All Things with the sparser, more spacious Living in the Material World, and you'll get the picture.)
Between those two albums, you've got a wealth of indispensable Macca songs — "Jet," "Let Me Roll It," "Nineteen Hundred and Eighty Five," "Rock Show," "You Gave Me the Answer" — as well as satisfying deep cuts, like doomed Wingsman Jimmy McCulloch's "Medicine Jar."
From there, it's time to understand Weird Wings — which rewinds the clock to their beginnings.
The Weirdness
As the McCartney canon goes, Ram's stock seems to shoot up every year, single handedly inspiring new generations of psych-pop weirdos. By comparison, Wings' debut, Wild Life, was critically savaged in 1971, and its reputation isn't much better today.
As you'll learn so often in your solo Macca voyage — you've just got to ignore the critics sometimes. Even McCartney himself said "Bip Bop" "just goes nowhere" and "I cringe every time I hear it." What he leaves out it's a maddening earworm — to hear this loony, circuitous little sketch once is to carry it to your deathbed.
Indeed, Wild Life is full of moments that will stick with you. In the title track, McCartney screams about the zoo like his hair's on fire; "I Am Your Singer" is a swaying dialogue between Paul and Linda; "Dear Friend" is one of McCartney's most moving songs about Lennon.
Wild Life's follow-up, Red Rose Speedway, is a little more candy-coated and commercial — but outside of the polarizing hit "My Love," it has some integral McCartney tunes, like "Little Lamb Dragonfly" and "Single Pigeon."
In the end, though, Wild Life is arguably the early Wings offering that will really stick to your ribs. It's not a crummy follow-up to Ram, but an intriguing off-ramp from its harebrained universe — and as the opening statement from McCartney's post-Beatles vehicle, worth investigating just on that merit.
The Deep Cuts
McCartney has always been a hit-or-miss solo artist by design — digging through the half-written pastiches and questionable experiments is part of the deal.
1976's Wings at the Speed of Sound features a key track in the irrepressibly jaunty "Let 'Em In," and an (in)famous disco-spangled hit in "Silly Love Songs." From there, with tunes like "Cook of the House" and "Warm and Beautiful," your mileage may vary wildly.
The ratio holds for 1978's London Town: you could put the gorgeous "I'm Carrying" on your playlist and scrap the rest, or you can go spelunking. And McCartney being McCartney, despite 1979's Back to the Egg being choppy waters, he nailed it at least once — on the lithe, sophisticated, Stevie Wonder-like "Arrow Through Me."
Today, at 81, McCartney is an 18-time GRAMMY winner and an enormous concert draw — charging through his six-decade catalog in stadiums the world over. These albums only comprise one decade in his history, where he flourished as a mulleted stadium act alongside his keyboarding wife. But his catalog would be so much different if he never got his Wings.
5 Lesser Known Facts About The Beatles' Let It Be Era: Watch The Restored 1970 Film
What is about the Beatles' Let it Be sessions that continues to bedevil diehards?
Even after their aperture was tremendously widened with Get Back — Peter Jackson's three-part, almost eight hour, 2021 doc — something's always been missing. Because it was meant as a corrective to a film that, well, most of us haven't seen in a long time — if at all.
That's Let it Be, the original 1970 documentary on those contested, pivotal, hot-and-cold sessions, directed by Michael Lindsay-Hogg. Much of the calcified lore around the Beatles' last stand comes not from the film itself, but what we think is in the film.
Let it Be does contain a couple of emotionally charged moments between maturing Beatles. The most famous one: George Harrison getting snippy with Paul McCartney over a guitar part, which might just be the most blown-out-of-proportion squabble in rock history.
But superfans smelled blood in the water: the film had to be a locus for the Beatles' untimely demise. To which the film's director, Michael Lindsay-Hogg, might say: did we see the same movie?
"Looking back from history's vantage point, it seems like everybody drank the bad batch of Kool-Aid," he tells GRAMMY.com. Lindsay-Hogg had just appeared at an NYC screening, and seemed as surprised by it as the fans: "Because the opinion that was first formed about the movie, you could not form on the actual movie we saw the other night."
He's correct. If you saw Get Back, Lindsay-Hogg is the babyfaced, cigar-puffing auteur seen throughout; today, at 84, his original vision has been reclaimed. On May 8, Disney+ unveiled a restored and refreshed version of the Let it Be film — a historical counterweight to Get Back. Temperamentally, though, it's right on the same wavelength, which is bound to surprise some Fabs disciples.
With the benefit of Peter Jackson's sound-polishing magic and Giles Martin's inspired remixes of performances, Let it Be offers a quieter, more muted, more atmospheric take on these sessions. (Think fewer goofy antics, and more tight, lingering shots of four of rock's most evocative faces.)
As you absorb the long-on-ice Let it Be, here are some lesser-known facts about this film, and the era of the Beatles it captures — with a little help from Lindsay-Hogg himself.
The Beatles Were Happy With The Let It Be Film
After Lindsay-Hogg showed the Beatles the final rough cut, he says they all went out to a jovial meal and drinks: "Nice food, collegial, pleasant, witty conversation, nice wine."
Afterward, they went downstairs to a discotheque for nightcaps. "Paul said he thought Let it Be was good. We'd all done a good job," Lindsay-Hogg remembers. "And Ringo and [wife] Maureen were jiving to the music until two in the morning."
"They had a really, really good time," he adds. "And you can see like [in the film], on their faces, their interactions — it was like it always was."
About "That" Fight: Neither Paul Nor George Made A Big Deal
At this point, Beatles fanatics can recite this Harrison-in-a-snit quote to McCartney: "I'll play, you know, whatever you want me to play, or I won't play at all if you don't want me to play. Whatever it is that will please you… I'll do it." (Yes, that's widely viewed among fans as a tremendous deal.)
If this was such a fissure, why did McCartney and Harrison allow it in the film? After all, they had say in the final cut, like the other Beatles.
"Nothing was going to be in the picture that they didn't want," Lindsay-Hogg asserts. "They never commented on that. They took that exchange as like many other exchanges they'd had over the years… but, of course, since they'd broken up a month before [the film's release], everyone was looking for little bits of sharp metal on the sand to think why they'd broken up."
Recently, Ringo Starr opined that there was "not a lot of joy" in the Let it Be film; Lindsay-Hogg says Starr framed it to him as "no joy."
Of course, that's Starr's prerogative. But it's not quite borne out by what we see — especially that merry scene where he and Harrison work out an early draft of Abbey Road's "Octopus's Garden."
"And Ringo's a combination of so pleased to be working on the song, pleased to be working with his friend, glad for the input," Lindsay-Hogg says. "He's a wonderful guy. I mean, he can think what he wants and I will always have greater affection for him.
"Let's see if he changes his mind by the time he's 100," he added mirthfully.
Lindsay-Hogg Thought It'd Never Be Released Again
"I went through many years of thinking, It's not going to come out," Lindsay-Hogg says. In this regard, he characterizes 25 or 30 years of his life as "solitary confinement," although he was "pushing for it, and educating for it."
"Then, suddenly, the sun comes out" — which may be thanks to Peter Jackson, and renewed interest via Get Back. "And someone opens the cell door, and Let it Be walks out."
Nobody Asked Him What The Sessions Were Like
All four Beatles, and many of their associates, have spoken their piece on Let it Be sessions — and journalists, authors, documentarians, and fans all have their own slant on them.
But what was this time like from Lindsay-Hogg's perspective? Incredibly, nobody ever thought to check. "You asked the one question which no one has asked," he says. "No one."
So, give us the vibe check. Were the Let it Be sessions ever remotely as tense as they've been described, since man landed on the moon? And to that, Lindsay-Hogg's response is a chuckle, and a resounding, "No, no, no."
The Beatles' Final Song: Giles Martin On The Second Life Of "Now And Then" & How The Fab Four Are "Still Breaking New Ground"
As expected, much buzz followed the release of Taylor Swift's 11th studio album, The Tortured Poets Department, on April 19. Fans and critics alike have devoured the sprawling double album’s 31 tracks, unpacking her reflections from "a fleeting and fatalistic moment in time" in search of Easter eggs, their new favorite lyrics and references to famous faces (both within the pop supernova’s closely guarded orbit and the historical record).
Shoutouts abound in The Tortured Poets Department: Charlie Puth gets his much-deserved (and Taylor-approved) flowers on the title track, while 1920s screen siren Clara Bow, the ancient Greek prophetess Cassandra and Peter Pan each get a song titled after them. Post Malone and Florence + the Machine’s Florence Welch each tap in for memorable duets. Relationships old (Joe Alwyn), new (Travis Kelce) and somewhere in between (1975’s Matty Healy) are alluded to without naming names, as is, possibly, the singer’s reputation-era feud with Kim Kardashian.
Swift casts a wide net on The Tortured Poets Department, encompassing popular music, literature, mythology and beyond, but it's far from the first time the 14-time GRAMMY winner has worn her influences on her sleeve. While you digest TTPD, consider these 10 figures who have influenced the poet of the hour — from Stevie Nicks and Patti Smith to Emily Dickinson, William Wordsworth, Arya Stark and more.
Stevie Nicks
If Taylor Swift is the chairman of The Tortured Poets Department, Stevie Nicks may as well be considered its poet laureate emeritus. The mystical Fleetwood Mac frontwoman earns an important mention on side A closer "Clara Bow," in which Swift ties an invisible string from herself to a pre-Rumours Nicks ("In ‘75, the hair and lips/ Crowd goes wild at her fingertips"), and all the way back to the 1920s It Girl of the song’s title.
For her part, Nicks seems to approve of her place in Swift’s cultural lineage, considering she penned the poem found inside physical copies of The Tortured Poets Department. "He was in love with her/ Or at least she thought so," the Priestess of Rock and Roll wrote in part, before signing off, "For T — and me…"
Swift’s relationship with Nicks dates back to the 2010 GRAMMYs, when the pair performed a medley of "Rhiannon" and "You Belong With Me" before the then-country upstart took home her first Album Of The Year win for 2009’s Fearless. More recently, the "Edge of Seventeen" singer publicly credited Swift’s Midnights cut "You’re On Your Own, Kid" for helping her through the 2022 death of Fleetwood Mac bandmate Christine McVie.
Patti Smith
Swift may see herself as more "modern idiot" than modern-day Patti Smith, but that didn’t stop the superstar from name-dropping the icon synonymous with the Hotel Chelsea and punk scene of ‘70s New York on a key track on The Tortured Poets Department. Swift rather self-deprecatingly compares herself to the celebrated Just Kids memoirist (and 2023 Songwriters Hall of Fame nominee) on the double album’s synth-drenched title track, and it’s easy to see how Smith’s lifelong fusion of rock and poetry influenced the younger singer’s dactylic approach to her new album.
Smith seemed to appreciate the shout-out on "The Tortured Poets Department" as well. "This is saying I was moved to be mentioned in the company of the great Welsh poet Dylan Thomas. Thank you Taylor," she wrote on Instagram alongside a photo of herself reading Thomas’ 1940 poetry collection Portrait of the Artist as a Young Dog.
Emily Dickinson
When it comes to iconic poets, Swift has also taken a page or two over her career from Emily Dickinson. While the great 19th century poet hasn’t come up explicitly in Swift’s work, she did reference her poetic forebear (and actual sixth cousin, three times removed!) in her speech while accepting the award for Songwriter-Artist of the Decade at the 2022 Nashville Songwriter Awards.
"I’ve never talked about this publicly before, because, well, it’s dorky. But I also have, in my mind, secretly, established genre categories for lyrics I write. Three of them, to be exact. They are affectionately titled Quill Lyrics, Fountain Pen Lyrics and Glitter Gel Pen Lyrics," Swift told the audience before going on to explain, "If my lyrics sound like a letter written by Emily Dickinson’s great-grandmother while sewing a lace curtain, that’s me writing in the Quill genre," she went on to explain.
Even before this glimpse into Swift’s writing process, Easter eggs had been laid pointing to her familial connection to Dickinson. For example, she announced her ninth album evermore on December 10, 2020, which would have been the late poet’s 190th birthday. Another clue that has Swifties convinced? Dickinson’s use of the word "forevermore" in her 1858 poem "One Sister Have I in Our House," which Swift also cleverly breaks apart in Evermore’s Bon Iver-assisted title track ("And I couldn’t be sure/ I had a feeling so peculiar/ That this pain would be for/ Evermore").
The Lake Poets
Swift first put her growing affinity for poetry on display during her folklore era with "the lakes." On the elegiac bonus track, the singer draws a parallel with the Lake Poets of the 19th century, wishing she could escape to "the lakes where all the poets went to die" with her beloved muse in tow. In between fantasizing about "those Windermere peaks" and pining for "auroras and sad prose," she even manages to land a not-so-subtle jab at nemesis Scooter Braun ("I’ve come too far to watch some name-dropping sleaze/ Tell me what are my words worth") that doubles as clever wordplay on the last name of Lake Poet School members William and Dorothy Wordsworth.
Swift revealed more about why she connected to the Lake Poets in her 2020 Disney+ documentary folklore: the long pond studio sessions. "There was a poet district, these artists that moved there. And they were kind of heckled for it and made fun of for it as being these eccentrics and these kind of odd artists who decided that they just wanted to live there," she explained to her trusted producer Jack Antonoff. "So ‘the lakes,’ it kind of is the overarching theme of the whole album: of trying to escape, having something you wanna protect, trying to protect your own sanity and saying, ‘Look, they did this hundreds of years ago. I’m not the first person who’s felt this way.’"
Paul McCartney
Paul McCartney and Swift have publicly praised one another’s work for years, leading to the 2020 Rolling Stone cover they posed for together for the special Musicians on Musicians issue. The younger singer even counts Sir Paul’s daughter Stella McCartney as a close friend and collaborator (Stella designed a capsule collection for Swift’s 2019 studio set Lover and earned a shout-out of her own on album cut "London Boy").
However, Swift took her relationship with the Beatles founder and his family a step further when it was rumored she based Midnights deep cut "Sweet Nothing" on McCartney’s decades-long romance with late wife Linda. While the speculation has never been outright confirmed, it appears Swift’s lyrics in the lilting love song ("On the way home, I wrote a poem/ You say, ‘What a mind’/ This happens all the time") were partially inspired by a strikingly similar quote McCartney once gave about his relationship with Linda, who passed away in 1998. To add to the mystique, the Midnights singer even reportedly liked a tweet from 2022 espousing the theory.
The admiration between the duo seems to go both ways as well, with the former Beatle admitting in a 2018 BBC profile that the track "Who Cares" from his album Egypt Station was inspired by Swift’s close relationship with her fans.
The Chicks
From her days as a country music ingénue to her ascendance as the reigning mastermind of pop, Swift has credited the Chicks as a seminal influence in her songwriting and career trajectory. (Need examples? Look anywhere from early singles like "Picture to Burn" and "Should’ve Said No" to Evermore’s Haim-assisted murder ballad "no body, no crime" and her own Lover-era collab with the band, "Soon You’ll Get Better.")
In a 2020 Billboard cover story tied to the Chicks’ eighth album Gaslighter, Swift acknowledged just how much impact the trio made on her growing up. "Early in my life, these three women showed me that female artists can play their own instruments while also putting on a flamboyant spectacle of a live show," she said at the time. "They taught me that creativity, eccentricity, unapologetic boldness and kitsch can all go together authentically. Most importantly, they showed an entire generation of girls that female rage can be a bonding experience between us all the very second we first heard Natalie Maines bellow ‘that Earl had to DIE.’"
"Game of Thrones"
When reputation dropped in 2017, Swift was on a self-imposed media blackout, which meant no cover stories or dishy sit-down interviews on late-night TV during the album’s roll-out. Instead, the singer let reputation speak for itself, and fans were largely left to draw their own conclusions about their queen’s wildly anticipated comeback album. Two years later, though, Swift revealed the dark, vengeful, romantic body of work was largely inspired by "Game of Thrones."
"These songs were half based on what I was going through, but seeing them through a 'Game of Thrones' filter," she told Entertainment Weekly in 2019. "My entire outlook on storytelling has been shaped by ["GoT"] — the ability to foreshadow stories, to meticulously craft cryptic story lines. So, I found ways to get more cryptic with information and still be able to share messages with the fans. I aspire to be one one-millionth of the kind of hint dropper the makers of 'Game of Thrones' have been."
Joni Mitchell
Swift has long made her admiration of Joni Mitchell known, dating back to her 2012 album Red, which took a cue from the folk pioneer’s landmark 1971 LP Blue for its chromatic title. In an interview around the time of Red’s release, the country-pop titan gushed over Blue’s impact on her, telling Rhapsody, "[Mitchell] wrote it about her deepest pains and most haunting demons. Songs like ‘River,’ which is just about her regrets and doubts of herself — I think this album is my favorite because it explores somebody’s soul so deeply."
Back in 2015, TIME declared the "Blank Space" singer a "disciple of Mitchell in ways both obvious and subtle" — from her reflective songwriting to the complete ownership over her creative process, and nearly 10 years later, Swift was still showing her appreciation for Mitchell after the latter’s triumphant and emotional appearance on the GRAMMY stage to perform "Both Sides Now" on the very same night Taylor took home her historic fourth GRAMMY for Album Of The Year for Midnights.
Fall Out Boy & Paramore
When releasing the re-recording of her third album Speak Now in 2023, Swift cited two unexpectedly emo acts as inspirations to her early songwriting: Fall Out Boy and Paramore.
"Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she wrote in an Instagram post revealing the back cover and complete tracklist for Speak Now (Taylor’s Version), which included Fall Out Boy collaboration "Electric Touch" and "Castles Crumbling" featuring Paramore frontwoman Hayley Williams.
Tim McGraw
For one of Swift’s original career inspirations, we have to go all the way back to the very first single she ever released. "Tim McGraw" was not only as the lead single off the 16-year-old self-titled 2006 debut album, but it also paid reverent homage to one of the greatest living legends in the history of country music.
In retrospect, it was an incredibly gutsy risk for a then-unknown Swift to come raring out of the gate with a song named after a country superstar. But the gamble clearly paid off in spades, considering that now, when an entire generation of music fans hear "Tim McGraw," they think of Taylor Swift.
Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album
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Okay, it's The Beatles. Playing themselves. What's not to love? Made at the height of "Beatlemania", this comedy is a fictional take on "what being a Beatle is like", following John/Paul/George/Ringo as they dodge screaming fans and then rehearse for and perform on a British TV program before being whisked away to their next performance.…
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The Movie Crash Course
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Okay, it’s The Beatles. Playing themselves. What’s not to love?
Made at the height of “Beatlemania”, this comedy is a fictional take on “what being a Beatle is like”, following John/Paul/George/Ringo as they dodge screaming fans and then rehearse for and perform on a British TV program before being whisked away to their next performance. Norman Rossington plays “Norm”, standing in for Brian Epstein as the Beatles’ manager, and John Junkin is “Shake”, their hapless road manager. Rounding out the main cast is comedian Wilfrid Brambell as “John McCartney”, Paul’s cantankerous (and fictional) grandfather.
The film tries to get some ongoing plot threads up and running. Grandpa McCartney is a bit of a troublemaker, and Paul is insistent that everyone take a turn “minding” him – but he’s always able to make his escape. The Beatles’ anarchic sensibility and haphazard sense of timing causes the TV show’s director (Vincent Spinetti) frequent headaches. And every so often Norm tries lecturing John about keeping the rest of the band under control; something that baffled me, since everyone in the band seemed to be acting up and it felt like a weirdly forced note. But otherwise the film is just an excuse to let The Beatles jump between singing some of their biggest hits and indulging in surrealist or satiric comedy sketches – Paul flirting with girls on a train, John enacting naval battles in a bathtub, George getting cornered by an ad executive, Ringo sneaking out to play hooky and bonding with some schoolkids on a similar adventure.
And fortunately, the creative team behind the film realized this was likely the best approach. Director Richard Lester was hand-picked by the band themselves; John in particular was a huge fan of Lester’s film Running Jumping Standing Still, a surrealist short he’d made with Peter Sellers. They similarly were fans of screenwriter Alun Owen – Owen’s 1959 play No Trains To Lime Street was set in Liverpool, and they felt he captured their hometown right. But Owen won them over even more by spending a few days just hanging around with them and shooting the breeze; some of the things they told him during their talks actually made it into the script, like when Grandpa McCartney complains that his trip with grandson Paul thus far has just been “a train and a room and a car and a room and a room and a room” – something Paul said the band’s typical tours felt like. Owen also used quips and jokes from actual Beatles press conferences for a similar scene in the film.
The admiration became mutual. Owen was a little more sympathetic, writing something that depicted the band as near prisoners to the machine of fame they’d been thrust into, while Lester came to appreciate their confidence and irreverence; they were unafraid of toppling some of Britain’s older institutions. “[Everything was] still based on privilege,” he recalled later; “privilege by schooling, privilege by birth, privilege by accent, privilege by speech. The Beatles were the first people to attack this… they said if you want something, do it. […] Forget all this talk about talent or ability or money or speech. Just do it.” Lester was also quick to come to the Beatles’ defense when a United Artists executive asked that The Beatles’ dialogue be dubbed in more “proper” English accents before the film was released stateside, sharing McCartney’s angry retort with them – “if we can understand a fucking cowboy talking Texan, they can understand us talking Liverpool!”
So basically this felt like a mind-meld of Monty Python with a Beatles concert. And that’s a poignant note for this Beatles fan…For yes, I am one. Like many in my generation, I first learned of them as a child, starting with their later works; my father owned most of their albums, and for reasons I’m unable to ascertain, he always selected Abbey Road as the dinner music when we enjoyed special family meals. (I’m probably the only person alive to associate the song Come Together with steak and potatoes.) One of the few albums he didn’t have was Let It Be, but that was okay – our neighbors across the street had it, and they had a better stereo anyway. The Yellow Submarine movie turned up as a TV movie when I was about eleven and caused a mild craze for me and my friends.
But I also shared a birthday with George Harrison, and so throughout my childhood my birthdays often began with hearing the local radio station play Here Comes the Sun in his honor. My church also used his song My Sweet Lord as a hymn once or twice (albeit with some lyrical editing). I followed his solo career as well, and read up more on George the man as I got older, learning more about his friendship and rivalry with the others. When I learned about his fondness for Monty Python, I started to see him as a kindred spirit.
Then I read a bit about why he was a Monty Python fan. Sometime during the band’s tense final days, George went home one night brooding about how it looked like The Beatles were soon going to dissolve. He turned on some television to distract himself…and found himself watching the very first episode of Monty Python’s Flying Circus. He later said it felt like The Beatles’ old spirit of fun and silliness and irreverence had somehow been transferred to the Pythons, and he was tremendously comforted; that spirit was still in the world somewhere. George watched Monty Python constantly, later saying that it “kept him sane” during the Beatles’ breakup, and later befriended many of the Python members. Since the Python members had themselves been inspired by Lester’s work, this isn’t too surprising; but George took so much comfort from that, he felt compelled to return the favor. (But that’s a story best left for when we get to the Python’s own films.)
But this film is a glimpse at that spirit of fun back when it was living with The Beatles. And again – what’s not to love?
|
||||
correct_starring_00056
|
FactBench
|
3
| 84
|
https://www.theatlantic.com/magazine/archive/2023/07/paul-mccartney-beatlemania-1964-eyes-of-storm-book/674166/
|
en
|
I Saw You Standing There
|
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[] |
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[
"Paul McCartney",
"Plaza Hotel",
"Central Park",
"Ronettes’ Ronnie Spector",
"wildly exciting time.This article",
"huge reception of fans",
"Ed Sullivan Show",
"Griffin Liquid Wax shoe polish",
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"hotel suite",
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"color of orange juice",
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"Beatles",
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"James Dean"
] | null |
[
"Paul McCartney"
] |
2023-06-13T11:00:00+00:00
|
Reflections on my 1964 trip to New York City—and what Beatlemania felt like to me and my bandmates
|
en
|
https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico
|
The Atlantic
|
https://www.theatlantic.com/magazine/archive/2023/07/paul-mccartney-beatlemania-1964-eyes-of-storm-book/674166/
|
Success in America was what we’d always wanted. When we were growing up, it was where all the film stars came from—people like Marilyn Monroe, Marlon Brando, and James Dean. And everything we listened to was from America. You didn’t really listen to many British bands, but if you did, they were getting their influences from America too. Without the music of Elvis, Buddy Holly, Little Richard, The Everly Brothers, and so many more, there wouldn’t have been The Beatles.
I still get asked about the pressure of that first trip to the U.S. So many people back home were rooting for us—it was a huge deal for a British band to be No. 1 over there. It sounds like a lot to put on the shoulders of four lads in their early 20s but, in reality, we were just wisecracking guys, and we had fun with one another whatever we did and wherever we went. I think this comes across in my photos.
But nothing could have prepared me for the wild Friday afternoon that launched the hysteria and madness—“Beatlemania,” as they already called it back home—that characterized 1964 for us. Looking at these pictures today, I’m still taken aback by it all. Landing at JFK Airport to this huge reception of fans and press was only the start; the rest of the trip became even more chaotic.
At the airport press conference, we found that the American reporters were obsessed with our hair; they asked if we were going to get haircuts. George replied that he’d had one the day before. That still makes me smile. It was just perfect, because once they saw that we weren’t going to be scared of them, they loved throwing their questions at us, and we would bat them right back. It became a fun little game. I remember one journalist who always asked the same question: “What are you going to do when the bubble bursts?” It got to be a running joke, and we’d ask him to ask us: “What are you going to do when the bubble bursts?” Our answer? “Well, we would go pop!”
You can see in the photos the fans chasing us and waving to us along the New York streets. We had these portable radios, so in the car we discovered WABC, one of the city’s most influential Top 40 stations. They were broadcasting things like “The Beatles are now in town!” Murray the K, a famous DJ on the WINS station at the time, latched on to us. We liked him. He was a ballsy New Yorker who we thought was funny. We were staying at the Plaza Hotel; the staff was pretty horrified by all the hullabaloo, with photographers from magazines and newspapers we’d never heard of lined up in the crowded corridors, trying to get something exclusive. A number of adventurous fans were also doing everything they could to try to sneak into our rooms.
The photographs from New York show the commotion that followed our arrival in the city. There is the frenzied crowd chasing us down West 58th Street, between the Plaza and Avenue of the Americas, that I caught out of the car’s rear window. We did a photo shoot in Central Park, and I had my camera with me, so I captured people taking pictures of me up close, and you can see how we were constantly surrounded by cameras. These photos contrast with those from our hotel suite, which show unguarded, quiet moments.
When I’m looking at the photos, memories come floating back, and I find, with memories, it’s often the more trivial things that seem to stick. In the U.K., we had been used to wearing a pancake makeup called Leichner—but for The Ed Sullivan Show, the makeup artists were suddenly packing on this orange stuff, layer after layer. And we were going, “Are you sure about this?” They said, “Yeah, we know. We know the show.” The show was broadcast in black and white, so they knew the makeup had to be thick. And they were right! We came out the color of orange juice, but on the show you can’t really tell we are wearing makeup.
When I watch that first Ed Sullivan Show performance now, I’m struck by how much fun we’re having. Following commercials for Aero Shave and Griffin Liquid Wax shoe polish, we played three songs: “All My Loving,” “Till There Was You,” and “She Loves You.” Then, later in the show, we performed “I Saw Her Standing There,” and finally “I Want to Hold Your Hand.” That night, The Ed Sullivan Show had a far greater audience than usual: 73 million people, way more than the entire U.K. population. It was a wildly exciting time.
|
||||
correct_starring_00056
|
FactBench
|
1
| 25
|
https://www.independent.co.uk/arts-entertainment/films/news/the-beatles-sam-mendes-movie-cast-john-lennon-b2499246.html
|
en
|
Sam Mendes will direct four Beatles movies about John Lennon, Paul McCartney, George Harrison and Ringo Starr
|
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[] |
[] |
[
"Sam Mendes",
"George Harrison",
"John Lennon",
"Paul Mccartney",
"Sony Pictures Entertainment",
"Ringo Starr",
"The Beatles",
"Internal"
] | null |
[
"Maira Butt"
] |
2024-02-20T15:04:56+00:00
|
It marks the first time that the band’s representatives have granted their full support for a scripted movie
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/arts-entertainment/films/news/the-beatles-sam-mendes-movie-cast-john-lennon-b2499246.html
|
James Bond director Sam Mendes will direct four separate movies on the lives of each of The Beatles, it has been announced.
Paul McCartney, John Lennon, Ringo Starr and George Harrison will each be the subject of their own feature films financed by Sony Pictures Entertainment.
According to a statement from Sony, the movies are set to be released from 2027 and “will intersect to tell the astonishing story of the greatest band in history”.
Mendes, known for his work steering James Bond films Skyfall and Spectre, said that he hoped that the four-part experience will challenge viewers’ notions of what it means to go to the cinema.
“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” he said.
Mendes will direct all four films and produce alongside his Neal Street Productions partner Pippa Harris, with whom he co-produced Oscar-nominated movie Revolutionary Road, and Neal Street’s Julie Pastor. Jeff Jones will executive produce for Apple Corps Ltd.
The Oscar-winning British director has won multiple awards for his work over the years, including the Academy Award for Best Director for American Beauty, four BAFTAs (including three for his war epic 1917), two Tonys and three Golden Globe awards.
The Beatles formed in Liverpool in 1960 before breaking up in 1970. Following their disbanding, Lennon was murdered outside his home in New York in 1980, while Harrison died of lung cancer in 2001.
McCartney and Starr continue to make music.
The families of Lennon and Harrison along with McCartney and Starr have all granted full life story and music rights to the scripted films according to Variety. It marks the first time that the band have offered their full support for a retelling of their stories.
“We intend this to be a uniquely thrilling, and epic cinematic experience: four films, told from four different perspectives which tell a single story about the most celebrated band of all time,” said Pippa Harris.
“To have The Beatles’ and Apple Corps’ blessing to do this is an immense privilege. From our first meeting with Tom Rothman and Elizabeth Gabler, it was clear that they shared both our passion and ambition for this project, and we can’t think of a more perfect home than Sony Pictures.”
Filmmakers have made several attempts to dramatise the story of The Beatles, with mixed results.
A 1979 biopic, made when Lennon was still alive, called The Birth of the Beatles was produced with Beatles original drummer Pete Best serving as an adviser.
Meanwhile, 1994 indie drama Backbeat chronicled Lennon’s relationship with Stuart Sutcliffe before the Beatles were famous. British actor Aaron Taylor-Johnson received critical praise for his portrayal of a teenage Lennon in Nowhere Boy, directed by Sam Taylor-Johnson.
Tom Rothman, Chairman and CEO of Sony Pictures’ Motion Picture Group said: “Theatrical movie events today must be culturally seismic. Sam’s daring, large-scale idea is that and then some.
“Pairing his premiere filmmaking team, with the music and the stories of four young men who changed the world, will rock audiences all over the globe. We are deeply grateful to all parties and look forward ourselves to breaking some rules with Sam’s uniquely artistic vision.”
|
||||
correct_starring_00056
|
FactBench
|
0
| 69
|
https://www.pauldunoyer.com/a-hard-days-night-behind-the-camera/
|
en
|
A Hard Day's Night: Behind The Camera
|
[
"https://www.pauldunoyer.com/wp-content/uploads/2018/05/logo-2.png"
] |
[] |
[] |
[
""
] | null |
[
"paul.dunoyer"
] | null |
This was written for MOJO magazine’s issue of November 2002. Its main elements are interviews with Paul McCartney and Denis O’Dell. Brought in as the film’s Associate Producer, Denis O’Dell dealt with all parties, from head office number-crunchers to the mop-topped thespians themselves. His empathy with the group was instant: he would eventually become a
|
en
|
Paul Du Noyer | Music Book Author | NME Journalist | In the City: A Celebration of London Music | Liverpool: Wondrous Place | We All Shine On | Music Journalism | John Lennon | Liverpool Music and London Music
|
https://www.pauldunoyer.com/a-hard-days-night-behind-the-camera/
|
This was written for MOJO magazine’s issue of November 2002. Its main elements are interviews with Paul McCartney and Denis O’Dell. Brought in as the film’s Associate Producer, Denis O’Dell dealt with all parties, from head office number-crunchers to the mop-topped thespians themselves. His empathy with the group was instant: he would eventually become a director of Apple and worked on all their later film ventures.
Thanks are owed to Pat Gilbert for some additional interview material.
At the end I’ve added some Denis O’Dell interview notes and unpublished quotes.
DRRANNGGG!!!!
It’s been a… full 38 years since a certain guitar chord first rang out in darkened cinemas across Great Britain. From market town Gaumonts to seaside Essoldos, big city Odeons to rustic Tivolis, it raised the curtain on what may be the greatest pop film of them all.
I.
“To this day,” admits Sir George Martin, “I still don’t know what that chord was. But it was a very good one. And it set the whole tone for the song and the whole film. Because we knew that what was going to follow was going to be dramatic, wonderful, funny, exciting and everything else.”
In 1964, of course, nobody knew what a DVD was. But today A Hard Day’s Night is available in that very format, generously enhanced with documentary footage. The Tivolis and Essoldos may be gone, but the splendour, fun, tunes and humour that made The Beatles’ first film a classic are startlingly present. The four boys stand at the movie’s psychological pivot, the point of mental equilibrium between the neurotic cloddishness of uptight adults and the surging worship of hysterical children. They are cool, collected and smart: the only custodians of sanity.
Around them is another vanished world, of roadies in shirts and ties, technicians in horn-rimmed glasses, businessmen in bowler hats and ex-Army commissionaires in peaked caps. It was a world The Beatles helped hasten to its extinction. And if what has replaced it is no better, at least A Hard Day’s Night still glows with invincible optimism.
“We were just so young and excited to be making a movie,” recalls Paul McCartney. “The Beatles’ career built from little clubs in Liverpool, Hamburg, ballrooms in London, theatres, stage shows, TV, it just kept going up. Film was the natural progression. We’d had a couple of offers to do things but they weren’t very good. We stuck out because we wanted to be in something good.”
There had been some terrific rock’n’roll music at the movies: the Little Richard and Eddie Cochran cameos in The Girl Can’t Help It spring to mind. But no-one had yet devised a film with pop at the core of its being. The British contribution was epitomised by such cheerfully gormless fare as Cliff Richard’s Summer Holiday. “Rock’n’roll films were traditionally bad vehicles,” says McCartney. “Films like Don’t Knock The Rock were terrible but they might have Clyde McPhatter, one of the few guys you wanted to see. ‘Hey, why don’t we book Clyde McPhatter tonight?’ ‘That’s a great idea, Eddie!’ Alan Freed or someone would be a DJ trying to act, and it was really bad. So we had this idea that it would be great to be in something that was actually a decent film and had music.”
Before The Beatles’ celluloid ambitions could be realised, though, their manager Brian Epstein had to find the right partners. This he eventually did (though not for the best terms possible) by accepting an offer from the American company United Artists. The band had yet to break in the States, but UA sensed The Beatles’ potential even more keenly than the group’s US record label. In fact their chief objective was to secure a percentage of the spin-off soundtrack albums: the films themselves would be little more than pot-boilers. Like almost everyone else, UA assumed the Beatle boom would be short-lived. In the event, their opportunist punt in a foreign novelty market would prove fabulously lucrative.
UA gave the project to an American producer in London, Walter Shenson. He in turn hired his fellow ex-pat, a sharp-talking slaphead called Richard Lester, to direct. Aside from a little movie work (including one of those proverbially duff British music flicks, It’s Trad, Dad!), Lester’s specialism was anarchic comedy: he’d assisted Peter Sellers and Spike Milligan in some TV adaptations of the venerable Goons wireless shows and directed the pair in a zany, widely-admired cinema short, The Running Jumping & Standing Still Film.
Lester was sent to meet his prospective stars in radio rehearsals at the Playhouse Theatre: “We were asked to sniff around each other like dogs,” he said, “to see whether we would get on. What came out was that we each knew the kind of film we didn’t want to make. And, mercifully, we coincided.”
McCartney: “We held out for someone good and Dick Lester’s name came up. We found out he’d made The Running Jumping & Standing Still Film, which was kind of surreal for its time – there was a very long shot where Spike Milligan is on the horizon and he takes about five minutes to come towards the camera, and when he gets there a boxing glove just comes out and hits him. You’d never seen those kind of things then, so that was one of our cult little films: ‘Wow, that’s great, that’s a student’s film, that is!’. So we were very chuffed that he was interested.”
Lester’s first choice of scriptwriter, Johnny Speight (later famous for Till Death Us Do Part), was unavailable so he turned to a Liverpool-Welsh playwright called Alun Owen, who’d also done some writing for the director’s short-lived TV series The Dick Lester Show. To observe his subjects in their natural habitat, Owen joined The Beatles for three days on the road in November 1963, taking in their show in Dublin, some promo work in Belfast and the journey back for a gig in east London. According to McCartney, “Alun hung out with us for a few days and he got the sort of wacky humour that we’d got going: ‘He’s very clean, though, isn’t he?’ or ‘I fought for the likes of you in the war.’ It was all the stuff you grew up with in post-war Liverpool: we’d all been asked to turn radios down on the train, for instance, so we’d tell him this and he’d say ‘Oh, that would make a good little scene.’”
Brought in as Associate Producer, Denis O’Dell dealt with all parties, from head office number-crunchers to the mop-topped thespians themselves. His empathy with the group was instant: he would eventually become a director of Apple and worked on all their later film ventures. “An average feature film of the time,” he says, “would cost over £1.5 million. I eventually got UA to push the budget for A Hard Day’s Night up to £180,000. It must be one of the cheapest films ever made.
“UA said they wanted it done very cheaply and very quickly, because they were not sure how long this group would last. So that put us in a helter-skelter situation, but it was great fun to do. What was extraordinary was that originally UA were really only interested in the soundtrack. And within three days of the album being released, their share of the soundtrack had paid for the entire production of the film. So they had a film out for nothing…”
This parsimony extended to The Beatles themselves. According to O’Dell, the group were paid a flat fee of just £25,000 between them. The irony was that, between the signing of the UA deal in late 1963 and the start of filming on 2 March 1964, the group made their historic breakthrough in America, played the Ed Sullivan Show and became a global phenomenon. “But,” recalls O’Dell, “by then the budgets were done, the preparation for the film was done, so we just went along with the plan. If we’d waited they might have got more money, but we’d have a very different sort of film.”
At a quiet time of year for the industry, freelance film crew were likewise hired at modest rates: “Top flight people for bottom flight money,” he says. As had happened with George Martin, The Beatles seemed blessed in attracting the right people. In spite of its derisory resources, A Hard Day’s Night acquired the cream of London’s creative trades: O’Dell cites the ex-Kubrick cameraman Gil Taylor and the gifted film editor John Jympson (whose daily tussle with miles of footage was central to the film’s eventual brilliance). Other examples of inspired collaboration include the tailoring of Dougie Millings and the poster photography of Robert Freeman. “A film is a collective creation,” O’Dell observes, “and if you can get the right people together, from screenplay to director to performers, design and costume, you get some sort of magic coming out.”
II.
At the beginning of 1964, The Beatles were a band whose collective genius was just beginning to reveal itself. Everyone had to raise their game if this film – as yet un-titled – was to be worthy of its four young stars. Alun Owen, for one, knew there could be no re-make of Summer Holiday: “We’re not going to have a story that ends up at the Palladium,” he said, “with the vicar smiling and giving the thumbs-up sign from the stalls. Nothing like that.”
Richard Lester: “We wanted to get a natural feeling to A Hard Day’s Night but virtually every line was scripted and rehearsed -– although there were moments when it said things like ‘The boys escape and play in a field’ and we improvised. It worked because they weren’t asked to play Shakespeare, the writing was as close to their real characters as possible.”
Owen watched the four personalities and amplified them for effect. Though each of The Beatles would come to find their respective stereotypes stifling, it was an accidental stroke of marketing genius. At that time, the British and American publics had only the vaguest notion of individual Beatles. In fact their defining qualities, to most adult minds, were the identikit mop tops and peculiar accent. It was through A Hard Day’s Night that The Beatles first emerged as four distinct entities, immeasurably adding to the interest and complexity of the group. (The lesson would not be lost on the creators of The Monkees, and was practised to perfection by The Spice Girls.)
Producer Walter Shenson recommended that Owen craft a “concentrated day in the life” of the group. Travelling with them, the scriptwriter found the same “claustrophobia” that struck the film’s director: when Lester had asked John Lennon about a recent tour of Sweden, the disillusioned Fab replied that all he had seen was “a car and a room and room and a car – and a cheese sandwich.” (The line would duly be adapted for use in the movie script.) From hotel to press conference to dressing room, hemmed in everywhere by the fans and by the punishing demands of their minders’ schedule, The Beatles seemed like prisoners whose only exercise yard was the stage.
Lester expressed the essence of Owen’s story by filming in all the tightest spaces: train carriage compartments, low-ceilinged corridors and backstage stairwells. Relief arrives in the musical interludes, but there are just two moments of unconditional release – the exhilarating dash down a theatre fire escape on to a broad, sunny field, and the ecstatic climax of the eventual live concert.
The decision to film A Hard Day’s Night in black-and-white was made for financial reasons. It also turned a good little movie into a masterpiece. There had been disquiet at EMI over The Beatles’ recent LP sleeve for With The Beatles, shot in austere monochrome by Robert Freeman. Yet it swiftly became the iconic image of its era. For all the wide-eyed exuberance of their music in those pre-psychedelic days, a part of The Beatles’ heart was hankering for depth. The happy whackers from Liverpool had actually been shaped by the city’s art school scene, by their friendship with Stuart Sutcliffe and the young existentialists of Paris and Hamburg. “We were really glad it was a black-and-white film,” says McCartney. “It just seemed harder, more student-y… That’s a bad word, but you know what I mean. More artsy. We liked all that stuff.”
“It never really came up as a problem,” confirms Denis O’Dell. “It was just accepted that this was in black-and-white. Yes, it fitted the budget, but it also fitted The Beatles, and the style in which we wanted to film – almost a Jean-Luc Godard style of cinéma vérité.” If A Hard Day’s Night was not to be one of those corny rock’n’roll exploitation jobs, nor was it to be a Merseybeat update of the Technicolor musicals that Hollywood had gorged upon through the 1950s.
Filming kicked off in early March at Paddington Station and continued at various locations until late April. An early casualty of the economic stringency was Alun Owen’s plan to start the action in Liverpool: “It was impossible,” explains Denis O’Dell. “To take an entire crew from the South to the North, we’d have had to pay subsistence allowances, accommodation, travel, etc.”
But at least The Beatles got to use a real train. “The original idea, as they used to do in films at that time, was to put a back projection screen up and build part of a carriage to go in front of it. You’d then show the countryside whizzing by. The problem was that you could never move the actors more than a few yards either way. For years the film industry had used this system but I was against it, and when I read the script I said to Richard Lester, How would it be if I got a real train? Do you think you could cope with that?”
To Lester’s delight, the loan of an authentic locomotive was hastily arranged with British Railways, with carriages customised to take camera tracks and electrical generators. Crowd scenes were shot at Marylebone, while the transit footage was filmed on specially-cleared lines between Paddington and the West Country.
It fell to O’Dell to initiate the Liverpudlian newcomers in the mysteries of film-making. “I met them for the first time when we were on the train. They were very interested when I outlined how we work, about the timing and continuity and costumes, all the things that could hold you up for hours if they didn’t work out. They were very good about it, real professionals. There were one or two latecomers. When we did the scene with Ringo on the embankment I think he overslept. Probably a late night at the Ad Lib, I should think…”
Paul McCartney: “The waiting around was the staggering thing that we hadn’t realised about films. Everything else was very nice and very entertaining. But you were nearly all day waiting while they lit a shot and then you’d come in and go ‘He’s clean, though’ and they’d go ‘Great, thanks, that’s it.’ You’d just think, Bloody hell. And you’d go home.”
III.
To cushion the musicians’ inexperience there was a platoon of dependable comic actors. In the key role of Paul’s Irish grandfather was Wilfrid Brambell, already a household name in Britain as the “dirty old man” of Steptoe And Son. (Incredibly, he was only 52 at the time.)
There is an outstanding contribution, too, from the Welshman Victor Spinetti, playing the nervy and self-important TV director: “I knew that Dick had about five cameras going at once,” he remembers, “in order to get them not to be self-conscious. There were cameras crawling between their legs, practically, to get them as much off guard as possible. I knew that one had to keep going whatever they said. I walked on the set and said, ‘You’re late for rehearsals,’ or whatever. ‘I’m the director of the show.’ John said: ‘You’re not a director, you’re Victor Spinetti playing the part of a director.’ So I thought I’d better keep going, so I said, ‘I am a director! I have an award on the wall in my office to prove it.’ John said: ‘Office? You haven’t even got a dressing room!’
“They were amazing people. And they were curious, they wanted to learn. They didn’t have the laddishness which you get now, this wanting to be ignorant. I mean, we really were sitting there and talking about things like Beethoven. Not all the time, you know, but the tenor of their conversation was they wanted to find out. John would ring up and say, ‘We’ve never been to the theatre, let’s go look at something.’
“I enjoyed working with them. In the great whirlwind of Beatlemania there was a small centre where the lads lived. They weren’t trashing a dressing room, or throwing TVs out of bedroom windows, going ‘Notice me! Notice me!’ They didn’t have to be noticed. They knew who they were.”
Spinetti offers this incisive assessment of the four personalities: “I got the flu when we were filming and they each came to visit me in turn. First person that came in was George, who said, ‘I’ve come to plump yer pillows. When anyone is ill in bed they have to have their pillows plumped.’ And he plumped my pillows and left. Next person to come in was John Lennon who said, ‘Ze doctor is coming to do experiments upon you! Heil Hitler!’ And then he left. Ringo came in and sat down by the bedside, looking at me very quietly, picked up the hotel menu and said, ‘Once upon a time there were three bears: Mummy Bear, Daddy Bear and Baby Bear…’ Paul put his head around the door and said, ‘Is it catching?’ I said, Yes! He closed the door and I never saw him again. He was very pragmatic – he didn’t want them to get ill and stop the filming.”
To represent The Beatles’ real-life tour manager Neil Aspinall, Lester hired the Liverpudlian Norman Rossington, while their faithful assistant Mal Evans was played by John Junkin. The real Evans was indeed tall and amiable, while the real Aspinall was shorter and more authoritarian, but any resemblance to the originals was slight. “I liked Norm,” said Aspinall, “He didn’t talk to me about the part, he just went by the script, which was a bit embarrassing because it was nothing like the reality.”
John Junkin, however, did attempt some research. Invited by Owen to meet the group, he was told: “By the way, they’re nervous and they want to be surrounded by genuine Scousers. Now I know you can do it because I’ve heard you. Do it from the moment you walk in.” He duly approached George Harrison: “I said to George, Can you tell me something about Mal? Because that’s who my character was vaguely based on. He said, ‘Yeah, I can tell you about Mal. He looks after our luggage when we move. We’ve just come back from New York and the luggage is in Iceland…’”
In fairness, Harrison was possibly distracted at the time. In the earliest days of filming his eye had wandered to one Pattie Boyd, an actress among the party of schoolgirls who are serenaded by the band performing I Should Have Known Better. As Denis O’Dell recalls, “On this train it was very confined, as you would realise, about 80 people. And I remember George, when we got these girls from an agency – there were about half a dozen of them, dressed as schoolgirls. I remember George spotting Pattie and looking at her. But it was the others who were on the make, really, and George was always a bit reticent like that. He hung back. But I do remember their first meeting, it was charming.” (Boyd of course became the first Mrs Harrison, and subsequently Mrs Clapton.)
Wherever the filming went, Beatle fans materialised out of nowhere. Children across the land had become enchanted by these Pied Pipers. Onlookers found something uncanny in their ability to scent the group, and their devotion could take ferocious form – filming at the Scala Theatre was interrupted by mobs of gatecrashers who used hacksaws to force entry. Joining The Beatles for the train sequences, their old friend Klaus Voormann found Lennon already wearying of Beatlemania, though it had barely begun.
“The fans could be a nightmare,” admits Denis O’Dell. “I realised we weren’t going to be allowed the freedom of the streets for the way we wanted to shoot… For the Scala Theatre sequence, I needed young people and that was a problem, because that’s who The Beatles’ followers were – schoolkids – and at that time the extras from the Film Artists Association were all fairly old. So what I did was agree to pay for some young people from the drama schools, put together about 80 or 90 and paid them, and surreptitiously let in all the rest. I got hauled over the coals for it but it was important to do the right thing for the picture.”
Among their number on March 31, 1964, was a 13-year-old boy with stage school connections called Phil Collins. “I don’t even remember knowing it was going to be The Beatles,” he says. “I just remember there was a call for a film that was being shot at the Scala Theatre in Charlotte Street, and could they send 50 kids down? And I was one of them. And other schools sent kids down, so there was about two hundred of us there.
“We were all ushered into the theatre and told where to sit, and we sat nattering amongst ourselves. Suddenly four guys came out on stage and started to play She Loves You, Tell Me Why, If I Fell… We couldn’t believe it. Everyone was screaming. Sometimes, when they were filming us, they sent four extras out dressed the same, which was a bit of a bummer as we had to pretend. But a lot of the time it was them. No one was told to scream during the filming – they just knew that it would happen. Very spontaneous, totally genuine. We were there all day – we got £15 for the day’s filming, which was standard – and then we went home.
“I saw the film about twenty times when it came out. I fell in love with Pattie Boyd… along with George. I fell in love with her, and got to know her later, along with Eric.”
IV.
In a strange parallel to the scene where Paul’s fictional grandfather is led away from the Scala queue by police, and has to wangle his way back in, there was a real life Beatle relative outside the building, pleading for admission.
“Freddie Lennon turned up,” remembers Denis O’Dell. John’s estranged father, whom he had not seen since childhood, was evidently on the trail of his newly-famous son. “That was extraordinary. My production manager brought it to my attention. We’d had so many try-ons. So I went to tell John and he said, ‘Tell him to fuck off.’ I said, John, nobody tells their father to fuck off. He had a little laugh over that. You can imagine Freddie trying to make his way to the front of 500 people outside the Scala Theatre who are pressing to get in, and my production manager’s trying to keep them out and he’s saying ‘But I’m John Lennon’s father!’
“Eventually we let him in and they had some sort of reunion. They had a quick conversation before John was called off to do something. I don’t know what was said, I presume he was there to put the bite on John, but then he disappeared. Later on they reconciled.”
The Scala performance scenes are at the heart of A Hard Day’s Night. Clever as the movie is, only The Beatles’ music confers immortality on what would otherwise remain a stylish period piece. In the embarrassment of riches, Lester could even discard an entire song: You Can’t Do That is powerful, ominous and chugging, but it slows the pace of the finale and the number was deleted. Once again A Hard Day’s Night was innovatory, however, for its visual technique. A cameraman on the shoot, Paul Wilson, contends: “We established a style that’s still used today when they photograph rock groups.” Working from multiple angles, a squad of cameramen were given discretion to be the director’s eyes. They captured minute details – a guitarist’s hands, the drummer’s foot on a pedal – with a sophistication unequalled until Scorsese’s The Last Waltz.
With filming almost complete, the need for a title – and a title song – became urgent. Nobody knows for sure when Ringo declared one heavy session “a hard day’s night”. The phrase was first aired in public by John Lennon, using it in the “Sad Michael” story of In His Own Write. “I used to take out my typewriter after the show,” he recalled, “and just tap away as the fancy took me. Sometimes one of the others would say something, like Ringo thought of the film title. ‘Hard Day’s Night’ – I used that in the book.” When the phrase came to Walter Shenson and Richard Lester’s ears it was seized upon. Paul and John concocted a song around it almost instantly.
There were never any qualms about The Beatles’ songs – they were UA’s reason for making a movie in the first place. But there was some anxiety about the film. “We’d finished it in such a rush,” says Denis O’Dell. “We started in March and it was out in July, which was unheard of – a picture at that time would take almost a year. At that point Richard was so nervous he wouldn’t go to the viewing when United Artists came to see the picture.” (The Beatles, too, had watched their first acting efforts with discomfort.) The most peculiar reaction, he recalls, came from the American wife of a senior UA executive: “She said, ‘Well, I just loved it but we have to dub their voices!’ I couldn’t believe what I was hearing. How do you answer the boss of all bosses at UA?”
Wiser heads prevailed and A Hard Day’s Night went out, with Scouse accents intact, on 10 July 1964. Premieres were held that week in London and in Liverpool: Princess Margaret attended the former, half the population of Merseyside surrounded the latter. Reviews were uniformly adoring. The movie’s reputation has not faltered since. It has been imitated shamelessly and its influence upon music video is unquestioned.
But how was it for the Fabs themselves? In the ten years that he lived as an ex-Beatle, John Lennon could be a notorious revisionist and was scathing about some aspects of A Hard Day’s Night. But others recall him enjoying it at the time. “Everything seemed more magical then,” says Paul McCartney. “Youth makes things magical… Dick being a good director, Alun being a good writer and us, being really up for it, there were no moodies or anything. The only one who wasn’t quite so keen was George. I don’t know if he was just shy or just thought ‘Oh, we should be making music.’ He wasn’t that keen on the acting thing.” (Quoted in the 2000 Anthology book, however, George emphatically denies this: “I loved it! The only thing I didn’t like was having to get up at five in the morning.”)
“Ringo took to it like a duck to water,” says Paul. “There was no holding him back, he was totally in his element. He became the star of the film in a way. John was very good just because he’s very good anyway. The four of us came off well. And what we liked was that it was a film, it wasn’t just a vehicle for a rock’n’roll act. It captured our personalities.”
Denis O’Dell, Associate Producer. Interview Notes and Extras.
An average feature film budget of the time was over £1.5 million.
“We didn’t pay very much to any actor in that film. The Beatles were paid £25,000 for the four of them, which was an extraordinarily small amount.”
(Brian Epstein did the deal with UA then retired from involvement in the film, as he did with the music.)
“When UA asked to do this they said they wanted it done very cheaply and very quickly, because they were not quite sure how long this group would last. So that put us in a helter-skelter situation, but it was fun to do.
Breaking America must have changed things, though? “Yes, it was all that, and also the Paris concert just prior to that, I remember distinctly, it was such an outrageous success, but by then the budgets were done, the preparation for the film was done, so we just went along with the plan. I think if we’d waited they might have got more money and we’d have a different sort of film.”
His budget was £180,000: “I did the budget and reckoned it could be done for £150,000. Eventually we got UA to push the budget up to about £180,000. It must be one of the cheapest films ever made.
The film used “top flight people for bottom flight money.” This he means as a boast, not a complaint. “Early spring was traditionally a lean time for film freelancers,” hence the availability of a good crew.
He got a cheap deal off EMI. In those days all electronic equipment was very expensive. “One of the single biggest budget problems was the electronic equipment, and we had a lot of it for the final sequence. We had a deal with Bush but it was costing an awful lot of money.” (So he called EMI and got it for free off Sir Joseph Lockwood.)
Product placement: Through a friend at BEA (British European Aiways) he paid only £25 for helicopter hire by offering to do “BEAtle” bags. (This helicopter is seen in the closing credits but was also used to film the field shots too.)
He also paid some navvies a few bob for using their existing hole in ground; this was an instant idea of Lester’s
British Railways were likewise brought in. “The original idea, as they used to do in films at that time, was to put a back projection screen up and build part of a carriage to go in front of it, and show the countryside whizzing by. The problem was that you could never move the actors more than a few yards either way. For years the film industry had used this system but I was against it and when I read the script I said to Richard Lester, ‘How would it be if I got a real train, do you think you could cope with that? If I got camera dollies made to fit, walkways down the side of the carriages, arrange for generators to be put on?’” Lester was enthusiastic and the pair would have a long association.
He says he had no knowledge of the Maysles Brothers’ US documentary film at the time of making A Hard Day’s Night.
The script-writerAlun Owen: “I thought he was terrific. We used the script as a guide but we were able to extemporise on every page. He did a great job.”
You dropped idea of filming in Liverpool?
“That was a budgetary thing. It was impossible. There were no technicians of any major quality up in Liverpool at that time, these were very early filming days, and to take an entire crew from the South to the North and put them up for six or seven weeks would have been impossible. We did discuss it around the table with Walter and Dick and Alun Owen and we did decide it would work well with the train idea and doing it all down South. We didn’t have to pay anybody any subsistence allowances, accommodation, travel, etc”
There was a suggestion that the voices be overdubbed?
“Yes, I was there when that happened. It was extraordinary because we’d finished it in such a rush, we started in March and it was out in June, which was unheard of, a picture at that time would take almost a year. At that point Richard was so nervous he wouldn’t go to the viewing when they (UA) came to see the picture, the money, Arnold Picker and all those people. And his wife did actually say that: ‘Well I just loved it but we have to dub their voices.’ Can you believe it? I couldn’t believe what I was hearing.” (He says Richard recalls it being raised at a meeting he attended too.) “How do you answer the boss of all bosses at UA?”
Was filming in b&w budgetary or aesthetic?
“It never really came up as a problem; it was just accepted that this was in b&w. Yes, it fitted the budget, but it also fitted The Beatles, and the style in which we wanted to film, almost a Jean Luc Godard style of cinema verite. All those mistakes, if they were mistakes, worked for the picture. For example, you know the scene where they come out of the theatre and get freedom and leap about? It was from that helicopter shot, because we didn’t have the time to get an autogiro system to take the jolt out of the camera. We knew at the time it was jumping about and the cameraman was going mad, Gil Taylor, but Dick said, ‘Don’t worry about it.’ And it worked into that wonderful sequence. It was a happy mistake. And Ringo and his three holes. We actually found those guys working alongside the road. Of course we had to manufacture the third hole, where he puts his coat down.”
“Nobody got paid much on that film anyway, I think the whole crew did it for half price…”
“What was extraordinary about it was that originally UA were really only interested in the soundtrack. Their share of the soundtrack, when the album was released, after three days paid for the entire production of the film. So they had a film out for nothing…”
“I think I put together a good crew. It wasn’t a time when the industry was terribly busy and crew all seemed to gel into it. The editor John Jympson was great, I always think he’s underestimated. The way it worked, we were shooting miles of film which was impossible for a director to sit down and see. What normally happens is you’d do your daily shooting then see rushes and the director would give some instruction to the editor. But we’d have spent hours in the theatre. So I used to go and see the stuff with John and he’d take it away and did this terrific job on it. … A film is a collective creation, and if you can get the right people together, from screenplay to director to performers, design, costume, if you get it all together you do get some sort of magic coming out. And I think we achieved that on A Hard Day’s Night.
“It doesn’t even date, does it? If it wasn’t for the clothes they were wearing, and a little bit of the smoking the boys do, it probably doesn’t date.
Were the fans your biggest challenge?
“A nightmare. It’s amazing how those things affect your life. I realised we weren’t going to be allowed the freedom of the streets for the way we wanted to shoot, to film wherever without set pieces. So I knew this small studio just outside London, but it was closed up. I got hold of the owner, a lovely man called Ken Shipman.”
It’s sometimes hard to say which are actors and which are real?
“I don’t think there was any newsreel in it. As far as actors go, anyone who had to play a line, they were actors, and for anything else we’d use anyone who was around. Deryck Guyler played the chief in the police station. We only used, in the Scala Theatre sequence, I needed young people and that was a problem, because that’s who The Beatles’ followers were, schoolkids, and at that time the extras from the Film Artists Association were all fairly old. So what I did was agree to pay for some young people from the drama schools, put together about 80 or 90 and paid them, and surreptitiously let in all the rest. I got hauled over the coals for it but it was important to do the right thing for the picture.
And John’s father, Freddie Lennon turns up?
“That was extraordinary. My production manager Barry Melrose brought it to my attention. We had so many try-ons. But I remembered talking to John about Freddie and to my astonishment it did look like the Freddie that I vaguely knew about. So I went in to tell John and he said, ‘Tell him to fuck off.’ I said, ‘John, nobody tells their father to fuck off.’ He had a little laugh over that, eventually we let him in and they had some sort of reunion. You can imagine Freddie trying to make his way to the front of 500 people outside the Scala Theatre who are pressing to get in, and my production manager’s trying to keep them out and he’s saying ‘But I’m John Lennon’s father!’
“John was quite good about it really. They had a quick conversation before John was called off to do something. I don’t know what was said, I presume he was there to put the bite on John, but then he disappeared. Later on they reconciled.
“The other thing was when I was doing the DVD I was amazed to look back on it and see how good-looking John was. He was probably the best actor of them all. I took him on afterwards for How I Won The War. Of course Ringo ran him a close second, I had him in The Magic Christian too.”
Did they enjoy it?
“If you take A Hard Day’s Night, yes, they did. I couldn’t do Help! but when I spoke to them about it afterwards, they didn’t know what had been happening and they didn’t enjoy that one bit. It was quite hard to get them to do pictures, which is what I went to Apple for, but the only other time the subject of enjoyment came up was when I did the Hey Jude clip, they really enjoyed it and told me so, and said ‘Now we’ll do another show together.’ Of course by that time it was Let It Be and the rest is history.
“All that stuff with the Tolkien [there was an idea for The Beatles to film Lord Of The Rings], looking back I love the idea of The Beatles being small people in Middle Earth, but I wonder if they could have sustained the long period of shooting. John in particular said ‘I could make a double album of this one scene.’”
Do you recall your first meeting?
“Because I was so busy getting the film organised I always used to use the services of Neil Aspinall, because he was the only one who seemed to have any sort of control over them. So most things I did on the phone with Neil and I never actually met them until we were on the train and they were very interested when I outlined how we work, about the timing and continuity and costumes, all the things that could hold you up for hours if they didn’t work out. They were very good about it, real professional when it came to it. There were one or two latecomers. When we did the scene with Ringo on the embankment I think he overslept. Probably a late night at the Ad Lib, I should think, and I was responsible for a lot of it because I used to go with ’em!”
Did you see George’s meeting with Pattie?
“Yes, on this train it was very confined, as you would realise, about 80 people. And I remember George when we got these girls from an agency, there was a little bunch of them, about half a dozen dressed as schoolgirls, they weren’t actually schoolgirls but were dressed in school clothes. I remember George spotting Pattie and looking at her. But it was the others who were on the make, really, and George was always a bit reticent like that, he hung back. But I do remember their first meeting, it was charming.”
|
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correct_starring_00056
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FactBench
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0
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https://www.comedy.co.uk/film/a_hard_days_night/cast_crew/
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en
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A Hard Day's Night cast and crew credits
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"Cast Crew Credits Casting List Of Actors Writer Director Producer Production Team A Hard Day's Night"
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[
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A credits list of the actors, writers, producers, directors and other cast and crew involved in A Hard Day's Night.
|
en
|
British Comedy Guide
|
https://www.comedy.co.uk/film/a_hard_days_night/cast_crew/
|
A Hard Day's Night
1964 film
|
|||||
correct_starring_00056
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FactBench
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0
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https://www.beatlesbible.com/1964/04/16/filming-a-hard-days-night-33/
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en
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Filming: A Hard Day’s Night
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[
""
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[
"Joe"
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1964-04-16T00:00:00
|
Article on the police chase scenes in The Beatles' first film, on the Beatles Bible website.
|
en
|
https://www.beatlesbible.com/wp/media/favicon.ico
|
The Beatles Bible
|
https://www.beatlesbible.com/1964/04/16/filming-a-hard-days-night-33/
|
On 7 April 1964 The Beatles had filmed the interior scenes at the police station for A Hard Day’s Night. On this day, the 16th, they shot the chase scenes outside.
The interior scenes had been filmed at Twickenham Film Studios. For this day’s work, The Beatles were outside St John’s (Church of England) Secondary School at 83 Clarendon Road in London’s Notting Hill Gate, and in the surrounding streets. The school was later demolished to make way for a housing development.
A sequence was also filmed at nearby Heathfield Street, a cul-de-sac, with The Beatles running to a dead end, stopping, then returning the way they came. A still from this scene was later used on the cover of The Beatles: Rock Band.
An unused scene was also shot outside the Portland Arms pub, with The Beatles running in the Portland Road entrance and leaving via the Penzance Place door.
|
||||
correct_starring_00056
|
FactBench
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1
| 24
|
https://www.tvguide.com/celebrities/paul-mccartney/credits/3000386715/
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en
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Paul McCartney
|
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] |
[] |
[] |
[
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See Paul McCartney full list of movies and tv shows from their career. Find where to watch Paul McCartney's latest movies and tv shows
|
en
|
/favicon.ico
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TVGuide.com
|
https://www.tvguide.com/celebrities/paul-mccartney/credits/3000386715/
|
Join or Sign In
Sign in to customize your TV listings
Continue with Facebook Continue with email
|
||||
correct_starring_00056
|
FactBench
|
3
| 85
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https://1420wbec.com/paul-mccartney-live-at-80-from-berkshire-fans-perspective/
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en
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Paul McCartney Live At 80 From A Berkshire Fan’s Perspective
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[
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] |
2022-06-09T16:52:17+00:00
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Paul and his amazing band spanned the decades of Paul's endless song catalog with The Beatles, Wings, and his solo material. They didn't just cruise through the songs either. They really rocked the house!
|
en
|
WBEC AM
|
https://1420wbec.com/paul-mccartney-live-at-80-from-berkshire-fans-perspective/
|
With Paul McCartney having just played from what I understand two spectacular shows at Fenway Park in Boston, I figured I would throw in my two cents on Paul playing live at 80 years old. Well, I say 80... but Paul is actually turning 80 on June 18th. Close enough.
I was not at either of the Fenway shows, but I was fortunate to have been at the show at the JMA Wireless Dome (the former Carrier Dome) in Syracuse, New York on Saturday night (June 4th).
A Berkshire Paul McCartney Fan's Perspective...
First, I have to say that Sir Paul certainly doesn't act his age. I mean that in the best of ways of course. He put on a show that was very close to three hours on Saturday that despite the sore backside I had from sitting on the metal bleacher seats for all that time, was one of the most amazing shows that I have attended. I went in expecting awesomeness, and that is just what Paul delivered. He was all over the stage. If you squinted, you might think you were watching the Paul of old instead of the old Paul.
Paul and his amazing band spanned the decades of Paul's endless song catalog with The Beatles, Wings, and his solo material. They didn't just cruise through the songs either. They really rocked the house! I will say that Paul, vocally anyway, has lost a step to some degree, but his musicianship was as great as it has ever been. Just amazing!
I have no doubt that the shows at Fenway Park were every bit as incredible. I know several people who attended those shows and have heard nothing but good things!
I will say that if you are a Paul McCartney fan and you have never seen him live... you should make it a point to catch him the next time he comes around. You won't regret it!
The view from my seat...
Here are a few photos from the show at the JMA Wireless Dome in Syracuse, NY on June 4th that you can check out. I can't post any videos here because of the song copyrights, but hey... if you wanna see the three videos I shot and more pictures... you can visit my Facebook page on your own. I welcome your visit.
If you are wondering what Paul and the boys played... Here is the setlist:
Can’t Buy Me Love
Junior’s Farm
Letting Go
Got to Get You Into My Life
Come On to Me
Let Me Roll It
Getting Better
Let ‘Em In
My Valentine
Nineteen Hundred and Eighty-Five
Maybe I’m Amazed
I’ve Just Seen a Face
In Spite of All the Danger (a song from The Quarrymen)
Love Me Do
Dance Tonight
Blackbird
Here Today (which he did in tribute to John Lennon)
New
Lady Madonna
Fuh You
Being for the Benefit of Mr. Kite
Something
Ob-La-Di, Ob-La-Da
You Never Give Me Your Money
She Came in Through the Bathroom Window
Get Back
Band on the Run
Let It Be
Live and Let Die
Hey Jude
ENCORE:
I’ve Got a Feeling (a virtual duet with John Lennon)
Birthday
Helter Skelter
Golden Slumbers
Carry That Weight
The End
|
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correct_starring_00056
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FactBench
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0
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https://iannathanielcohen.weebly.com/incspotlight/the-incspotlight-a-hard-days-night-1964
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en
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The INCspotlight
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Concerts, interviews, rabid fans...just another day in the life for the Beatles in their first movie.
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en
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The INCspot
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http://iannathanielcohen.weebly.com/1/post/2021/04/the-incspotlight-a-hard-days-night-1964.html
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Concerts, interviews, rabid fans...just another day in the life for the Beatles in their first movie.
With so many documentaries and books about the Beatles - John Lennon, Paul McCartney, George Harrison, and Ringo Starr (plus their original drummer Pete Best) - and so many people who grew up listening to their music and passed it along to future generations, I don't really know what to say here for my usual background info dump that other people haven't said better and more thoroughly. From their humble beginnings in Liverpool, England, they rocketed to fame in a remarkably short amount of time thanks to a series of catchy, enjoyable songs that caught on with the youth of the early 1960s. Over the years, they evolved and experimented with their compositions and musical style, leaving behind an impressive body of work by the time the band formally broke up in 1970 after ten years together. This isn't even my first foray into discussing something Beatles-related. Back in 2015, I reviewed Julie Taymor's Across the Universe (2007), which I very much enjoyed (and had a lot of fun writing about).
So how did these musical icons make their way to the big screen? Simple: a contract loophole. Capitol Records had the exclusive rights to release the Beatles' albums in the US, but the contract didn't cover film soundtracks. United Artists not only had a hankering to cash in on the Beatles' musical success, but also their own music label, through which they released the soundtracks for their movies. They had the idea to churn out a movie starring the Beatles at a low budget, release a soundtrack for it, and rake in that sweet, sweet cash from the sales of said soundtrack - enough to make up for the film inevitably tanking at the box office. The title, A Hard Day's Night, was decided on late in the production, and came from a malapropism on the part of Ringo after a particularly long day of filming. Lennon and McCartney immediately raced each other to see who could build a song around it first. (Lennon won.)
The screenwriter was Welsh actor-turned-playwright Alun Owen (1925-1994), whose depiction of Liverpool in his televised play No Trams to Lime Street earned him the band's admiration. Owen spent time with the Beatles on the road for a while to get a feel for their personalities and how they interacted with another. Taking the "day in the life" mockumentary approach to the film, he wrote the band as being prisoners of their own success, constantly confined to strict schedules and deadlines, and eager for opportunities to break away from the oppressive routine. Owen had also previously worked with A Hard Day's Night's director, Richard Lester, who'd had his own show on ITV in the 1950s. Owen would continue to write for the stage and big screen throughout the remainder of his career, but stuck mostly with television.
Speaking of Richard Lester, his career is worth going into a bit as well, as I'm sure many of you know (of) at least some of his stuff. American by birth, he started in television in 1950, quickly working his way up the ranks to directing. After working on the Western series Action in the Afternoon (1953-1954), he relocated to England, working on several different shows before being approached by Peter Sellers to help get The Goon Show off the ground. He transitioned to film (because he said it gave him opportunities to do multiple takes in case things went wrong) in 1959 with the sketch comedy short The Running Jumping & Standing Still Film, collaborating with Sellers and Spike Milligan. The Beatles, John Lennon in particular, were huge fans of this short, which is how they ended up picking Lester from a provided list of possible directors. Lester would also direct the Beatles' next film, Help! (1965), which was my personal introduction to the band, as well as Lennon without his bandmates in the anti-war comedy How I Won the War (1967).
Lester's career has had some notable ups and downs since then, with The Three Musketeers (1973) and its 1974 sequel being among his most well-regarded work, while Robin and Marian (1976), starring Sean Connery and Audrey Hepburn, was a well-intentioned but unfortunate misfire. He also took over directing Superman II (1980) after Richard Donner was fired, and he also helmed Superman III (1983). One of his later films, Finders Keepers (1984), features a young Jim Carrey in one of his first big-screen performances. Lester quit directing in 1989 after the tragic death of Roy Kinnear during the production of The Revenge of the Musketeers.
Richard Lester, Audrey Hepburn, and Sean Connery during filming of Robin & Marian (1976)
Richard Lester, Richard Pryor, and Christopher Reeve on the set of Superman III (1983)
WARNING: Here be spoilers! Read further at your own risk!
Like I said earlier, A Hard Day's Night is basically a mockumentary following the Beatles on the road to London as they prepare for a televised performance on a variety show. However, along for the ride is Paul's (fictional) grandfather (Wilfrid Brambell), who's described as very "clean" but with a tendency to get people fighting with each other for his own personal amusement, and Paul's been charged with keeping him out of trouble. Meanwhile, the Beatles must endure the constant rituals of the pre-concert publicity as they put up with tedious interviews and staying confined to their rooms prior to the big show, which they slip away from any chance they get. But what is the elder McCartney really up to? And when his shenanigans get Ringo in trouble with the law, will the band be able to rescue him and still make the concert on time?
As much as A Hard Day's Night is a showcase for the Beatles' music, the Fab Four also prove themselves to be decent actors as well. They all carry this film as if they were all veteran performers, clearly comfortable with their line delivery and with the script's deadpan comedy. While it helps that they're playing themselves (or at least exaggerated versions of themselves) and have plenty of experience as performers, film acting is obviously a different animal than playing a concert, and comedy is a very unforgiving genre. Fortunately, there's nothing to forgive here. I'll admit their Liverpool accents make them a bit hard to understand at times, but it's nothing that can't be addressed by turning on the subtitles so I don't miss anything.
The supporting cast's performances are also solid across the board. Wilfrid Brambell isn't exactly playing the most endearing character as Paul's grandfather, but you never outright hate him, and he's an entertaining character - even when you're supposed to find him annoying. (As opposed to way too many comedy sidekicks that unintentionally annoy the nutella crepe out of the audience because of bad writing.) As a bit of trivia, one of Brambell's claims to fame prior to A Hard Day's Night was Steptoe and Son, a long running sitcom in which he played a "dirty old man." (Hence the running gag about Paul's grandfather being "very clean.") Victor Spinetti as the high-strung TV show's director is also amusing to watch, as are Norman Rossington and John Junkin as the Beatles' beleaguered managers and chaperones. If you're a hardcore James Bond fan, particularly Goldfinger, you'll recognize Margaret Nolan (Dink) and Vernon Wells (Colonel Smithers) who have small roles early on in the movie. (Like A Hard Day's Night, most of the Bond films were released by United Artists.)
A Hard Day's Night isn't the most intricately plotted movie I've ever seen, but the mockumentary approach definitely works in its favor. The "day in the life" angle allows us to get a feel for everyone's personalities and quirks, while smoothly working in the musical numbers, by the Beatles performing some of them within the context of the film. (I'm also impressed by how the filmmakers disguised the fact that John wasn't present for the first "Can't Buy Me Love" sequence on account of him being on a book tour at the time - something I didn't even realize until I was doing my research for this review. Close-ups of Lennon were added later, once he'd returned to the production.) The film also has a very surreal British sense of humor to it, which not only gives it character and further livens it up, but it also provides some genuine laughs, if you like that kind of thing. However, the filmmakers are smart enough not to overdo this, to the point where it's noticeably excessive or too in-your-face. I'm sure I could find some stuff to nitpick about for the sake of nitpicking if I really, really tried, but that's not really my thing. This is the INCspotlight, not CinemaSins.
I'm not very musically literate, so I don't really know how to talk about the songs in this movie, except to say that they're fun and enjoyable to listen to, with not a clunker in the bunch. The title song "A Hard Day's Night" is fun and catchy, with a lot of energy to it, and it matches the energy on the screen when played over the opening titles. The songs also demonstrate Lennon and McCartney's versatility as songwriters, from the upbeat and energetic "Can't Buy Me Love," "I Should've Known Better," and the title song, to slower, more mellow numbers such as "If I Fell" and "And I Love Her," two personal favorites of mine. I suppose some might find fault that the climax of the movie is just four songs (two of which we've heard already) being performed to a crowd of screaming, cheering fans, but the whole movie is building up to a televised concert, so it seems kinda silly to gripe about it or expect them not to rehearse their music. And besides, hearing the Beatles perform their music is pretty much the point of the movie. It'd be like complaining about a martial arts movie having fight scenes in it.
As far as United Artists was concerned, A Hard Day's Night was an afterthought. Like I said earlier, the studio saw the soundtrack as the real moneymaker, enough to recoup the losses on what they were certain would be a box-office disaster. Well, they were half-right; the soundtrack was indeed a huge seller, spending 14 weeks at the top of the Billboard album chart here in the US and going platinum in the UK. However, the film itself was an unexpected hit, raking in about sixteen times its budget in its first week of release (which still makes it among the most profitable films ever made). Critics and reviewers enjoyed it also, and Owen received an Academy Award nomination for Best Screenplay for this film, as did George Martin for the musical score. It's had something of a troubled history when it comes to home media releases, which varied in quality. The 1982 release in particular added a prologue of sorts, which is just a bunch of random Beatles images set to "I'll Cry Instead." However, in 2014, A Hard Day's Night was included as part of the Criterion Collection, with its quality issues resolved and the prologue removed. If you watch this movie via HBO Max, this is the version you'll see.
A Hard Day's Night wouldn't be the only time the Beatles would star in a movie. I already mentioned Help!, a Bond-inspired adventure story where a Thugee cult and a mad scientist (played by Victor Spinetti) are all after one of Ringo's trademark rings, which did NOT age well thanks to its offensive depiction of Hinduism. (It also inspired the Beatles' interest in Eastern musical instruments and stylings, which they'd incorporate into their later songs.) In 1968, United Artists released Yellow Submarine, an animated movie which featured the Beatles as the main characters, although they didn't provide their own voices except for the music - and it is one of the most WTF-inducing movies I've ever seen. Peter Jackson of Lord of the Rings fame is currently working on a Beatles documentary, Get Back, and I'm looking forward to that one.
Help! (1965)
As both an entertaining comedy and a Beatles showcase, A Hard Day's Night succeeds in every respect. You're definitely going to want to see this one, probably more than once.
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correct_starring_00056
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FactBench
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3
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https://www.hollywoodreporter.com/movies/movie-news/hollywood-flashback-before-pirates-paul-mccartney-starred-a-dumb-film-dud-1006302/
|
en
|
Hollywood Flashback: Before ‘Pirates,’ Paul McCartney Starred in a “Dumb” Film Dud
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] | null |
[
"Bill Higgins"
] |
2017-05-25T11:00:00+00:00
|
The former Beatle, who has a small part in the upcoming 'Pirates of the Caribbean: Dead Men Tell No Tales,' wrote, produced, scored and played himself in 1984's critically drubbed 'Give My Regards to Broad Street.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/movies/movie-news/hollywood-flashback-before-pirates-paul-mccartney-starred-a-dumb-film-dud-1006302/
|
It has been more than three decades since Paul McCartney, who has a small part in Pirates of the Caribbean: Dead Men Tell No Tales (May 26), appeared in a feature film.
The last time was in 1984 when the former Beatle, then 42, wrote, produced, scored and played himself in Give My Regards to Broad Street. The musical drama, however, was not well-received. Phrases such as “congenial but dumb” and “a home movie on an amazing scale” were used almost everywhere — except in The Hollywood Reporter.
THR really liked Broad Street, describing it as “a fanciful musical feature that may not whip up teenage fancy but thoroughly entertains.” It did concede the film “has the barest semblance of a plot,” which is a vast understatement. In the movie, McCartney falls asleep in his chauffeured car, dreams the master tapes for his latest album have been stolen and encounters everyone from Ringo Starr to Tracey Ullman (making her feature debut at age 26) while trying to recover them. The film’s action comes from a series of set-piece performances of Beatles and Wings songs that range from McCartney playing solo to Baz Luhrmann-style extravaganzas.
Two years before making it, McCartney told THR that he and John Lennon had tried a couple of times to put a play together, “but it always seemed to fizzle out after three pages.” However, he said coming up with 20,000 words about spending nine days in jail for bringing a half-pound of marijuana into Japan in 1980 “showed me I could write.” The film’s plot came from learning the Sex Pistols once had lost a year’s worth of tapes, and the gimmick “allows me to introduce music naturally into the structure of the film.” Broad Street did receive a Golden Globe nomination for the song “No More Lonely Nights,” but the $9 million film ($21 million today) grossed only $1.4 million domestically.
|
|||||
correct_starring_00056
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FactBench
|
3
| 93
|
https://www.rollingstone.com/music/music-news/beatles-biopic-sam-mendes-directing-four-films-1234971245/
|
en
|
Sam Mendes Will Tell the Story of the Beatles Across Four Films From Each Member’s Point of View
|
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[] |
[] |
[
""
] | null |
[
"Larisha Paul"
] |
2024-02-20T15:34:05+00:00
|
Sam Mendes will direct four Beatles biopic films about each member — Paul McCartney, Ringo Starr, John Lennon, and George Harrison — for Sony Pictures.
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-news/beatles-biopic-sam-mendes-directing-four-films-1234971245/
|
The Beatles are going solo all over again. Paul McCartney, Ringo Starr, George Harrison, and John Lennon will each be the subject of their own solo films directed by Sam Mendes, who is taking a microscopic approach to the usually overarching music biopic narrative. The films, according to a statement from Sony Pictures, will tell the story of the Beatles from each member’s point of view.
“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” Mendes shared in a statement.
Mendes — whose previous credits include American Beauty, Revolutionary Road, Skyfall, and more — will be the first to have full access to both the life stories of each member and the band’s music rights for a scripted film. He will direct all four films and produce alongside Neal Street Productions’ Pippa Harris and Julie Pastor.
“We intend this to be a uniquely thrilling, and epic cinematic experience: four films, told from four different perspectives which tell a single story about the most celebrated band of all time,” Harris shared. “To have The Beatles’ and Apple Corps’ blessing to do this is an immense privilege. From our first meeting with Tom Rothman and Elizabeth Gabler, it was clear that they shared both our passion and ambition for this project, and we can’t think of a more perfect home than Sony Pictures.”
The four films are expected to be completed and ready for theatrical release in 2027. The format of the premiere schedule and the order in which the films will come out has not yet been detailed, though a press release has described the approach as “innovative and groundbreaking.”
In 2021, the Beatles three-part docuseries Get Back premiered on Disney+ with nearly eight hours of archival footage. It was a feast for fans of the band, who received an up close and personal look at the journey to their final public performance in January 1969. That one event was meant to be captured by Peter Jackson in a two-hour film, who got it down to eight hours, but has mentioned the existence of an 18-hour director’s cut. It’s no surprise that the legend of the Beatles would need to span four separate movies.
Trending
“Theatrical movie events today must be culturally seismic. Sam’s daring, large-scale idea is that and then some,” Tom Rothman, Chairman and CEO of Sony Pictures’ Motion Picture Group, shared in a statement. “Pairing his premiere filmmaking team, with the music and the stories of four young men who changed the world, will rock audiences all over the globe. We are deeply grateful to all parties and look forward ourselves to breaking some rules with Sam’s uniquely artistic vision.”
|
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correct_starring_00056
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FactBench
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0
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https://www.janusfilms.com/films/1615
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en
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Janus Films — A Hard Day’s Night
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<p>Meet the Beatles! Just one month after they exploded onto the U.S. scene with their <i>Ed Sullivan Show</i> appearance, John, Paul, George, and Ringo began working on a project that would bring their revolutionary talent to the big screen. <i>A Hard Day’s Night,</i> in which the bandmates play cheeky comic versions of themselves, captured the astonishing moment when they officially became the singular, irreverent idols of their generation and changed music forever. Directed with raucous, anything-goes verve by Richard Lester and featuring a slew of iconic pop anthems, including the title track, “Can’t Buy Me Love,” “I Should Have Known Better,” and “If I Fell,” <i>A Hard Day’s Night,</i> which reconceived the movie musical and exerted an incalculable influence on the music video, is one of the most deliriously entertaining movies of all time.</p>
|
en
| null |
Meet the Beatles! Just one month after they exploded onto the U.S. scene with their Ed Sullivan Show appearance, John, Paul, George, and Ringo began working on a project that would bring their revolutionary talent to the big screen. A Hard Day’s Night, in which the bandmates play cheeky comic versions of themselves, captured the astonishing moment when they officially became the singular, irreverent idols of their generation and changed music forever. Directed with raucous, anything-goes verve by Richard Lester and featuring a slew of iconic pop anthems, including the title track, “Can’t Buy Me Love,” “I Should Have Known Better,” and “If I Fell,” A Hard Day’s Night, which reconceived the movie musical and exerted an incalculable influence on the music video, is one of the most deliriously entertaining movies of all time.
|
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correct_starring_00056
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FactBench
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0
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https://www.the-paulmccartney-project.com/film/a-hard-days-night/
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en
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The Paul McCartney project
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A Hard Day’s Night is a 1964 musical comedy film directed by Richard Lester and starring the English rock band The Beatles—John Lennon, Paul McCartney, George...
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The Paul McCartney project
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https://www.the-paulmccartney-project.com/film/a-hard-days-night/
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A Hard Day’s Night is a 1964 musical comedy film directed by Richard Lester and starring the English rock band The Beatles—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—during the height of Beatlemania. It was written by Alun Owen and originally released by United Artists. The film portrays 36 hours in the lives of the group as they prepare for a television performance.
The film was a financial and critical success and was nominated for two Academy Awards including Best Original Screenplay. Forty years after its release, Time magazine rated it as one of the 100 all-time great films. In 1997, British critic Leslie Halliwell described it as a “comic fantasia with music; an enormous commercial success with the director trying every cinematic gag in the book” and awarded it a full four stars. The film is credited as being one of the most influential of all musical films, inspiring numerous spy films, the Monkees’ television show and pop music videos. In 1999, the British Film Institute ranked it the 88th greatest British film of the 20th century.
Plot
The Beatles evade a horde of fans while boarding a train for London. En route, they meet Paul’s trouble-making grandfather for the first time; he becomes so much trouble that Paul has him locked up in the brake coach’s luggage room, but he and the others soon join him inside. They play cards and entertain some schoolgirls before arriving at the London station, where they’re quickly driven to a hotel and begin to feel cooped up. Their manager Norm tasks them with answering all their fan mail, but they sneak out to party, only to be caught by Norm and taken back. They then find out that the grandfather went to a gambling club using an invitation sent to Ringo, and, after a brief dust-up, they bring him back to the hotel.
The next day, they arrive at a TV studio for a performance. After the initial rehearsal, the producer thinks they’re out to sabotage his career (thanks to something the grandfather said). There is a press conference, where the Beatles are bored by the mundane questioning. They leave through a fire escape and cavort in a field until forced off by the owner. Back in the studios, they are separated when a woman named Millie recognizes John but cannot recall who he is. George is lured into a trendmonger’s office to audition for an ad with a popular female model. The boys all return to rehearse a second song, and after a quick trip to makeup, smoothly go through a third and earn a break.
With an hour before the final run-through, Ringo is forced to chaperone Paul’s grandfather and takes him to the canteen for tea while he reads a book. The grandfather manipulates Ringo into going outside to experience life rather than reading books, passing a surprised John and Paul on the way out. He tries to have a quiet drink in a pub, takes pictures, walks alongside the river and rides a bicycle along a railway station platform. While the other three search in vain for Ringo, he is arrested on suspicion and taken to a police station, where Paul’s grandfather joins him shortly after attempting to sell Beatles photos with forged signatures. The grandfather makes a break for it, runs back to the studio and tells the others about Ringo. Norm sends John, Paul and George to retrieve him. While doing so, the boys wind up in a Keystone Cops-style foot chase before arriving back at the studio with Ringo, with only minutes to spare before airtime. The televised concert goes on as planned, after which the Beatles are whisked away to another performance via helicopter. […]
Screenplay
The screenplay was written by Alun Owen, who was chosen because the Beatles were familiar with his play No Trams to Lime Street, and he had shown an aptitude for Liverpudlian dialogue. McCartney commented, “Alun hung around with us and was careful to try and put words in our mouths that he might’ve heard us speak, so I thought he did a very good script.” Owen spent several days with the group, who told him their lives were like “a train and a room and a car and a room and a room and a room”; the character of Paul’s grandfather refers to this in the dialogue. Owen wrote the script from the viewpoint that the Beatles had become prisoners of their own fame, their schedule of performances and studio work having become punishing.
The script comments cheekily on the Beatles’ fame. For instance, at one point a fan, played by Anna Quayle, apparently recognises John Lennon, though she does not actually mention Lennon’s name, saying only “you are…”. He demurs, saying his face is not quite right for “him”, initiating a surreal dialogue ending with the fan, after she puts on her glasses, agreeing that Lennon doesn’t “look like him at all”, and Lennon saying to himself that “she looks more like him than I do”. Other dialogue is derived from actual interviews with the Beatles. When Ringo is asked if he’s a mod or a rocker, he replies: “Uh, no, I’m a mocker”, a line derived from a joke he made on the TV show Ready Steady Go!. The frequent reference to McCartney’s grandfather (Wilfrid Brambell) as a “clean old man” sets up a contrast with the stock description of Brambell’s character, Albert Steptoe in Steptoe and Son, as a “dirty old man”.
Audiences also responded to the Beatles’ brash social impudence. Director Richard Lester said, “The general aim of the film was to present what was apparently becoming a social phenomenon in this country. Anarchy is too strong a word, but the quality of confidence that the boys exuded! Confidence that they could dress as they liked, speak as they liked, talk to the Queen as they liked, talk to the people on the train who ‘fought the war for them’ as they liked. … [Everything was] still based on privilege—privilege by schooling, privilege by birth, privilege by accent, privilege by speech. The Beatles were the first people to attack this… they said if you want something, do it. You can do it. Forget all this talk about talent or ability or money or speech. Just do it.”
Despite the fact that the original working titles of the film were first The Beatles and then Beatlemania, the group’s name is never spoken in the film—it is, however, visible on Ringo’s drum kit, on the stage lighting, and on the helicopter in the final scene. The television performance scene also contains a visual pun on the group’s name, with photos of beetles visible on the wall behind the dancers.
Production
The film was shot for United Artists (UA) using a cinéma vérité style in black-and-white. The film was meant to be released in July 1964, and since it was already March when Lester got to filming, the entire film had to be produced over a period of sixteen weeks. It had a low budget for its time of £200,000 ($500,000) (equivalent to £4,082,788 in 2019) and filming was finished in under seven weeks, leaving the rest of the time for post-production. At first, the film itself was something of a secondary consideration to UA, whose primary interest was in being able to release the soundtrack album in the United States before Capitol Records (the American EMI affiliate who had first shot at releasing Beatles music in the States) got around to issuing their material; in the words of Bud Ornstein, the European head of production for United Artists: “Our record division wants to get the soundtrack album to distribute in the States, and what we lose on the film we’ll get back on this disc.” As film historian Stephen Glynn put it, A Hard Day’s Night was intended as “a low-budget exploitation film to milk the latest brief musical craze for all it was worth.”
Unlike most productions, it was filmed in near sequential order, as stated by Lennon in 1964. Filming began on 2 March 1964 at Marylebone station in London (sometimes misidentified as Paddington). The Beatles had joined the actors’ union, Equity, only that morning. The first week of filming was on a train travelling between London and Minehead. On 10 March, scenes with Ringo were shot at the Turk’s Head pub in Twickenham, and over the following week various interior scenes were filmed at Twickenham Studios. From 23 to 30 March, filming moved to the Scala Theatre, and on 31 March, concert footage was shot there, although the group mimed to backing tracks. On the 17 March and the 17 April scenes were shot at the Les Ambassadeurs Club in Mayfair. The “Can’t Buy Me Love” segment, which featured creative camera work and the band running and jumping around in a field was shot on 23 April 1964 at Thornbury Playing Fields, Isleworth, Middlesex. The final scene was filmed the following day in West Ealing, London, where Ringo obligingly drops his coat over puddles for a lady to step on, only to discover that the final puddle is actually a large hole in the road.
Before A Hard Day’s Night was released in America, a United Artists executive asked Lester to dub the voices of the group with mid-Atlantic accents. McCartney angrily replied, “Look, if we can understand a fucking cowboy talking Texan, they can understand us talking Liverpool.” Lester subsequently directed the Beatles’ 1965 film, Help!
The film’s costumes—except for those of the Beatles themselves—were designed by Julie Harris. The clothes of the Beatles were credited to Dougie Millings & Son.
Casting
Irish actor Wilfrid Brambell, who played Paul McCartney’s fictional grandfather John McCartney, was already well known to British television audiences as co-star of the British sitcom Steptoe and Son. The recurring joke that he was very “clean” reflects a contrast to his sitcom role, where he was always referred to as a “dirty old man”. In other roles, Norman Rossington played the Beatles’ manager Norm, John Junkin played the group’s road manager Shake, and Victor Spinetti played the television director. Brian Epstein, the group’s real manager, had an uncredited bit part.
The supporting cast included Richard Vernon as the “city gent” on the train and Lionel Blair as a featured dancer. There were also various cameos. John Bluthal played a car thief and an uncredited Derek Nimmo appeared as magician Leslie Jackson. David Janson (billed as David Jaxon here) played the small boy met by Ringo on his “walkabout”. Rooney Massara, who went on to compete in the 1972 Munich Olympics, was the sculler in the river in the “walkabout” scene by the river at Kew (uncredited). Kenneth Haigh appeared as an advertising executive who mistakes George for a “new phenomenon.” David Langton also made a cameo appearance as an actor in the dressing room scene.
Mal Evans, one of the Beatles’ road managers, also appears briefly in the film—moving an upright bass through a tight hallway as Lennon talks with the woman who mistakes him for someone else.
George Harrison met his wife-to-be, Patricia Boyd, on the set when she made a brief (uncredited) appearance as one of the schoolgirls on the train. His initial overtures to her were spurned because she had a boyfriend at the time, but he persisted and they were married within 18 months. The girl with Boyd in the dining car scene is Prudence Bury. Phil Collins, later a member of the band Genesis, was an uncredited schoolboy extra in the concert audience and would subsequently go on to be a very successful musician in his own right.
Playing the buxom woman with Paul’s grandfather in the casino scene was popular British 1960s pinup model Margaret Nolan (aka Vicky Kennedy), who also appeared as “Dink”, the golden girl during the opening credits of the James Bond film Goldfinger, later that same year.
Cut for BBFC
The film had to be edited slightly to obtain the U certificate for British cinemas. The phrase “get knotted” (allegedly in reel 7 of the original submission) was judged inappropriate for a U film and had to be removed. When the film was submitted for release on VHS, the British Board of Film Censors (BBFC) could not locate the phrase and presumed that the clip was “pre-cut”, but stated that the phrase was no longer of any concern. The BBFC noted a number of innuendos and one subtle reference to cocaine, but concluded that it was still within the “natural category” for a U certificate.
Reception
The film premiered at the Pavilion Theatre in London on 6 July 1964—the eve of Ringo Starr’s 24th birthday—and the soundtrack was released four days later. A Hard Day’s Night set records at the London Pavilion by grossing over $20,000 in the first week, ultimately becoming so popular that more than 1,600 prints were in circulation simultaneously.
Critical response
Reviews of the film were mostly positive; one oft-quoted assessment was provided by Andrew Sarris of The Village Voice, labeling A Hard Day’s Night “the Citizen Kane of jukebox musicals.” When The Village Voice published the results of its first annual film poll, A Hard Day’s Night placed second behind Stanley Kubrick’s Dr. Strangelove. On Rotten Tomatoes the film holds an approval rating of 98% based on 109 reviews, with an average rating of 8.5/10. The website’s critics consensus reads: “A Hard Day’s Night, despite its age, is still a delight to watch and has proven itself to be a rock-and-roll movie classic.” It is number four on Rotten Tomatoes’ list of the Top Ten Musicals and Performing Arts films. On Metacritic, it has a weighted average score of 96 out of 100, based on 24 critics, indicating “universal acclaim”.
Time magazine called the film “One of the smoothest, freshest, funniest films ever made for purposes of exploitation.” Film critic Roger Ebert described the film as “one of the great life-affirming landmarks of the movies”, and added it to his list of The Great Movies. In 2004, Total Film magazine named A Hard Day’s Night the 42nd greatest British film of all time. In 2005, Time.com named it one of the 100 best films of the last 80 years. Leslie Halliwell gave the film his highest rating, four stars, the only British film of 1964 to achieve that accolade.
The New York Times film critic Bosley Crowther noted the film was a subtle satire on Beatlemania and the Beatles themselves. The Beatles are portrayed as likeable young lads who are constantly amazed at the attention they receive and who want nothing more than a little peace and quiet; however, they have to deal with screaming crowds, journalists who ask nonsensical questions, and authority figures who constantly look down upon them. In fact, their biggest problem is McCartney’s elderly, but “clean” grandfather, played by Wilfrid Brambell. The New Yorker critic Brendan Gill wrote: “Though I don’t pretend to understand what makes these four rather odd-looking boys so fascinating to so many scores of millions of people, I admit that I feel a certain mindless joy stealing over me as they caper about uttering sounds.”
A Hard Day’s Night was nominated for two Academy Awards: for Best Screenplay (Alun Owen), and Best Score (Adaptation) (George Martin).
By 1971, the film was estimated to have earned $11 million worldwide (equivalent to $70,293,344 in 2020).
Influence
British critic Leslie Halliwell states the film’s influence as “it led directly to all the kaleidoscopic swinging London spy thrillers and comedies of the later sixties”. In particular, the visuals and storyline are credited with inspiring The Monkees’ television series. The “Can’t Buy Me Love” segment borrowed stylistically from Richard Lester’s earlier The Running Jumping & Standing Still Film, and it is this segment, in particular using the contemporary technique of cutting the images to the beat of the music, which has been cited as a precursor of modern music videos. Roger Ebert goes even further, crediting Lester for a more pervasive influence, even constructing “a new grammar”: “he influenced many other films. Today when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of A Hard Day’s Night“. Film theorist James Monroe writes, “The lively 1960s films of Richard Lester—especially his Musicals A Hard Day’s Night (1964), Help! (1965), and A Funny Thing Happened on the Way to the Forum (1966)—popularized jump cuts, rapid and ‘ungrammatical’ cutting. Over time, his brash editorial style became a norm, now celebrated every night around the world in hundreds of music videos on MTV and in countless commercials.” A Hard Day’s Night also inspired a 1965 film featuring Gerry and the Pacemakers, entitled Ferry Cross the Mersey. In an interview for the DVD re-release of A Hard Day’s Night, Lester said he had been labelled the father of MTV and had jokingly responded by asking for a paternity test.
Title
The film’s title originated from something said by Ringo Starr, who described it this way in an interview with disc jockey Dave Hull in 1964: “We went to do a job, and we’d worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, ‘It’s been a hard day …’ and I looked around and saw it was dark so I said, ‘… night!’ So we came to A Hard Day’s Night.”
According to Lennon in a 1980 interview with Playboy magazine: “I was going home in the car, and Dick Lester suggested the title, ‘Hard Day’s Night’ from something Ringo had said. I had used it in In His Own Write, but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny… just said it. So Dick Lester said, ‘We are going to use that title.'”
In a 1994 interview for The Beatles Anthology, however, McCartney disagreed with Lennon’s recollections, recalling that it was the Beatles, and not Lester, who had come up with the idea of using Starr’s verbal misstep: “The title was Ringo’s. We’d almost finished making the film, and this fun bit arrived that we’d not known about before, which was naming the film. So we were sitting around at Twickenham studios having a little brain-storming session … and we said, ‘Well, there was something Ringo said the other day.’ Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical … they were sort of magic even though he was just getting it wrong. And he said after a concert, ‘Phew, it’s been a hard day’s night.'”
Yet another version of events appeared in 1996; producer Walter Shenson said that Lennon had described to him some of Starr’s funnier gaffes, including “a hard day’s night”, whereupon Shenson immediately decided that that was going to be the title of the film.
Regardless of which of these origin stories is the true one, the original tentative title for the film had been “Beatlemania” and when the new title was agreed upon, it became necessary to write and quickly record a new title song, which was completed on 16 April, just eight days before filming was finished. John Lennon wrote the song in one night, (credited to Lennon-McCartney) basing the lyrics on a birthday card sent to his young son Julian, and it went on to win a Grammy for Best Performance by a Vocal Group.: p.xii
The film was titled Yeah Yeah Yeah in Germany and Sweden, Tutti Per Uno (All for One) in Italy, Quatre garçons dans le vent (Four Boys in the Wind[b]) in France Yeah! Yeah! Tässä tulemme! (Yeah! Yeah! Here We Come!) in Finland and Os Reis do Iê-Iê-Iê (The Kings of Yeah-yeah-yeah) in Brazil.
Novelisation
In 1964, Pan Books published a novelisation of the film by author John Burke, described as “based on the original screenplay by Alun Owen”. The book was priced at two shillings and sixpence and contained an 8-page section of photographs from the film. It is the first book in the English language to have the word ‘grotty’ in print.
Release history
1964: A Hard Day’s Night was released by United Artists.
1967: The film premiered on American television on the NBC network on 24 October; the usual Peacock introduction, which preceded all NBC color broadcasts of the era, was replaced by a humorous black-and-white animated cartoon penguin, with cartoon representations of the Beatles jumping out of its stomach, as A Hard Day’s Night was not shot in color;
1970: The film premiered on UK television on BBC1 on 28 December. John Lennon watched the broadcast at home and was inspired to write the song “I’m the Greatest”, which was later recorded by Ringo Starr on his 1973 album Ringo.
1979: Rights to the film were transferred to its producer, Walter Shenson;
1982: Universal Pictures, under license from Shenson, reissued the film in theaters. This release included a prologue consisting of production stills set to the song “I’ll Cry Instead”, which would remain on subsequent home video editions until 2000;
1984: MPI Home Video, under license from Shenson, first released A Hard Day’s Night on home video in the VHS, Betamax, CED Videodisc, and Laserdisc formats, which all included the prologue.
The film was also released by Janus Films as part of The Criterion Collection in both a single-disc CLV and a DualDisc CAV Laserdisc format. The additional features section on the CAV edition include the original theatrical trailer, an interview with Richard Lester, and his The Running Jumping & Standing Still Film.
There were notable pitch problems with the songs in this version, precisely one semitone lower than the original recordings. This was fixed in subsequent releases.
1993: Voyager Company produced a CD-ROM for Mac and PC platforms with video in QuickTime 1 format, containing most of Criterion’s elements, including the original script.
1997: MPI Home Video released the first DVD edition. It contains the 1982 prologue and trailer, newsreels, an interview with Richard Lester, and The Running Jumping & Standing Still Film.
2000: Miramax Films reissued the film in theatres in the United States and then as a collector’s edition DVD two years later, as well as its final issue in the VHS format. The film had been transferred from the restored 35 mm negative and presented in 1.66:1 Widescreen. The prologue that Universal added in 1982 is absent on the Miramax releases.
In addition to the original film, the DVD edition contained a bonus disc with over 7 hours of additional material including interviews with cast and crew members and Beatles associates. The DVD was produced by Beatles historian and producer Martin Lewis, a longtime friend of Walter Shenson.
2009: The film was released on Blu-ray Disc in Canada; however, the disc is region free and will play in any Blu-ray machine. It contains most of the 2000 DVD bonus features.
2010: Miramax was sold by Disney to Filmyard Holdings, LLC, and the home video sub-licence transferred to Lionsgate, although no U.S. Blu-ray release date had been announced.
2011: A new Blu-ray edition was released in Mexico, this version has Spanish subtitles.
2014: Janus Films acquired the rights to the film from Miramax (on behalf of the Shenson Estate, managed by Bruce A. Karsh) and announced a domestic video re-release via The Criterion Collection on 24 June 2014. This dual-format edition (which incorporates the first ever U.S. issue on Blu-ray) contains various supplements from all previous video re-issues. This marks the return of this film to Criterion for the first time in two decades. The film was also released in theaters across the U.S. and in the UK (by Metrodome in the latter region) on 4 July 2014. On 6 July 2014, the film was shown in re-mastered HD on BBC Four in the UK to mark its 50th anniversary. Criterion’s DVD/Blu-ray release of A Hard Day’s Night was duplicated by Umbrella Entertainment in Australia (released 2 July) and Second Sight Films in the UK (released 21 July).
2015: On 15 December, Criterion re-released their Blu-ray as part of The Rock Box, a collection of rock music-related films that also includes Monterey Pop (1968), Gimme Shelter (1970) and Quadrophenia (1979).
2021: On 11 August, Criterion announced their first 4K Ultra HD releases, a six-film slate, will include A Hard Day’s Night. Criterion indicate each title will be available in a 4K UHD+Blu-ray combo pack including a 4K UHD disc of the feature film as well as the film and special features on the companion Blu-ray. The titles will be released in November 2021.
40th anniversary cast and crew reunion screening
On 6 July 2004, the 40th anniversary of the film’s world premiere, a private cast and crew reunion screening was hosted in London by DVD producer Martin Lewis. The screening was attended by McCartney, actors Victor Spinetti, John Junkin, David Janson and many crew members. In media interviews at the event, McCartney disclosed that while he had seen the film many times on video, he had not seen the film on the “big screen” since its 1964 premiere. […]
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FactBench
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https://www.theguardian.com/film/2023/nov/28/paul-mccartney-and-elton-john-to-appear-in-spinal-tap-sequel
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en
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Paul McCartney and Elton John to appear in Spinal Tap sequel
|
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[
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[
"Andrew Pulver",
"www.theguardian.com"
] |
2023-11-28T00:00:00
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Director of the beloved mock-rock-doc confirms filming will start on a sequel next year, with most of the original cast and a few new big names to feature
|
en
|
the Guardian
|
https://www.theguardian.com/film/2023/nov/28/paul-mccartney-and-elton-john-to-appear-in-spinal-tap-sequel
|
Paul McCartney and Elton John will appear in the sequel to cult mockumentary This Is Spinal Tap, for which filming is due to get under way early next year, it has been revealed.
Rob Reiner, director of the original 1984 release as well as the sequel, was speaking to comedian Richard Herring on the latter’s RHLSTP (Richard Herring’s Leicester Square Theatre Podcast). Reiner told Herring, after the latter expressed his admiration for This Is Spinal Tap, that “everybody’s back” for the sequel and that filming would begin at the end of February.
Reiner also said that “Paul McCartney is joining us, and Elton John”, along with US country music star Garth Brooks.
News of plans to make a Spinal Tap sequel broke in May 2022, when the project was shopped at the Cannes film festival international market. Reiner said then: “I can tell you hardly a day goes by without someone saying, why don’t you do another one? For so many years, we said, ‘Nah.’ It wasn’t until we came up with the right idea how to do this. You don’t want to just do it, to do it. You want to honour the first one and push it a little further with the story.”
The original film’s main cast of Michael McKean, Harry Shearer and Christopher Guest are due to return, although Tony Hendra, who played cricket-bat-wielding manager Ian Faith, died in 2021. The plot will reportedly centre on Faith’s death, after which his widow inherits a contract that requires the band to do one last concert. Reiner is also due to return in the character of film-maker Marty DiBergi, a figure supposedly based on Martin Scorsese, who had directed celebrated music documentary The Last Waltz in 1976.
In the podcast, Reiner also talked about This Is Spinal Tap’s remarkable afterlife, culminating in selection for the National Film Registry in 2002, after its initially unfavourable reception on its first release. “To wind up in the National Film Registry, that’s bizarre,” Reiner said. “We previewed it in a theatre in Dallas, Texas, and the people didn’t know what the heck they were looking at. They came up to me afterwards and said, ‘I don’t understand, why would you make a movie about a band that no one has ever heard of, and they are so bad? Why would you ever do that? Why don’t you make a movie about the Beatles or the Rolling Stones?’ I would say, ‘It’s satire,’ and I tried to explain. But over the years people got it, and started to like it.”
|
|||||
correct_starring_00056
|
FactBench
|
0
| 44
|
https://ultimateclassicrock.com/beatles-hard-days-night-premiere/
|
en
|
When the Beatles’ First Movie, ‘A Hard Day’s Night,’ Premiered
|
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[] |
[
"beatles a hard day’s night premiere",
"anniversaries",
"movies"
] | null |
[
"Dave Lifton",
"daveliftongmail-com"
] |
2015-07-06T08:14:56+00:00
|
The world premiere of the Beatles' first movie, 'A Hard Day's Night,' was held in London on July 6, 1964.
|
en
|
Ultimate Classic Rock
|
https://ultimateclassicrock.com/beatles-hard-days-night-premiere/
|
"This is going to surprise you — it may knock you right out of your chair — but the new film with those incredible chaps, the Beatles, is a whale of a comedy.” So began Bosley Crowther’s New York Times review of the Beatles’ first film, A Hard Day’s Night, which premiered on July 6, 1964 at London’s Pavilion Theatre. Coincidentally, it was seven years to the day that John Lennon met Paul McCartney.
The movie didn’t turn Crowther into a Beatles fan. In the same review, he referred to their music as “moronic monotony” and admitted he had trouble distinguishing them from each other “except for Ringo Starr, the big-nosed one.” Still, he praised the movie’s self-aware, comedic take on Beatlemania, and, for a country that was generationally divided on the group, such words from someone so entrenched in polite society carried significant weight.
And, for the upcoming generation of film critics, the movie was pivotal in their development. "I remember I walked into the theater," Roger Ebert said in the 1995 documentary You Can't Do That! The Making of 'A Hard Day's Night.' “I had a short hair cut. I was dressed kind of 'fraternity-boy' style, and I came out with my idea about how to carry and express myself really influenced. I started to let my hair grow. While I was watching that movie, my hair started to grow. ... I've seen A Hard Day's Night at least 25 times, and on at least five occasions, I've taught it to film classes one shot at a time."
The most shocking thing about A Hard Day's Night was that rock n’ roll movies weren’t supposed to be this good. Despite showing promise in his first few films, by 1964 Elvis Presley’s movies had been neutered by Col. Tom Parker, who wanted family entertainment with rapidly decreasing budgets. And although the Frankie Avalon-Annette Funicello beach party movies were very popular with teenagers, they weren’t winning any awards either. The bar was set very low and, by taking the necessary steps to not make those same mistakes, the Beatles raised it higher than anybody could have expected.
Much of the critical praise was justly reserved for director Richard Lester. The Beatles hired him because they had been fans of an 11-minute short he had made with Peter Sellers and Spike Milligan of the Goons, The Running, Jumping & Standing Still Film. Inspired by the French New Wave, his use of hand-held cameras and jump cuts, particularly in the "Can’t Buy Me Love" sequence, would later prove to be a major influence on music video.
"MTV gave me a very nice diploma at one time, or something on vellum, saying that I was the putative father of MTV,” Lester said in You Can’t Do That. “But I've insisted on taking a blood test."
And even if Bosley Crowther couldn’t tell them apart, Alun Owen’s Oscar-nominated screenplay nonetheless solidified the Beatles’ individual personas. “Alun picked up lots of little things about us,” McCartney said in Anthology. “Little jokes, the sarcasm, the humor, John’s wit, Ringo’s laconic manner, each of our different ways. The film manages to capture our characters quite well, because Alun was careful to try only to put words into our mouths that he might have heard us speak.”
But for all the talent involved in the crew (and let’s not forget the great performances by the late Victor Spinetti, Norman Rossington and John Junkin), A Hard Day's Night inevitably succeeds because of its stars. Although they weren’t actors, they — except for a few awkward line readings by McCartney — acquit themselves well on screen. Part of it was because it was a comedy, something that came natural to them.
“Everyone in Liverpool thinks they’re a comedian,” George Harrison explained. “Just drive through the Mersey Tunnel and the guy on the toll booth will be a comedian. We’ve had that born and bred into us. And in our case the humor was made even stronger by the fact that there were four of us bouncing off one another. If one dried up, somebody else was already there with another fab quip."
Watch George Harrison Deflate an Ad Executive in 'A Hard Day's Night'
That group dynamic reminded some — including Crowther — of the Marx Brothers, an analogy with which John Lennon strongly disagreed. “When people start comparing us to the Marx Brothers,” he said. “That’s a load of rubbish! The only similarity is that there were four of them and there are four of us.”
Lennon was right. The Marx Brothers drew their comedy from introducing anarchy into organized society, but A Hard Day's Night is a fictional-but-rooted-in-fact tale about how the Beatles were reacting to a chaos they didn’t intend to cause. They weren’t rebels looking to overthrow the establishment or scheme their way into high society; if anything, they were trying to stay sane by poking fun at everything. The only troublemaker in their party was Paul McCartney’s shifty, but lovable, grandfather (Wilfrid Brambell), who wasn't as "clean" as everybody suspected.
Still, Ringo Starr’s performance during his walkabout drew comparisons to Charlie Chaplin which eventually led to starring roles in movies like Son of Dracula and Caveman. But, as he would later disclose, there was a reason why he was so convincingly morose in that scene. “I had come directly to work from a nightclub (very unprofessional) and was a little hungover, to say the least. Dick Lester had all his people there, and the kid that I was supposed to be with, but I had no brain. … And why I look so cold and dejected is because I felt like shit. There’s no acting going on; I felt that bad.’
Watch Ringo's Star Turn in 'A Hard Day's Night'
And of course, there was the soundtrack, which featured seven new Beatles songs (and three existing ones) that showed just how quickly Lennon and McCartney were growing as songwriters, particularly in the ballads "And I Love Her" and "If I Fell." Famously, Harrison’s use of his brand-new Rickenbacker 360/12-string, a present from the guitar manufacturer on their trip to America that February, proved influential when the Byrds saw the movie together and realized what the missing piece to their equation was.
Filmed in seven weeks on a budget of only $500,000, A Hard Day's Night shattered expectations – not the least of which was the studio, United Artists. According to Bud Orenstein, the head of European production at U.A., the movie was expected to be a loss-leader, with the soundtrack being used to break the band in America. Seems when the deal had been signed in October 1963, Capitol still had no interest in the Beatles. "Our record division wants to get the soundtrack album to distribute in the States," he said, “and what we lose on the film, we'll get back on this disc."
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correct_starring_00056
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FactBench
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3
| 46
|
https://www.belfasttelegraph.co.uk/entertainment/music/news/pop-star-playing-paul-mccartney-in-beatles-biopic-has-been-a-fan-since-childhood/41760014.html
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en
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Pop star playing Paul McCartney in Beatles biopic has been a fan since childhood
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[
""
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[
"Ellie Iorizzo, PA Senior Entertainment"
] |
2022-06-16T14:30:17+02:00
|
Blake Richardson, who plays Sir Paul McCartney in a forthcoming film about Beatles manager Brian Epstein, said he has been watching the band’s performances since he was a child.
|
en
|
BelfastTelegraph.co.uk
|
https://www.belfasttelegraph.co.uk/entertainment/music/news/pop-star-playing-paul-mccartney-in-beatles-biopic-has-been-a-fan-since-childhood/41760014.html
|
The 22-year-old frontman of Brit pop band New Hope Club is set to make his acting debut as one of the Fab Four in Midas Man.
He will star alongside Jonah Lees as John Lennon, Leo Harvey-Elledge as George Harrison, and Campbell Wallace as Sir Ringo Starr in the new biopic.
The film will highlight Epstein’s unparalleled influence on pop music worldwide and his own tragic story.
Richardson said: “I’ve been watching The Beatles’ performances since I was 10. We’ve always done a Beatles song in our live sets.
“I did a tweet when I was like 16 or 17, being like ‘If I could ever do a film, I’d just want to play Paul McCartney in a film’.”
Bandmate Reece Bibby admitted New Hope Club had exploited Richardson’s resemblance to Sir Paul when they were in America.
“One of the first times when we were in LA, a cab driver heard our accents and asked if we were from England, and we were joking around saying ‘This one, he’s Paul McCartney’s grandson’,” he said.
The group, who have enjoyed a UK top five album, have released two new singles, Girl Who Does Both and Getting Better, marking Richardson’s debut as producer.
The Manchester-based trio, who have been performing together since their teens, said they are inspired by great British bands including The Beatles, The Stone Roses and Oasis.
They revealed they even have a secret invitation-only Instagram account to stay close to their biggest fans.
Band member George Smith said: “That’s where we can be ourselves. We’ve always interacted with fans on social media, since we started as 15-year-olds.
“But it’s the supporters who have been with us through everything who we invite to that account. It’s fantastic to have that bond.
“We are unusually close to our fans, that’s where the name comes from – we’re New Hope ‘Club’ for a reason.
“The band and the fans are a team and it’s always been that way. They’re like family.”
The band will begin their US tour in July.
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en
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Paul McCartney and Ringo Starr working on 'very different' film with Get Back director Peter Jackson
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[
"Thomas Curtis-Horsfall"
] |
2022-07-22T12:33:17+01:00
|
After the enormous success of his Beatles documentary Get Back, director Peter Jackson has revealed he's working on a 'very different' film with surviving members Paul McCartney and Ringo Starr.
|
en
|
/assets_v4r/gold/img/favicon-16x16.png
|
Gold
|
https://www.goldradiouk.com/artists/the-beatles/paul-mccartney-ringo-starr-peter-jackson-film/
|
After the enormous success of Get Back, Peter Jackson has revealed he's working on an ambitious new film.
Winning a total of five Emmys for his epic Beatles documentary, Jackson is targeting more success with another film focused on the Fab Four.
Lord Of The Rings director Peter Jackson has confirmed that he's currently working on the project that'd feature both Paul McCartney and Ringo Starr.
The story behind The Beatles last ever live performance
What is the very best album by The Beatles?
Gold's Hall of Fame: The Beatles
But the new film will be very different to his Disney+ documentary that offered an insight into the the beginning of the end of The Beatles.
It’s been a decade since Jackson directed the final instalment of The Hobbit, and he’s since delved fully into the world of documentaries, notably the tear-jerking WWI documentary They Shall Not Grow Old.
Off the back off Get Back’s universal acclaim and with Paul and Ringo in talks to come on board, he’s getting back to his boundary-pushing filmmaking.
Speaking in an interview with Deadline, Jackson let slip that he's "talking to The Beatles about another project, something very, very different than Get Back."
"We’re seeing what the possibilities are, but it’s another project with them. It’s not really a documentary… and that’s all I can really say…" he went on to reveal.
"We are never in a position where we have to do anything, but we’ve got a few things percolating.”
Get Back was the culmination of a pain-staking process to edit over 57 hours of video footage from the original 1970 documentary Let It Be, directed by Michael Lindsay-Hogg.
It was a labour of love for over four years, but clearly hasn't diminished his love of the iconic band.
But according to the Lord Of The Rings director, his new film with Macca and Ringo will test the limits of current technology. So he's developing new technology himself.
“One of them could be big scale, but it’s so technically complicated I’m trying to work how exactly I’ll do it,” Jackson said.
“It’s a live-action movie, but it needs technology that doesn’t quite exist at the moment, so we’re in the middle of developing the technology to allow it to happen. I’m trying to anticipate what I might be able to do, before it even exists."
Teasing a live-action movie using pre-existing footage will likely expand on the editing process for The Beatles' rooftop performance of 'I Got A Feeling'.
A project born of pure fandom, Jackson isolated John Lennon's vocal with the intention of getting Paul to be able to duet him with virtually.
“We had access to all that footage, and to do something like that, you need the footage. The shots have to be right" said Jackson.
"I didn’t mention it to Paul. I thought, ‘Suggesting to Paul that he sing onstage with John, he’s going to think I’m a fanboy geek idiot.’"
But eventually after Paul started touring post-pandemic, Jackson mustered the courage to approach him:
"Finally, I thought, ‘I’m going to regret this for the rest of my life if I don’t even suggest it.’ I sent him a text. I didn’t send him the mockup version, just a text trying to describe it to him."
He continued: "Within 10 minutes, he replied to me: ‘Yeah, this is a fantastic idea; let’s go do it.’ Then it was a frantic rush to restore frames that were missing from that long shot of John from Let It Be. But Paul was thrilled by it."
|
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correct_starring_00056
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FactBench
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3
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https://www.tiktok.com/%40apnewsentertainment/video/7283907778006109486%3Flang%3Den
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
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[] | null |
en
| null | ||||||||
correct_starring_00056
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FactBench
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1
| 90
|
https://theymaybeparted.com/2018/02/12/jan-9-road-work/
|
en
|
Jan. 9: Road work
|
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2018-02-12T00:00:00
|
He launched the January 9 Get Back sessions with "Another Day," an ode to the working woman. Paul McCartney followed it by making the most of his own makeshift satellite office in Twickenham. Paul's morning piano sessions weren’t simply exhibitions, nor was it just for conditioning as he alluded to director Michael Lindsay-Hogg at the…
|
en
|
They May Be Parted
|
https://theymaybeparted.com/2018/02/12/jan-9-road-work/
|
He launched the January 9 Get Back sessions with “Another Day,” an ode to the working woman. Paul McCartney followed it by making the most of his own makeshift satellite office in Twickenham.
Paul’s morning piano sessions weren’t simply exhibitions, nor was it just for conditioning as he alluded to director Michael Lindsay-Hogg at the outset of the day’s Beatles business. The Get Back sessions’ most prolific writer, Paul treated the recording studio as a design studio, too, frequently shaping his songs and writing his lyrics while on the clock. This day offered a terrifically vivid window into that process.
After “Another Day,” a revisiting of “The Palace of the King of Birds” and a quick spin of “Let It Be,” Paul dug into “The Long and Winding Road” for a third consecutive day. The first verse is locked in and would be unchanged through its eventual release. “The second verse, leave a space, for the same thing,” Paul sang as filler. As he continued, Paul play-tested the rhyme of “the many times I’ve cried” and “the many ways I’ve tried” — tested to ultimate success, obviously.
Less successful was Paul’s plan to work in the word “pleasure” into the lyric.
I’ve had lots of pleasure, but said better. …
I’ve had many pleasure. …
I’ve had much pleasure. …
I’ve had lots of pleasure from the many ways I’ve tried.
After less than four minutes on “The Long and Winding Road,” Paul moved on. “There’s no more to that yet,” he dictated to Mal Evans, the do-it-all roadie (the group no longer touring, his roads were now long and winding ones). “But if you leave it around, I’ll still know where I’m going to fill in.”
Following a momentary return to “Mother Mary,” i.e. “Let It Be,” Paul unwrapped another new number, this one a song that would eventually find a home at Abbey Road’s terminus.
Paul didn’t know it at the time, but “Her Majesty” was complete. His presentation of music and lyrics was the same as would appear as Abbey Road’s coda, although here Paul would scat a second verse that would never be written. This version’s introduction, especially, evoked the current, bouncy state of “Maxwell’s Silver Hammer,” and would be the lone instance “Her Majesty” could be heard on piano. Paul played the song one more time these sessions, weeks later, on guitar.
“Paul continued his trip across what would become Abbey Road. Evoking Frank Sinatra’s 1956 LP that reinvented pop standards in a more contemporary style, Paul pointed out to laughter that “Golden Slumbers” — unveiled two days earlier — “should be ready for a Songs for Swinging Singles album.”
Paul offered a gentle delivery of “Golden Slumbers,” and pointed out the direction he’d like to take the song. “It really should be like a fairy tale. ‘Once upon a time, there lived a king. Sleep pretty darling, do not cry.’”
Leading into the next line, Paul introduces the original melody that he intended to change: “The bit you might remember: And I will sing a lullaby.”
Paul repeated his experiment merging “Golden Slumbers” and “Carry That Weight.” And as he did three days earlier, likewise in Ringo Starr’s presence, Paul signaled his intention to expand the song beyond its single line we all know. Paul doesn’t have the verses yet, but he knows what he wants them to say.
“Like a story,” he said. “A bit like ‘Act Naturally,’ where the tagline keeps coming up.”
In referencing one of Ringo’s showcase songs, it’s another piece of evidence pointing to the reason Paul opted to give the drummer a prominent voice on “Carry That Weight,” thinking of him for this song months before it was recorded for Abbey Road.
At this point, Paul wanted “Carry That Weight” to evolve into a comedy song featuring verses describing “just the sort of normal kind of troubles that everyone has” before leading into the “carry that weight” chorus. “There might be a verse about, like, ‘I got in trouble with the wife, I got drunk, something, something, something, something. … Woke up the next morning with a weight upon my head, and I found out it was my head. … Boy! You’re gonna carry that weight …’
“It could be one of those things, you know, in those songs where you’ve got everything, and everything is so great. And this morning, one of my eggs broke, (giggling). Just something trivial. The right shoe’s a bit tight. … ‘Boy, you’re gonna to carry that weight!’” Ringo sang along with every chorus.
Paul indeed delivered a wait, and we can close the circle on our story of “Carry that Weight.” The Nagra tapes don’t capture the song again. If he ever pursued the novelty song idea, there’s no record of it. By the time we get to the song’s actual recording for Abbey Road in July, it was exactly as the song was to this point: simply the line: “Boy, you’re gonna carry that weight, carry that weight a long time!”
Still at the piano, and unaccompanied by any other Beatles, Paul took a detour off (the future) Abbey Road and returned to the long and winding one for the second time in less than 15 minutes on the tapes. And again, Paul was very clinical, deliberate and open with his songwriting.
“I was thinking of having a weather obstacle,” he said before taking a stab at a new verse: “The storm clouds and the rain/The clouds disappear.”
The song’s imagery evoked a famed film thoroughfare.
“It’s sort of like the Wizard of Oz,” Mal said. “Did you ever see the Wizard of Oz?”
“Yeah,” Paul quickly answered, clearly not paying attention at first, before continuing,“No, no, no, I didn’t.”
“The yellow brick road,” Mal said before Michael broke in, “A heartbreaker. Yeah, it’s great.”
Paul returned to the road he was constructing, singing a placeholder verse.
“The thing that’s up ahead/at the end of the road.”
For a lyric, Mal suggested recounting the obstacles on the road, but Paul dismissed that idea, reflecting the pervasive and prevailing uncertainty surrounding the live show. “We have enough obstacles without putting them in the song.”
Much like George asked Paul a week earlier, regarding Maxwell’s, Michael questioned the song’s endgame: “Is it going to end happily or not sure yet?”
Interestingly Paul didn’t address the emotion behind the song’s ending, just that he had an ending. And it was very close to the one that would appear on the record more than a year later:
|
|||||
correct_starring_00056
|
FactBench
|
3
| 89
|
https://www.foxnews.com/entertainment/paul-mccartney-captures-beatles-rise-fame-photos
|
en
|
Paul McCartney captures The Beatles' 'innocence,' challenges amid rise to fame in never-before-seen photos
|
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"Stephanie Giang-Paunon"
] |
2023-06-16T17:42:45-04:00
|
Paul McCartney, John Lennon, Ringo Starr and George Harrison are captured in never-before-seen photos during The Beatles' rise to stardom in the 1960s.
|
en
|
//static.foxnews.com/static/orion/styles/img/fox-news/favicons/favicon.ico
|
Fox News
|
https://www.foxnews.com/entertainment/paul-mccartney-captures-beatles-rise-fame-photos
|
Legendary Beatles star Paul McCartney is giving fans a glimpse inside the band’s "innocent" rise to fame in never-before-seen photos.
During the historic 1964 Beatlemania tour, the iconic band "dominated the world" as the members took the world by storm in their early 20s.
McCartney, John Lennon, Ringo Starr and George Harrison went on a global tour that spanned over six cities: Liverpool, England; London; Paris; New York; Washington, D.C.; and Miami.
PAUL MCCARTNEY ALMOST QUIT MUSIC AFTER THE BEATLES BROKE UP
Amid their rise to fame, the now 80-year-old McCartney snapped a few camera shots of their adventures which are highlighted in his first photo book, "1964: Eyes of the Storm."
With more than 200 pictures, McCartney takes fans behind the lens through candid photos of himself and his bandmates enjoying a journey of a lifetime.
"It shows when this group… just dominated the world, became a worldwide sensation," "1964: Eyes of the Storm" editor Robert Weil told Fox News Digital.
Pictures capture an overwhelming number of photographers and fans doing everything they can to snap shots of the famous English rock band.
In one black-and-white photo, crowds are seen in New York chasing down a car with The Beatles inside. McCartney took the picture in the backseat of the car on West 58th Street, crossing the Avenue of Americas, in 1964.
Although the "Hard Day’s Night" singer-songwriters were hounded by paparazzi and fans, Weil noted that The Beatles always "welcomed" the challenges they faced, as they rose to stardom at a young age.
PAUL MCCARTNEY SAYS HE WAS ‘HURTING TOO MUCH’ TO KEEP THE BEATLES GOING AFTER JOHN LENNON LEFT
"There were challenging moments, but in true fashion, they welcomed them. There were tens of thousands of fans pressing everywhere to get to see them, but they never view them as an obstacle. They wanted to… communicate with [fans] as much as possible," Weil pointed out.
In their downtime, McCartney snapped candid photos of his fellow bandmates.
In a series of photos, Starr is seen smiling and laughing in London, while Harrison accepts a beverage and smokes a cigarette by the pool in Miami. A woman in a yellow bikini hands Harrison, wearing black sunglasses, a drink.
Weil, who has worked with McCartney for more than 20 years, added that McCartney and The Beatles "completely changed" culture and reminisced on how his lasting legacy will carry on.
"Paul McCartney is going to last 100 years. He was one of the great ballad writers, balladeers of the 20th century with all his love songs," Weil told Fox News Digital.
"He's a deep artist and writer. And this book, with all of its photos… just shows another side of him which is going to last well into time… more than any other group of the 20th century."
BEATLES' PAUL MCCARTNEY, ROLLING STONES COLLABORATE AS SURVIVING BANDMATES RECAPTURE GLORY DAYS
Weil, who described McCartney as "one of the nicest human beings you will ever encounter," said the legendary musician doesn't show signs of slowing down.
"Who knows, he may go on tour again at 80," said Weil.
McCartney discussed his photo book during the Tribeca Film Festival and detailed the mostly unseen photos as the Beatles became international stars.
"What I love about [these photos] is the innocence," McCartney said during the film event on Thursday.
WATCH: TRIBECA FILM FESTIVAL: LEGENDARY MUSIC PROMOTER RON DELSENER SAYS HE WOULD’VE LIKED TO COLLABORATE WITH TAYLOR SWIFT
"We didn’t know we were going to [become] famous. We really wanted to be [famous], but we didn’t know."
During his candid discussion with Conan O'Brien, McCartney revealed that his fellow band member Lennon "had a really tragic life."
"[John] had a really tragic life," McCartney said. "As a kid, his mother was decreed to not be good enough to bring him up… His father had left the home when John was 3. So that’s not too wonderful. John grew up with these, sort of, little minor tragedies throughout his life."
CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTER
WATCH: PAUL MCCARTNEY SAYS JOHN LENNON "HAD A TRAGIC LIFE" (video credit: Pop Nation/TMX)
McCartney continued, "It made me realize why he had that vulnerability. I always admired the way he dealt with it because I’m not sure I would deal with the stuff he went through that well."
Weil told Fox News Digital what he wants readers to take away from McCartney’s photo book.
CLICK HERE TO GET THE FOX NEWS APP
"I want [readers]… to see how photographs can change people's lives and… to understand that through The Beatles, the world became modern and the world changed," he said.
The Beatles were considered the most influential band in the 1960s and officially disbanded in 1970. Starr is the only other surviving Beatles member besides McCartney.
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https://www.express.co.uk/entertainment/films/1410668/paul-mccartney-the-beatles-a-hard-days-night-director-richard-lester-george-harrison
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Paul McCartney ‘tried too hard’ on set, says A Hard Day's Night director
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2021-03-17T08:09:00+00:00
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PAUL MCCARTNEY starred alongside his fellow band members in The Beatles' first ever feature film, A Hard Day's Night. The film's director, Richard Lester, confessed the star 'tried too hard' when acting on set. Conversely, Lester praised George Harrison for his almost effortless performances.
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Express.co.uk
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https://www.express.co.uk/entertainment/films/1410668/paul-mccartney-the-beatles-a-hard-days-night-director-richard-lester-george-harrison
|
A Hard Day's Night Official Trailer (2014) The Beatles, Musical HD
The Beatles film, A Hard Day’s Night, was a runaway success for the band, and even went on to receive award nominations. The film was released in 1964 and told the fictional story of the band struggling to organise their lives around an upcoming live TV performance. The band were also hit with such obstacles as hordes of adoring fans chasing them and Paul McCartney’s bumbling grandfather. Years later director of the movie, Lester, revealed what he thought of each of the band members and how it was filming with Paul.
The director told the BFI in 2012: “I think the problem with Paul he was so enthusiastic towards cinema, film, art, the zeitgeist - what was going on - that sometimes it got in the way.
“I think Paul tried harder than he should have.”
While Paul needed improvement, Lester went on to praise George Harrison and his surprisingly good acting skills.
He said: “George, I think, was the most effective actor all the way through.
READ MORE: The Beatles: John Lennon criticised A Hard Day’s Night director
WATCH THE RICHARD LESTER INTERVIEW BELOW
“He attempted less, but he always hit it right in the centre, and I always knew what I was going to get with George.”
The director also spoke candidly about working with John Lennon.
Although the Imagine singer performed well on set, Lester confessed he received some barbed words while filming.
He said: “John was not known to suffer fools, and I probably fell into the fool category.
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“He was always willing to skewer the pomposity around him, and I think there can’t be any more pompous person on a set than the director.
“So, I have wounds. But I have a huge, huge admiration for John.”
Despite their crossed words, Lester added they maintained a strong relationship well after filming had finished.
He said: “I think I can take all his criticisms [as] they were meant in the best possible taste.
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“I hope I formed a relationship with all of them. I spent a lot of time with John, I was never less than impressed.
“He’s one of the three or four people in my life that shaped me.”
After A Hard Day’s Night was released, Lester worked with the Fab Four a second time to produce Help! in 1965.
Help! was the band’s first film in full colour.
A Hard Day’s Night was a huge success for The Beatles and Lester.
After its release the movie was nominated for two Academy Awards - one for Best Screenplay and another for Best Score.
By 1971 it had accumulated a staggering $11 million worldwide, which is approximately $70 million today.
In 1999, the BFI ranked it as the 88th greatest British film of the 20th century.
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1
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https://www.britannica.com/topic/A-Hard-Days-Night
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en
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A Hard Day’s Night | Beatles, Musical Comedy, British
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2011-10-05T00:00:00+00:00
|
A Hard Day’s Night, British comedy-musical film, released in 1964, that starred the Beatles in their first feature movie. Released during the height of Beatlemania and the British Invasion, A Hard Day’s Night is now widely considered a classic. The musical presents a fictitious account of 36 hours
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/A-Hard-Days-Night
|
A Hard Day’s Night, British comedy-musical film, released in 1964, that starred the Beatles in their first feature movie. Released during the height of Beatlemania and the British Invasion, A Hard Day’s Night is now widely considered a classic.
The musical presents a fictitious account of 36 hours in the life of the Beatles, who portray themselves as they travel to London and attempt to record a performance on television while evading fanatical teenage admirers. Film critic Rex Reed derisively referred to playwright Alun Owen’s script of A Hard Day’s Night as a “non-screenplay.” Yet it is precisely the inspired anarchy of Owen’s screenplay—so suited to the Beatles’ personalties that they appear to be improvising—that distinguishes this landmark musical. Until A Hard Day’s Night, rock-and-roll movies were tame, sanitized affairs designed to conform to an older audiences’s sense of morality. This seemingly unstructured look at the Beatles took the world by storm by proving that the lads from Liverpool not only were great musicians but also had an irreverent sense of humour that was compared to that of the Marx Brothers and of BBC Radio’s The Goon Show. The Beatles got memorable support from character actor Wilfred Brambell as Paul’s “clean old man” of a grumpy grandfather.
Britannica Quiz
Best Picture Movie Quote Quiz
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https://www.irishstar.com/culture/entertainment/paul-mescal-beatles-biopic-cast-32902379
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Paul Mescal slated to play one of The Beatles in upcoming biopics
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[] |
[
"Paul Mescal",
"Film"
] | null |
[
"Travel",
"(Image: Jeff Spicer",
"Getty Images for Gucci)",
"Brian Dillon",
"www.facebook.com"
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2024-05-27T15:35:29+00:00
|
Paul Mescal could be taking on the most iconic role of his career in a new Beatles biopic
|
en
|
https://s2-prod.irishstar.com/@trinitymirrordigital/chameleon-branding/publications/irishstar/img/favicon.b03212d16673d081.ico
|
Irish Star
|
https://www.irishstar.com/culture/entertainment/paul-mescal-beatles-biopic-cast-32902379
|
Paul Mescal is rumored to be taking on the role of a Beatle in new biopics by Oscar-winning director Sam Mendes. The director is set to be at the helm of four different films, one dedicated to each member of The Beatles.
All films are slated to be released in 2027 and according to reports, Mendes is eyeing up Co Kildare native Paul Mescal for one of the roles. It has not been reported which of The Beatles he is set to play.
The four films have all been given the blessing of Paul McCartney, Ringo Starr, and the families of John Lennon and George Harrison. For the first time, The Beatles and their company Apple Corps have granted full life story and music rights for a scripted film.
Daisy Edgar-Jones 'fell in love' with Paul Mescal working on Normal People
Ayo Edebiri hints at rom-com with Paul Mescal on one particular condition
A recent profile from The Hollywood Reporter, which highlighted ten young movie stars who are taking over the movie industry, reported that Mendes was eyeing up Mescal for one of the roles. Mescal has become a huge name in Hollywood since starring in 2020's Normal People alongside Daisy Edgar-Jones.
Since then, he has gone on to become an Oscar nominee for his performance in 2022's Aftersun. He also blew critics away with his emotional performance in All of Us Strangers beside Andrew Scott.
There are some major projects in the pipeline for Mescal as he is set to star in the highly anticipated Gladiator sequel. The film is expected to do well at the box office when it is released later this year.
For all the latest news straight to your inbox, sign up for our FREE newsletters here.
The actor has also signed on for an impressive 20-year film project which will showcase his singing abilities, something audiences saw with his stand-out performance in Carmen. The Irish heartthrob is all geared up for his role in Merrily We Roll Along, the silver screen adaptation of the 1981 Stephen Sondheim musical, which itself was inspired by the 1934 play penned by George S. Kaufman and Moss Hart.
But there's a bit of a wait for Mescal's fans eager to hear him croon, as Merrily We Roll Along won't hit the big screens until 2039.
|
||||
correct_starring_00056
|
FactBench
|
0
| 25
|
https://www.foxnews.com/lifestyle/this-day-history-august-11-1964-beatles-iconic-film-hard-days-night-released
|
en
|
On this day in history, August 11, 1964, Beatles' iconic film 'A Hard Day's Night' is released
|
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2023-08-11T00:02:54-04:00
|
The iconic Beatles film "A Hard Day's Night" was released on this day in history, Aug. 11, 1964, and would go on to win two Oscars. It captured Beatlemania and is considered a classic.
|
en
|
//static.foxnews.com/static/orion/styles/img/fox-news/favicons/favicon.ico
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Fox News
|
https://www.foxnews.com/lifestyle/this-day-history-august-11-1964-beatles-iconic-film-hard-days-night-released
|
The iconic British comedy musical film, "A Hard Day’s Night," was released on this day in history, Aug. 11, 1964, and starred the Beatles in their first feature movie.
The movie was released during the height of Beatlemania as well as the British Invasion, and "A Hard Day’s Night" is widely considered a classic, according to Britannica.com.
It will mark its 60th anniversary in 2024.
"The musical presents a fictitious account of 36 hours in the life of the Beatles, who portray themselves as they travel to London and attempt to record a performance on television while evading fanatical teenage admirers," the same source noted.
ON THIS DAY IN HISTORY, AUGUST 10, 1846, SMITHSONIAN IS CREATED: ‘DIFFUSION OF KNOWLEDGE’
The rock ‘n’ roll musical boasts catchy and classic Beatles tunes, including "Can’t Buy Me Love," "I Should Have Known Better," and the namesake "A Hard Day’s Night."
John Lennon wrote the song "A Hard Day's Night"; it credited to Lennon-McCartney and released on the movie soundtrack of the same name in 1964, according to the Beatles' official website.
The American and British singles of "A Hard Day's Night" as well as both the American and British albums of the same title all held the top position in their respective charts for a couple of weeks in August 1964 — the first time any artist had accomplished this feat, said the same source.
United Artists had thought up the premise of the movie in October 1963, said The New Republic.
BEATLES QUIZ! HOW WELL DO YOU KNOW THESE FACTS ABOUT THE LEGENDARY ROCK GROUP?
The Beatles signed onto the deal, but they "were edgy" about what the movie might be, the same source reported.
Time magazine called the film "one of the smoothest, freshest, funniest films ever made for purposes of exploitation."
United Artists assigned Walter Shenson as producer and Richard Lester as director. Alun Owen was hired to write a script, according to The New Republic.
The plot line of "A Hard Day’s Night" is about how the Beatles are pursued by their zealous teenaged fans.
The Beatles — Paul McCartney, John Lennon, George Harrison and Ringo Starr — board a London-bound train from Liverpool to appear on a television program, and they’re accompanied by their manager, Norm, his assistant, Shake, and Paul's grandfather, as Turner Classic Movies recounted.
The Beatles, along the way, must rescue Paul's unconventional grandfather from various misadventures, while drummer Ringo goes missing just before the crucial concert, said Film Affinity.
The film "A Hard Day's Night" received two Oscars during the 37th Academy Awards.
Time magazine called the film "one of the smoothest, freshest, funniest films ever made for purposes of exploitation," and film critic Roger Ebert described the film as "one of the great life-affirming landmarks of the movies."
Ebert added it to his list of The Great Movies.
ON THIS DAY IN HISTORY, FEB. 7, 1964, BEATLES ARRIVE IN US FOR FIRST TIME, INSPIRE NATIONWIDE MANIA
The film received two Oscars during the 37th Academy Awards (1965), which honored movies from 1964.
"A Hard Day’s Night" won an Oscar for Best Original Screenplay (Alun Owen) and for Best Score (George Martin).
In addition, the film won the BAFTA (British Academy Film Awards) of 1965 for movies made in 1964.
An exhausted Ringo Starr reportedly coined the phrase "A Hard Day’s Night" following a filming session on March 19, 1964, according to the Beatles Bible website.
"We went to do a job, and we’d worked all day and we happened to work all night. I came up still thinking it was day, I suppose, and I said, ‘It’s been a hard day …’ and I looked around and saw it was dark, so I said, 'Night!’ So we came to ‘A Hard Day’s Night,’" the same source indicated.
"In 1984, ‘Hard Day’s Night’ director Richard Lester was given an award by MTV declaring him ‘the father of the music video.'"
In addition, while the saying was appropriated for the movie, it wasn’t a new phrase, said the Beatles Bible.
"It had appeared in John Lennon’s book ‘In His Own Write,’ published on March 23, 1964, although Lennon always attributed it to his colleague," the same source noted.
ON THIS DAY IN HISTORY, AUGUST 29, 1966, THE BEATLES PLAY THEIR LAST LIVE PAID CONCERT
The movie has both a musical and movie-making legacy in pop culture, as MTV attributes the film with inventing the music video, said Vulture.
"In 1984, ‘Hard Day’s Night’ director Richard Lester was given an award by MTV declaring him ‘the father of the music video,’" the same source pointed out.
"'Hard Day’s Night' featured the Beatles playing in concert, but it also featured their songs playing over the action of the film," Vulture also said.
CLICK HERE TO SIGN UP FOR OUR LIFESTYLE NEWSLETTER
In the spring of 1970, the Beatles formally disbanded and the years that followed, all four members went on to produce solo albums.
Lennon released a set of songs with his wife, Yoko Ono, and McCartney formed a new band, Wings, which "turned out a fair number of commercially successful recordings in the 1970s," said Britannica.
Harrison and Starr also had success as solo artists.
CLICK HERE TO GET THE FOX NEWS APP
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correct_starring_00056
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FactBench
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0
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https://theoutlooknewspaper.org/4051/opinions/a-hard-days-night-how-the-beatles-helped-define-a-generation/
|
en
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A Hard Day’s Night: How The Beatles Helped Define a Generation
|
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Quick Quiz: Do you know any of these songs? And if so, what do they have in common? A Hard Day’s Night I’m Happy Just to Dance With You Can’t Buy Me Love I’m sure you’ve heard at least one and you guessed it, they’re all Beatles songs! They are all from the album A...
|
en
|
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Outlook
|
https://theoutlooknewspaper.org/4051/opinions/a-hard-days-night-how-the-beatles-helped-define-a-generation/
|
Quick Quiz: Do you know any of these songs? And if so, what do they have in common?
A Hard Day’s Night
I’m Happy Just to Dance With You
Can’t Buy Me Love
I’m sure you’ve heard at least one and you guessed it, they’re all Beatles songs! They are all from the album A Hard Day’s Night and featured in the film debut of the boys -John Lennon, Paul McCartney, George Harrison, and Ringo Starr. Ranked as the 88th greatest British film of the 20th century by the British Film Institute, the Beatles A Hard Day’s Night truly lives up to the title. This movie and the band that made it set the tone for the rest of the 60’s and has been the inspiration for numerous music videos to this day. I mean, there’s a reason these titles are still known by kids more than half a century later.
I have recently discovered that I am able to talk about anything I want in Journalism, so now I will just be producing a series of articles about them to monopolise on my infatuation. I have fallen deep into a Beatles rabbit hole since the summer of 2022 and have immersed myself not just with their music, but also the effects that the band has had on society. This movie is only one of the many ways they have impacted society and pop culture.
On July sixth, 1964, the Beatles first film A Hard Day’s Night came out. They had already taken the world – especially America – by storm. The Beatles were in the midst of a publicity phenomenon, having already experienced a record of 73 million people watching them on the Ed Sullivan Show. Though Beatlemania was at its height, they had yet to imprint themselves into music history. A Hard Day’s Night is what provided them with the extra push they needed to be seen as one of the most recognized bands of all time.
The initially low budget film had cost $500,000, but by 1971 the film was estimated to have earned $11 million worldwide (equivalent to $73,601,479 in 2021). It is currently certified fresh with a score of 97% on the Tomato-eater scale and an 89% in audience score. The critical consensus is that “A Hard Day’s Night, despite its age, is still a delight to watch and has proven itself to be a rock-and-roll movie classic.” The musical comedy with a run time of 83 minutes
is directed by Richard Lester and stars, of course, the Beatles, in a mockumentary style 36 hour look into their lives befour a television performance. As not to spoil the film, I will only be highlighting three main parts that really display its effects when released.
The film starts with an iconic chase scene between the Beatles and a gaggle of their fans as they are trying to get on a train to London where they will film a televised concert. Once on this train, a scene between an older man who “fought in the war” and the boys plays out highlighting the issue of established social class which is explored throughout the film. The Beatles throughout this movie and in their actual careers were put down because of where they were born and how they behaved in public, so a defining factor of their group was that they stood up against that bigotry and lived their own lives rather than the ones they were born into.
Another part of the film, which happens more than once, is the Beatles sneaking away from either their room or manager. This part is a nod to the fact that they are -and would continue to be- stuck in their fame. This is also
represented by the chase scene at the beginning, and yes, that actually happened to them in real life. They couldn’t exactly live a normal life anymore so, in the film, to obtain a sense of it they would leave through a fire escape, or sneak out to a nightclub when their manager was away. Fame had stopped them from having physical freedom, but they always tried to maintain their sense of selves in one way or another.
One example of them trying to maintain their sense of selves is seen when The Beatles arrive at the studio on the following day of the film where they will be recording their performance. After their first rehearsal, they are bombarded by journalists at a press conference and combat all their questions with goofy answers and jokes:
Interviewer: Tell me, how did you find America?
John Lennon: Turn left at Greenland.
Interviewer: Do you often see your father?
Paul McCartney: No actually, we’re just good friends. (This has been his answer for three previous questions.)
The writer for this film, Alun Owen, spent a few days with the boys in order to stay true to their Liverpudlian dialect and have an adequate representation of their individual humour. They were actually quite rowdy in actual interviews and tended to never take themselves or the questions seriously. This was a part of their charm. They appeared to be normal lads who had just stumbled upon fame and they never really paid much attention to how they “should” behave with their new status.
It is important to understand that, though the Beatles were entertainers, they were also the leaders of an era where people were pushing back against established social constructs. Throughout the film there are many humorous one liners and jokes thrown back and forth that usually speak to breaking or ignoring power dynamics based on birth, schooling, accent, and dialect. Something that made the Beatles very unique for their time is that they never stood for being treated lesser than because of where they were born. They had all come from Liverpool which is a less privileged
part of England, but they always made a point to keep their accents and be themselves in front of the press which was never very “well behaved” as celebrities had been befour. It was a young person’s movement, where the younger generation was trying to differentiate themselves from those who had come before them. There was now more of an emphasis on individuality rather than what was acceptable in society.
|
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correct_starring_00056
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FactBench
|
1
| 12
|
https://www.hollywoodreporter.com/movies/movie-news/hollywood-flashback-before-pirates-paul-mccartney-starred-a-dumb-film-dud-1006302/
|
en
|
Hollywood Flashback: Before ‘Pirates,’ Paul McCartney Starred in a “Dumb” Film Dud
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[
"Bill Higgins"
] |
2017-05-25T11:00:00+00:00
|
The former Beatle, who has a small part in the upcoming 'Pirates of the Caribbean: Dead Men Tell No Tales,' wrote, produced, scored and played himself in 1984's critically drubbed 'Give My Regards to Broad Street.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/movies/movie-news/hollywood-flashback-before-pirates-paul-mccartney-starred-a-dumb-film-dud-1006302/
|
It has been more than three decades since Paul McCartney, who has a small part in Pirates of the Caribbean: Dead Men Tell No Tales (May 26), appeared in a feature film.
The last time was in 1984 when the former Beatle, then 42, wrote, produced, scored and played himself in Give My Regards to Broad Street. The musical drama, however, was not well-received. Phrases such as “congenial but dumb” and “a home movie on an amazing scale” were used almost everywhere — except in The Hollywood Reporter.
THR really liked Broad Street, describing it as “a fanciful musical feature that may not whip up teenage fancy but thoroughly entertains.” It did concede the film “has the barest semblance of a plot,” which is a vast understatement. In the movie, McCartney falls asleep in his chauffeured car, dreams the master tapes for his latest album have been stolen and encounters everyone from Ringo Starr to Tracey Ullman (making her feature debut at age 26) while trying to recover them. The film’s action comes from a series of set-piece performances of Beatles and Wings songs that range from McCartney playing solo to Baz Luhrmann-style extravaganzas.
Two years before making it, McCartney told THR that he and John Lennon had tried a couple of times to put a play together, “but it always seemed to fizzle out after three pages.” However, he said coming up with 20,000 words about spending nine days in jail for bringing a half-pound of marijuana into Japan in 1980 “showed me I could write.” The film’s plot came from learning the Sex Pistols once had lost a year’s worth of tapes, and the gimmick “allows me to introduce music naturally into the structure of the film.” Broad Street did receive a Golden Globe nomination for the song “No More Lonely Nights,” but the $9 million film ($21 million today) grossed only $1.4 million domestically.
|
|||||
correct_starring_00056
|
FactBench
|
0
| 48
|
https://www.onesourceauctions.com/auction-lot/1964-the-beatles-a-hard-day-s-night-full-movie_BCB45289BB
|
en
|
1964 The Beatles "A Hard Day's Night" Full Movie Ticket No. 804
|
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en
|
https://www.onesourceauctions.com/auction-lot/1964-the-beatles-a-hard-day-s-night-full-movie_BCB45289BB
|
Conditions of Sale
1. Your bidding at this Auction indicates that you have READ AND ARE IN ACCEPTANCE of the following Terms & Conditions of Sale.
2. It is the buyer's responsibility to be knowledgeable about the condition of the property before bidding. This is a live auction, and the buyer is advised to inspect the items in person during the week prior to the auction. As a courtesy, One Source Auction makes condition reports available prior to the auction. One Source Auction shall have no responsibility for any error or omission; all lots are sold "AS IS". The absence of a condition statement DOES NOT imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. One Source Auction does not guarantee the validity of the Certificate of Authenticities provided. Any such warranty is WAIVED. ALL SALES ARE FINAL AND NO SALE RESCISSIONS WILL BE MADE ON THE BASIS OF CONDITION, NO EXCEPTIONS
3. Acceptable forms of payment are Visa, MasterCard, Discover, American Express & Paypal. Money Order, and Cashiers Checks are also accepted, as well as Cash on Pick Up.
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7. The record of sale, kept by the auctioneer and clerk, will be taken as absolute and final in all disputes.
8. Should internet bidding fail for any reason, please contact 585-261-8506, to enact an absentee or telephone bid. We will do our best to accommodate you at the live auction.
Taxes
If you are a resident of New York State you are required to pay the appropriate sales tax based on the sales tax table. If you have a valid NY State Tax Exempt Number you must provide a copy of the New York State ST-120 form at the time of Registration to onesourceesate@aol.com
Payment Terms
Complete payment is required within 4 days of receiving an invoice. In agreeing to these terms of sale, if payment is NOT received within 4 days of receipt, agreeing to these terms gives us the right to charge the card on file, unless other arrangements have been made. If items are not paid for, a non paying dispute will be issued unless contact with the Auction house is made for an extension.
Shipping Terms
Auction House will ship Worldwide, at Buyer's Expense. PLEASE CONTACT PRIOR TO BIDDING TO ASK FOR SHIPPING QUOTES!!!! Allow a 24 hour period for quotes. Shipping quotes are figured before invoices are sent out. Multiple shipping companies (USPS, UPS, Fedex, Greyhound, etc) will be looked into for the best rate. Large paintings and other large items may be packed by a third party.
Buyer's Premium
A buyer's premium of 17% of the hammer price shall be added to each purchase by the Auction House. Auctionzip / Invaluable / Ebay will add their own 1% Convenience charge to each purchase, making it 18% total.
|
|||||||
correct_starring_00056
|
FactBench
|
0
| 67
|
https://beatlesinlondon.com/april-20th-1964-paul-mccartney-films-an-unused-scene-for-a-hard-days-night-2/
|
en
|
April 20th 1964 – Paul McCartney films an unused Scene for A Hard Day’s Night
|
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2018-04-20T06:50:18+00:00
|
April 20th 1964 – Filming: Paul McCartney’s unused scene in A Hard Day’s Night Paul McCartney filmed a solo sequence for The Beatles’ debut feature film A Hard Day’s Night on this day. However, it was omitted from the final cut. The premise was that McCartney was looking for Ringo Starr, who had gone missing temporarily. […]
|
en
|
#
|
Beatles in London
|
https://beatlesinlondon.com/april-20th-1964-paul-mccartney-films-an-unused-scene-for-a-hard-days-night-2/
|
The premise was that McCartney was looking for Ringo Starr, who had gone missing temporarily. McCartney discovered a rehearsal room where he had a conversation with an actress, played by 18-year-old Isla Blair. It was filmed at the Jack Billings TV School of Dancing at 18 Goldhawk Road in London, above what was then The Bush pub, on Shepherds Bush Green.
The scene, however, remained unused. There have been many reasons put forward to why this was, mainly centering on it not fitting in with the rest of the film. However, I heard something different. In 2001, I was asked along to Twickenham Film Studios by Director, Martin Lewis, to help with the bonus DVD of a Hard Day’s Night. One day the crew got together, and the next day the cast, to reminisce about their time on the film.
During the filming, I was told by 2 different people that worked on the film that the real reason this scene was cut was that Isla Blair was wearing a very low cut dress, and Paul kept on looking where he shouldn’t be! Well, he’s always been a breast man!
|
||||
correct_starring_00056
|
FactBench
|
0
| 88
|
https://spectrumculture.com/2015/01/19/revisit-hard-days-night/
|
en
|
Revisit: A Hard Day’s Night
|
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[
"David Harris"
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2015-01-19T00:00:00
|
It seems that director Richard Lester’s thesis in A Hard Day’s Night (1964) is that everyone over 30 is completely out of touch. For most of the film’s sleek 87 minutes, the members of the Beatles rub up against stuffed shirts, airless television producers, soulless marketers, overbearing managers and clueless cops, all standing in the …
|
en
|
Spectrum Culture
|
https://spectrumculture.com/2015/01/19/revisit-hard-days-night/
|
It seems that director Richard Lester’s thesis in A Hard Day’s Night (1964) is that everyone over 30 is completely out of touch. For most of the film’s sleek 87 minutes, the members of the Beatles rub up against stuffed shirts, airless television producers, soulless marketers, overbearing managers and clueless cops, all standing in the Fab Four’s path of having a laugh. These cranks don’t like loud music, don’t understand the latest style and no longer have the affinity for chasing after girls and dancing the night away. But what does it mean when the most rebellious person in the film isn’t even a young man, but Paul McCartney’s venerable grandfather (Wilfrid Brambell)?
Leave it to the inimitable Lester Bangs to sum it up best: “Fuck the Beatles… it’s BLATANTLY OBVIOUS that the most rock-and-roll human being in the whole movie is the fucking grandfather. That wily old slime of Paul’s! He had more energy than the four moptops put together! Plus the spirit! He was a true anarchist!”
So yes, while the Beatles are dancing, singing love songs and being chased by rabid fans, Paul’s dear grandfather is out gambling, forging signatures on promo stills to sell and even sending Ringo Starr into an emotional tailspin by carping about the drummer’s lack of interest in “parading” himself around and getting some tail. The old man is so wily the Beatles themselves end up chasing after him. The last we see of him, the codger is handcuffed inside the helicopter that is waiting to whisk the boys away from a television appearance and onto their next adventure.
So just who is the old man who steals the film that is supposed to star four of the 20th century’s most magnetic stars? Brambell (1912-1985) was an Irish actor best known as a star on British television. Born in Dublin, he began his acting career as a child, entertaining wounded World War I soldiers, and eventually became a professional theater and television actor.
Brambell’s big break came in 1962 where he earned the leading role in “Steptoe and Son,” a series so popular and long-running that McCartney himself handpicked the actor for A Hard Day’s Night. A recurring joke in the movie is that Brambell’s character is a “clean old man.” Out of context, the joke could seem like a play on the “dirty old man” stereotype that sometimes clings to wily elderly characters. But the recurring joke in “Steptoe and Son” was that Brambell’s son is constantly calling him a “dirty old man”. Since the popularity of “Steptoe” hasn’t managed to carry on, especially for American audiences, the “clean” joke now comes off more like a non-sequitur when viewing A Hard Day’s Night.
Although Brambell, weasel-faced and long in the tooth, looks old in the film, he was only in his early 50s at the time. In fact, he often played characters much older than his true age, including his role as Albert Steptoe. But while Brambell was cast against type in A Hard Day’s Night – he was never himself a coarse rebel – he did struggle as a closeted homosexual most of his life, struggles that included an arrest in a public lavatory in 1962. Brambell’s defining role would come in the early ‘80s when he starred as a dying man coming to terms with his sexuality in The Terence Davies Trilogy.
Until 1967, homosexual acts were illegal in Britain, making Brambell the true outlaw. Though the Beatles are portrayed as rebels in A Hard Day’s Night, it wouldn’t take the world long to catch up to their brand and style. That spirit is indubitably captured in the film through Brambell’s character, who totally upstages the Beatles.
Brambell died of cancer in 1985 at the age of 72, but his name resurfaced in 2012 when allegations that he molested two young boys backstage at a theater during the ‘70s came to light. It is an unfortunate legacy for the actor to leave behind, one that a former British minister is convinced is true. Maybe Brambell really was a dirty old man after all, but it’s the role where he played a clean one that still sparkles more than 50 years later.
|
|||||
correct_starring_00056
|
FactBench
|
3
| 65
|
https://scroll.in/reel/805647/watch-paul-mccartneys-screen-debut-in-a-hard-days-night
|
en
|
[Watch] Paul McCartney’s screen debut in ‘A Hard Day’s Night’
|
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[
"Culture and Lifestyle",
"Books and Ideas",
"The Beatles",
"Paul McCartney",
"Pirates of the Caribbean: Dead Men Tell No Tales",
"The Beatles on film",
"A Hard Day's Night",
"Richard Lester",
"Help!",
"Magical Mystery Tour",
"Yellow Submarine",
"Johnny Depp",
"Pop music",
"Hollywood",
"Entertainment"
] | null |
[
"Scroll Staff"
] |
2016-03-25T09:00:00+05:30
|
The most photogenic Beatle will be seen in the next edition of the ‘Pirates of the Carribbean’.
|
en
|
Scroll.in
|
https://scroll.in/reel/805647/watch-paul-mccartneys-screen-debut-in-a-hard-days-night
|
Former lead singer of The Beatles, lyricist and musician Paul McCartney has been added to the cast of the fifth Pirates of the Caribbean movie. Dead Men Tell No Tales stars Johnny Depp’s rapscallion pirate Jack Sparrow in a new set of adventures that is possibly the last in the blockbuster franchise. The movie, directed by Joachim Rønning and Espen Sandberg, also stars Javier Bardem as the villain, while Orlando Bloom and Geoffrey Rush return as Will Turner and Captain Barbossa, respectively. The details of McCartney’s role haven’t been announced yet, and the movie will be released only on May 26, 2017. But it can safely be predicted that the ex-Beatle will be most comfortable in front of the camera, just the way he has been ever since the band burst onto the music scene in 1962.
The 73-year-old singer and songwriter made his screen debut in A Hard Day’s Night, which was released in 1964 to cash in on Beatlemania. Directed by Richard Lester and shot in a documentary style (the scenes of shrieking fans chasing McCartney, John Lennon, George Harrison and Ringo Starr everywhere must surely have been very easy to stage), the comedy features the Fab Four as their irreverent and adventurous selves. A Hard Day’s Night was a critical and commercial hit.
The movie opens with the chart-busting titular song and follows the Beatles, who are never named in the film, on a train journey to London, where they are scheduled to perform at a concert. Paul’s grandfather accompanies the cheeky foursome on the journey, and the old man proves to be far more troublesome than the band members. Ringo goes missing and is found just in time for the concert. The soundtrack includes songs that have become Beatles standards, such as “I Feel Fine”, which is performed on the train, “I Wanna Be Your Man” and “All My Loving”, which plays in the background as the Beatles dance at a club, and “If I Fell” and “And I Love Her”, performed during practice sessions.
The Criterion DVD label restored the movie in 2014, and the audio remastering was carried out by Giles Martin, the son of the band’s legendary producer, George Martin, who died on March 8, 2016. Richard Lester directed another movie around the band in 1965. Help! was a parody of spy movies revolving around a Hindu cult that pursues drummer Ringo Starr for a magical ring that he has inadvertently come to possess.
The Fab Four were stoned during the production, write Peter Brown and Steven Gaines in The Beatles biography The Love You Make. The band was hooked after an initiation by Bob Dylan in America the previous year, and “their continuous giggling, plus their periodic trips to the dressing trailer to ‘have a laugh,’ was enough of a clue to what was going on without the sweet telltale scent of pot that followed them around”, write Brown and Gaines. The soundtrack, which included the title track, “Yesterday”, “The Night Before” and “You’ve Got To Hide Your Love Away”, topped the charts, but the movie was poorly received. The Beatles made a third film, Magical Mystery Tour (1967), inspired the characters in the acclaimed animated movie Yellow Submarine (1968), and appeared together for one last time in the documentary Let It Be (1969), which captured the break-up of one of the greatest quartets in musical history.
|
|||||
correct_starring_00056
|
FactBench
|
1
| 93
|
https://www.vulture.com/2019/11/paul-mccartney-yesterday-movie-terrible-idea.html
|
en
|
Paul McCartney Thought Yesterday Was ‘a Terrible Idea’ at First
|
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[
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[
"Justin Curto"
] |
2019-11-14T13:06:15.219000-05:00
|
Paul McCartney told Billboard in a new interview that he thought the movie ‘Yesterday’ was “a terrible idea” when writer Richard Curtis explained it to him, but he didn’t tell Curtis that.
|
en
|
Vulture
|
https://www.vulture.com/2019/11/paul-mccartney-yesterday-movie-terrible-idea.html
|
You know when someone asks your thoughts on something, like getting bangs or starting a podcast, and it sounds like they shouldn’t do it but you don’t have the heart to tell them? That’s how Paul McCartney felt when screenwriter Richard Curtis first approached him about the movie Yesterday, which posits a world in which the Beatles never existed. (We can’t blame him!) In a new interview with Billboard, McCartney says, “Richard Curtis, who [directed] Love Actually, wrote to me with the idea. And I thought, This is a terrible idea, but I couldn’t tell him so I said, ‘Well, that sounds interesting — good luck.’ I didn’t think anything more of it.” Then, when McCartney found out Danny Boyle was tied to the project, he thought, They must think they can pull it off.
Despite the fact that the movie wanted to erase him from history, Macca still saw it, inviting his wife, Nancy, on a date to a screening. “We got two tickets and walked in when the cinema went dark. Only a couple of people saw us,” he said. “We were in the back row, giggling away, especially at all the mentions of ‘Paul McCartney.’” And his review? “We loved it.” There you have it — put that quote in the “For Your Consideration” campaign! McCartney also told Billboard he’s working on a film project of his own, collaborating with a director to create “something” from the 58 hours of footage for the Beatles’ unreleased Let It Be film.
|
|||||
correct_starring_00056
|
FactBench
|
0
| 30
|
https://thesouloftheplot.wordpress.com/2014/08/29/a-hard-days-night/
|
en
|
A Hard Day’s Night
|
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[] |
2014-08-29T00:00:00
|
I'm not sure if I'm going to end up overestimating A Hard Day's Night because I grew up listening to The Beatles and have a hard time saying anything against them, or if I'm going to end up underestimating A Hard Day's Night because The Beatles were such a big part of my childhood and…
|
en
|
https://secure.gravatar.com/blavatar/8491b2cdea3f8e1237636af721b4ef60fabf415800e0275d253c521bbb44587e?s=32
|
The Soul of the Plot
|
https://thesouloftheplot.wordpress.com/2014/08/29/a-hard-days-night/
|
I’m not sure if I’m going to end up overestimating A Hard Day’s Night because I grew up listening to The Beatles and have a hard time saying anything against them, or if I’m going to end up underestimating A Hard Day’s Night because The Beatles were such a big part of my childhood and therefore don’t seem to have very much cinematic legitimacy in my eyes. To say I enjoyed the movie is an understatement, but is it a great film? I’ve been assured via reviews (linked at bottom as usual) that the film is incredibly influential, but I’m not sure I’ll be able to see that through all of my fangirling.
The film is a documentary of sorts, showing The Beatles preparing for a television broadcast in London. John, Paul, George, and Ringo all play themselves, but the rest of the main characters are played by actors. Apparently most of the extras in the film were real live teenagers, so the film walks a fine line between reality and fiction. The film has a loose plot, most of which consists of the conflict between the band’s desire to just have fun and enjoy themselves and their managers’, Norm and Shake (Norman Rossington and John Junkin), attempts to keep them under control. Fueling this is Paul’s mischievous grandfather (Wilfrid Brambell) who gets into all sorts of trouble, and in the film’s final moments, encourages Ringo to take some time for himself, almost causing him to miss the band’s all important broadcast.
After a very sudden opening of the band being chased by crazed teenage fans, the film takes quite a long time setting everything up. The events in the beginning all seem kind of random, but eventually a pattern emerges and everything gets tied up. There are several gags throughout the film that get resolved in neat ways. There’s a bit between Norm and Shake involving their height difference that’s quite humorous. All throughout the film, basically everyone who encounters Paul’s wily grandfather remarks that he looks “clean,” and then John finally tells him that he isn’t. John has been calling Norm a swine for the whole picture, but at the end, Norm manages to call John a swine. This type of stuff with everyone getting their comeuppances was really charming to me for some reason.
The overall arc of the film is mainly The Beatles goofing off and the managers trying to control them, but to me, many of the individual scenes of the film are more entertaining that the larger conflict as a whole. There’s an interesting scene where George is mistaken for a male model, and asked to do a commercial for men’s shirts. (If you’re into Mad Men I can pretty much guarantee you’ll appreciate this scene.) George gives his unfavorable opinion of the shirts, and the company’s advertising strategy in general. The ad man (Kenneth Haigh) completely discounts it, which is funny because he is unwittingly talking to one of the most famous people for his target demographic. The other key sequence is when Ringo escapes on his own. Paul’s grandfather tells him to get his head out of books and start living, and he basically just wanders around town taking pictures, causing no trouble at all, but gets picked up by the police anyway.
Now, this film is a bit hard to classify. I’ve classified it as a musical, because there are songs in the film that seem to spring out of the moment and are not necessarily formal performances according to the plot. It’s not like any other musical I’ve seen though. A lot of the songs play more like music videos than anything else, most famously for “Can’t Buy Me Love” when the four escape from the television studio and run around a field, photographed mostly from a helicopter. This instance is another example of me not noticing how special this song was when I was watching the movie; we’re all so used to music video like this now that I didn’t realize while watching that this is considered the first. Other songs are done in literal concerts or rehearsals, and there’s another one done on a train.
So I suppose A Hard Day’s Night ends up being a pretty good movie. Some aspects of its legacy are now so commonplace that I had a hard time picking up on them while watching the film with my modern perspective, but the links at the bottom will illuminate that more if you so desire. I certainly enjoyed the film greatly, though I’m not sure if non-Beatles fans will feel the same way. The film is a cult of personality in a way, but the freewheeling desire for freedom that is so indicative of the ’60s elevates it beyond that.
“Um no, I’m a mocker.”
Long story short: 3.5/4 stars
For Further Reading:
|
||||
correct_starring_00056
|
FactBench
|
1
| 85
|
https://www.bbc.com/news/entertainment-arts-68350477
|
en
|
The Beatles: Sir Sam Mendes to direct four films - one about each band member
|
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[
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[
"Mark Savage and Steven McIntosh"
] |
2024-02-20T14:37:02+00:00
|
Four separate films will tell the story of the band from the perspectives of all four members.
|
en
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/bbcx/apple-touch-icon.png
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https://www.bbc.com/news/entertainment-arts-68350477
|
21 February 2024
By Mark Savage and Steven McIntosh , Entertainment reporters
Director Sir Sam Mendes is to make four separate films about The Beatles - one from each band member's perspective.
Sir Paul McCartney, Sir Ringo Starr and the families of John Lennon and George Harrison have all granted permission and music rights for the four films.
The Oscar-winning director said he was "honoured to be telling the story of the greatest rock band of all time".
He added that he was "excited to challenge the notion of what constitutes a trip to the movies".
The films, made by Sony Pictures and Sir Sam's Neal Street Productions, will be released in cinemas in 2027.
It is not clear whether the four films will be released at once or have a staggered rollout, but Sony said they would have an "innovative release cadence" which would be announced at a later date.
The project marks the first time that The Beatles and their company Apple Corps have granted full life story and music rights for a scripted film, according to a statement.
Sir Sam has previously directed films such as 1917, American Beauty, Revolutionary Road, Empire of Light and two James Bond movies - Skyfall and Spectre.
The Beatles are widely considered the greatest British band of all time thanks to a string of classic albums such as Rubber Soul, Revolver, Sgt. Pepper's Lonely Hearts Club Band and Abbey Road.
Their best known hits include Yesterday, Hey Jude, A Hard Day's Night, Eight Days A Week, Let It Be, Come Together, Here Comes The Sun, Twist and Shout, Love Me Do and Help!
The majority of their songs were written by Lennon and McCartney. Harrison was often said to have felt frustrated that his own compositions were not given equal weight by his bandmates.
Last year, the Beatles released what was described as their "final song". John Lennon started the song, titled Now and Then, in 1978, but it could not be completed until software advances allowed the remaining band-members to extract his vocals from a rough demo cassette.
The track topped the UK singles chart in November, making the Beatles the act with the longest gap between their first and last number ones.
Apple Corps said the four new films would "explore each Beatle's unique story and to bring them together in a suitably captivating and innovative way".
Producer Dame Pippa Harris said: "We intend this to be a uniquely thrilling, and epic cinematic experience.... To have The Beatles' and Apple Corps' blessing to do this is an immense privilege."
The Fab Four on film
The Beatles are no strangers to the silver screen, starring in several of their own films back in the 1960s - from the madcap comedy of A Hard Day's Night to the surreal psychedelia of Yellow Submarine.
Post break-up, they inspired dozens of feature-length tributes, from Sgt Pepper's Lonely Hearts Club Band (a disastrously garish musical starring the Bee Gees) to the touching coming-of-age tale I Wanna Hold Your Hand.
The latter, which followed a group of teens trying to gain entry to the Beatles' seminal performance on Ed Sullivan's TV show, marked the directorial debut of Back To The Future's Robert Zemeckis. And he's not the only big-name director to be seduced by the Fab Four's allure.
Peter Jackson's epic, four-part documentary Get Back repurposed footage shot during the recording of the band's final album; Martin Scorcese put together a revelatory documentary about "quiet Beatle" George Harrison in 2011; while Sam Taylor-Johnson dramatised John Lennon's early life in the stark-but-compelling Nowhere Boy.
Danny Boyle's Yesterday imagined a world where everyone forgets The Beatles, except for one struggling musician who takes credit for all their songs (hilarity ensues).
And Julie Taymor's Across The Universe used the band's music as the backdrop for a 1960s romcom that featured Bono in a very peculiar moustache singing I Am The Walrus. It was very, very not good.
Perhaps the best of the bunch is 1994's Backbeat - an independent film, directed by Iain Softley, that told the story of The Beatles' pre-fame days in Hamburg. By focusing largely on the story of the band's original bassist, Stuart Sutcliffe, it was unencumbered by the colossal cultural baggage of the band's subsequent output.
Coincidentally, Backbeat was turned into a novel by music journalist Alan Clayson - who later published a four-volume box set, telling the Beatles' story from the perspective of each individual band member. Sound familiar?
Still, Clayson's unauthorised biographies - with their tales of infidelity and drug use - are unlikely to be the starting point for Mendes' films, which have been rubber-stamped by the almighty Beatles Corporation.
But if there's any lesson from those books, it's that George Harrison and Sir Ringo Starr's volumes are much more compelling, simply because we're less familiar with the story beats.
|
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correct_starring_00056
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FactBench
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3
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https://www.rottentomatoes.com/celebrity/paul_mccartney
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en
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Paul McCartney
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Explore the filmography of Paul McCartney on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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en
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/celebrity/paul_mccartney
|
Known as one of the most successful composers and recording artists of all time, Sir Paul McCartney was a founding member of rock-n-roll's most iconic band, The Beatles, and along with fellow bandmate John Lennon was part of the most celebrated songwriting partnership in rock history. With an innate knack for beautiful, complex melodies, powerful vocals and a unique bass-playing style, his music struck emotional chords that transcended generations with songs like "Hey Jude," "Eleanor Rigby," "Let It Be" and "Yesterday," the latter being the most covered song in music history. Taking command as The Beatles' de facto music director in the late-1960s, McCartney steered the band through its most creative phase that included iconic albums like Revolver (1966), Sgt. Pepper's Lonely Hearts Club Band (1967), The White Album (1968) and Abbey Road (1969). Following their acrimonious split in 1970, McCartney embarked on the most successful solo career of the four members, starting with Wings, which he formed with first wife Linda McCartney, producing numerous hit singles throughout the 1970s, including "Band on the Run," "Maybe I'm Amazed" and "Live and Let Die." Suffering the losses of Lennon to a bullet in 1980, Linda to breast cancer in 1998 and George Harrison to cancer in 2001, McCartney single-handedly carried The Beatles torch and continued his solo success with Flaming Pie (1997) and Memory Almost Full (2007). Though he suffered public embarrassment with his tumultuous marriage to model Heather Mills, McCartney maintained his stature as the most popular and successful member of The Beatles, and he continued releasing critically and commercially well-received music well into the 21st century.
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correct_starring_00056
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FactBench
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3
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https://www.today.com/popculture/music/paul-mccartney-kids-rcna151428
|
en
|
Who are Paul McCartney's kids? All about his 5 children
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[
"Randee Dawn"
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2024-05-09T20:03:03+00:00
|
Former Beatle Paul McCartney is a devoted father to five grown children: Heather, Mary, Stella, James and Beatrice McCartney. Learn all about them here.
|
en
|
https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/today/all-other-sizes-PNG.ico/favicon.ico
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TODAY.com
|
https://www.today.com/popculture/music/paul-mccartney-kids-rcna151428
|
Paul McCartney is best known as one of the lead singers of The Beatles. But he’s also the leading man in another crew of rock stars. Meet Heather, Mary, Stella, James and Beatrice McCartney, Paul’s five grown children who range in age from 20 to 61.
Always the devoted dad, Paul lent his kids a hand when they needed it and supported their passions beyond his rock ’n’ roll expertise, as they sought to define themselves outside of being “nepo babies” (though one of them is perfectly OK with the label).
In a 2023 interview published on his website, McCartney said, “I’ve always just tried to give my kids a bit of guidance, if they seem to need it — but that was mainly when they were younger.
“Now that they are older, they’re guiding me! They don’t need so much guidance these days but if there’s ever a problem, I’m very happy to be the guy they come to. So, that’s largely the thing of being a dad. You’re just there to help, and I suppose have fun with — we do have a lot of fun. Now they’re older we can have a drink together, for instance!”
Read on for everything else we know about his brood, just in time for the newly restored version of the 1970 film “The Beatles: Let It Be,” now streaming on Disney+.
Heather Louise McCartney, 61
Heather’s mother, Linda Eastman, was Paul’s first wife, but he was not her first husband. That was Joseph Melville See Jr., Heather’s biological father. When Joseph and Linda divorced, Heather was still a toddler, and shortly after Linda married Paul in 1969, Paul adopted Heather, according to IMDb.
Fans can catch an early glimpse of Heather in the 1970 film “The Beatles: Let It Be”; archival footage of her as a child also appears in “The Beatles: Get Back,” the docuseries from creator Peter Jackson, streaming on Disney+.
To hear her singing, queue up “Ram” (1971) and “New” (2013). She provided backup vocals on both albums for her dad.
When she was 19, she studied photography in London, according to “Fab: An Intimate Life of Paul McCartney,” a biography about the Beatle by Howard Sounes, then found a passion for pottery.
In 1999, Heather debuted a line of home items called The Heather McCartney Housewares Collection in Atlanta, Georgia, BBC News reported. Paul was there to support his daughter; a year after Linda’s death, it marked his first visit to the U.S. after her passing.
Speaking to BBC News, Heather said her mother was a big influence on her work — but she also credited her dad.
“As a father, he’s most important to me to help me deal with everything we’re dealing with,” she said.
“It’s obviously been a very difficult time for us this past year, but you know we’re drawing on the energies, and we’re moving forward.”
Mary Anna McCartney, 54
Mary, Linda and Paul’s firstborn, entered the pictured in 1969, just as the Beatles were splitting up. Over the years, she leaned into her mother’s passion for photography. In a 2020 interview with journalist Alain Elkann, she recalled the moment she was hooked.
“(My mom) took me to her darkroom in Soho and printed a little 10-by-8-inch image herself, and it was just me and her,” she said. “She took the small piece of blank white paper and put it into the tray, and then waved it from side to side, and I saw this black-and-white image magically appear. As a child the impact of that magic in that moment really went into my heart.”
Since then, her photographs have appeared in GQ, Vogue and The Sunday Times. In 2015, she photographed Queen Elizabeth II in honor of the royal’s record-breaking reign, People reported.
Mirroring an accomplishment of her mother’s, who, per Rolling Stone, was the first female photographer to shoot a cover for the publication, Mary photographed her dad alongside Taylor Swift for a special November 2020 musicians issue.
“Life turning full circle,” she wrote on Instagram at the time.
Mary continues to share her work on her Insta with her 295,000 followers. But her love of photography isn’t limited to still work.
In 2022, Mary made her feature-length directorial debut with a documentary called “If These Walls Could Sing,” which chronicles the history of Abbey Road where The Beatles recorded.
Beyond her passion for camerawork, she loves cooking and creating healthy meals. In addition to authoring three vegan cookbooks, per her website, she is the host of “Mary McCartney Serves It Up,” the Daytime Emmy-nominated series from Food Network that is now streaming on Discovery+.
Dear old Dad even shows up in an episode. See below.
Mary is currently married to filmmaker Simon Aboud, per The Guardian; the couple shares two children, Sam and Sid Aboud. She also has two children, Arthur and Elliot Donald, from her previous marriage to director/producer Alistair Donald, per The Standard.
“[My dad] has always been so supportive of my career and is the first person I show around an exhibition,” she told The Guardian in 2023. “He’s always genuinely interested. Often I’ll show him a selection of images and ask his opinion.”
Stella Nina McCartney, 52
Born in London in 1971 to Paul and Linda, Stella has become perhaps the best-known of the McCartney children, independently successful as a fashion designer.
Stella spent much of her early life on the road with her family, as Paul and Linda toured with their band, Wings (the band’s name was inspired by Stella, whose birth was difficult for Linda, as Paul explained to Far Out magazine in 2022). But instead of following in her parents’ footsteps, Stella found her calling in fashion.
At 16, she interned at Christian Lacroix, according to a 2015 Vogue article, and at 25 was named creative director of Chloé. In 2001, she launched her own self-titled brand, and she’s been a boldfaced name in the fashion industry ever since, always crafting her collections without leather, fur or PVC plastic (that is, vinyl) — a choice that adheres to her vegetarian lifestyle, per Viva!
In 2003, Stella married Alasdhair Willis — the consultant she hired to help launch her Stella McCartney line, per Vogue — in a small, private wedding in Scotland, People reported. They have four children together: two sons (Miller, Beckett) and two daughters (Bailey and Reiley).
Over the years, Stella has made several headlines. In 2018, she became the sole owner of her label, buying back ownership from Kering, according to Fashion United. The same year, People reported that she designed one of the dresses the former Meghan Markle wore on her and Prince Harry’s wedding day. And three years later, she launched a limited-edition Beatles capsule collection in tandem with the “The Beatles: Get Back” docuseries.
When it comes to her last name and the privileges that accompany it, she’s well aware of the doors it opens and how it’s helped her become who she is today.
“As one of the first nepo babies, I had the privilege of choice,” she told Time in 2023. “I’m very aware of how lucky I’ve been.”
James Louis McCartney, 46
James, born in 1977 in London, is Linda and Paul’s youngest child together and only son. One glance at the 46-year-old might cause a double take, but looks aren’t the only trait he shares with his dad.
He’s also a singer-songwriter and even has a Lennon collaboration of his own. Earlier this year, James teamed up with John Lennon’s youngest son, Sean Ono Lennon, for the song “Primrose Hill,” The Guardian reported.
“I had a vision as a child in Scotland, on what was a lovely summers day,” he wrote about the song on X, formerly Twitter. “Letting go, I saw my true love and saviour in my mind’s eye. ‘Primrose Hill’ is about getting the ball rolling with me & finding this person.”
Despite his music career, James has remained reasonably private. Though there are not a lot of details about his life, he did talk to the Irish Mirror in 2013 about not attending a private school and experiencing bullying for being the son of a famous man.
“Everyone at school knew who my dad was,” he said.
“There was a little bit of bullying, just a little bit. I got the same thing as everyone gets really; all kids get bullied a little bit,” he added. “I got jokey nicknames like Macaroni. Then I had good nicknames like Car — from McCartney.”
In the same interview, James spoke about spiraling after his mother’s death in 1998, becoming estranged from his family and descending into drugs. He’s since been to rehab and continues to grow his musical career.
He began releasing music in 2010, according to Discogs, with a handful of EPs, and then made his full-length album debut with “Me” in 2013. Co-produced by his father, it includes a track, “Thinking About Rock and Roll,” that features Paul on backup vocals.
During a visit to “BBC Breakfast” in 2013, James briefly shared his thoughts on carrying the last name of McCartney and how it affects him in his career.
“I thought, I’m not going to be oppressed by certain things; I am just going to carry on and do my own thing,” he said.
Beatrice Milly McCartney, 20
The youngest of Paul’s children, Beatrice is also the only one born after Linda’s death.
In 2002, Paul married Heather Mills, and the two welcomed a baby girl weighing 7 pounds a year later in London, the BBC reported.
“She is a little beauty and we couldn’t be prouder,” the couple said in a statement at the time.
Paul and Heather’s marriage lasted six years; the two finalized their divorce in 2008.
The following year, Paul talked about taking care of a young daughter all over again in an interview with The Telegraph.
“I don’t have a nanny. I do all the regular stuff myself,” he said. “I take her to school, talk to all the mums, talk to the teacher then pick her up from school. I love every second of it and I’m not exhausted at all. […] It’s a thrill bringing up a young kid, it’s such an education. I am a different dad now, but it’s good.”
In 2011, Paul married his current wife, Nancy Shevell, with Beatrice playing a role as a flower girl in the wedding (Stella designed the bride’s dress).
Speaking on “Oprah: Where Are They Now?” in 2016, Heather shared that she’s proud she’s kept Beatrice out of the public eye.
“She’s not mixing in celebrity lifestyle; she’s not out in public places where the whole celebrity thing goes on,” she said.
The previous year, she told The Guardian that Beatrice “hates fame and the whole limelight thing,” noting that she wants to be a “marine biologist, not a pop star.”
Heather also shared that Beatrice has a bit of a poet in her, and that she taught her to play the saxophone.
“Beatrice says she’s 99% me,” Heather said. “I don’t know if that’s a good thing. I think she’s got the best of both of us.”
|
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correct_starring_00056
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FactBench
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0
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|
https://www.thecurrent.org/feature/2015/08/12/today-in-music-history-a-hard-days-night-releases-in-the-us
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en
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Today in Music History: 'A Hard Day's Night' film releases in the U.S.
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2015-08-12T00:00:00
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Fleetwood Mac made their stage debut; Led Zeppelin held their first rehearsal; Janis Joplin played her last concert; Lionel Richie electrified a global television audience; and the Beatles' film, 'A Hard Day's Night,' opened in U.S. theaters, Today in Music History.
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History Highlight:
Today in 1964, the Beatles' first film, A Hard Day's Night, opened in 500 American theaters. Shot in cinema vérité style, the film portrays several days in the lives of the group. Following its U.K. and U.S. releases, A Hard Day's Night proved a financial and critical success. Time magazine rated it as one of the all-time great 100 films. British critic Leslie Halliwell described it as a "comic fantasia with music; an enormous commercial success with the director trying every cinematic gag in the book" and awarded it a full four stars; Roger Ebert described the film as "one of the great life-affirming landmarks of the movies", and added it to his list of The Great Movies. A Hard Day's Night includes 12 Beatles songs in its soundtrack and is credited as being one of the most influential musical films of all time, inspiring numerous spy films, The Monkees' television show and music videos.
Also, Today In:
1966 - The Beatles kicked off their last U.S. tour at the Chicago International Amphitheatre (a venue that was demolished in 1999).
1967 - Fleetwood Mac made their stage debut at the London National Jazz & Blues Festival.
1968 - Jimmy Page, Robert Plant, John Paul Jones and John Bonham practiced for the first time together beneath a record store at 22 Gerrard Street in London's West End.
1970 - At Harvard University, Janis Joplin performed what would be her final concert. Joplin died of an overdose on Oct. 4 of that year.
1970 - A Woody Guthrie memorial concert was held at the Hollywood Bowl. It featured performances by his son, Arlo, along with Bob Dylan and Joan Baez.
1977 - Guitarist Henri Padovani quit the band the Police after nine months, leaving them a trio.
1978 - The Commodores started a two-week run at No. 1 on the U.S. singles chart with "Three Times A Lady." Lionel Richie wrote the song about his love for his wife, mother and grandmother, hence "Once, twice, three times a lady …"
1984 - As The Olympic Games came to a close, Lionel Richie performed "All Night Long" live from Los Angeles to an estimated television audience of 2.6 billion people around the world.
1989 - The two-day Moscow Music Peace Festival was held at The Lenin Stadium in Moscow, Russia. Western acts that appeared included Mötley Crüe, Ozzy Osbourne, Bon Jovi, Skid Row and The Scorpions. This was the first time that an audience had been allowed to stand up and dance at a stadium rock concert in the Soviet Union.
1999 - The movie Detroit Rock City, which tells the story of Kiss fans on their way to a Kiss concert, opened nationwide.
2009 - Pioneering guitarist and songwriter Les Paul passed away in White Plains, N.Y., due to complications from pneumonia.
2012 - The London 2012 Olympics ended with a spectacular musical closing ceremony. The three-hour show featured some of the biggest names of British music from decades past, including the Spice Girls, George Michael, The Who, Muse, Madness, The Pet Shop Boys, Ray Davies, Liam Gallagher, and Brian May and Roger Taylor from Queen.
Birthdays:
Country singer Porter Wagoner was born today in 1927.
Country singer Buck Owens was born today in 1929.
Mark Knopfler is 66.
Pat Metheny is 61.
Sir Mix-A-Lot is 52.
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correct_starring_00056
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FactBench
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| 11
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https://www.rottentomatoes.com/celebrity/paul_mccartney
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en
|
Paul McCartney
|
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Explore the filmography of Paul McCartney on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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en
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/celebrity/paul_mccartney
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Known as one of the most successful composers and recording artists of all time, Sir Paul McCartney was a founding member of rock-n-roll's most iconic band, The Beatles, and along with fellow bandmate John Lennon was part of the most celebrated songwriting partnership in rock history. With an innate knack for beautiful, complex melodies, powerful vocals and a unique bass-playing style, his music struck emotional chords that transcended generations with songs like "Hey Jude," "Eleanor Rigby," "Let It Be" and "Yesterday," the latter being the most covered song in music history. Taking command as The Beatles' de facto music director in the late-1960s, McCartney steered the band through its most creative phase that included iconic albums like Revolver (1966), Sgt. Pepper's Lonely Hearts Club Band (1967), The White Album (1968) and Abbey Road (1969). Following their acrimonious split in 1970, McCartney embarked on the most successful solo career of the four members, starting with Wings, which he formed with first wife Linda McCartney, producing numerous hit singles throughout the 1970s, including "Band on the Run," "Maybe I'm Amazed" and "Live and Let Die." Suffering the losses of Lennon to a bullet in 1980, Linda to breast cancer in 1998 and George Harrison to cancer in 2001, McCartney single-handedly carried The Beatles torch and continued his solo success with Flaming Pie (1997) and Memory Almost Full (2007). Though he suffered public embarrassment with his tumultuous marriage to model Heather Mills, McCartney maintained his stature as the most popular and successful member of The Beatles, and he continued releasing critically and commercially well-received music well into the 21st century.
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correct_starring_00056
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FactBench
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1
| 4
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https://www.themoviedb.org/person/10215-paul-mccartney%3Flanguage%3Den-US
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en
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Paul McCartney
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Sir James Paul McCartney CH MBE (* 18. Juni 1942 in Liverpool) ist ein britischer Musiker, Songwriter bzw. Singer-Songwriter, Liedtexter und Komponist sowie Musikproduzent, Maler, Filmproduzent, Kinderbuchautor und Tierrechtsaktivist. Der Oscar- und mehrfache Grammy-Preisträger wurde vor allem als Sänger und Bassist der Band The Beatles bekannt, für die er zusammen mit John Lennon die meisten Stücke geschrieben hat. Die Komponistenpartnerschaft Lennon/McCartney und auch McCartney selbst gelten als die erfolgreichsten Songwriter in der Geschichte der Popmusik. McCartneys Stück Yesterday ist der meistgespielte Popsong aller Zeiten.
Nach dem Ende der Beatles startete Paul McCartney 1970 eine erfolgreiche Solokarriere und gründete mit seiner Frau Linda McCartney die bis 1981 bestehende Band Wings. Seit den 1980er Jahren arbeitet er fast ausschließlich als Solokünstler und widmet sich vermehrt auch anderen musikalischen Bereichen wie der elektronischen und klassischen Musik.
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The Movie Database
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https://www.themoviedb.org/person/10215-paul-mccartney
|
You need to be logged in to continue. Click here to login or here to sign up.
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correct_starring_00056
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FactBench
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3
| 49
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https://www.independent.co.uk/topic/paul-mccartney
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latest news, breaking stories and comment
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] |
[] |
[] |
[
""
] | null |
[] | null |
The latest breaking news, comment and features from The Independent.
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/topic/paul-mccartney
|
Thank you for registering
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|
||||
correct_starring_00056
|
FactBench
|
1
| 27
|
https://pitchfork.com/news/paul-mccartneys-animated-film-high-in-the-clouds-gets-director-and-composer/
|
en
|
Paul McCartney’s Animated Film High in the Clouds Gets Director and Composer
|
[
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] |
[] |
[] |
[
"film"
] | null |
[
"Hattie Lindert",
"Jazz Monroe",
"Matthew Strauss",
"Condé Nast"
] |
2023-10-26T20:16:28.049000-04:00
|
The adaptation of McCartney’s children’s novel features six new original songs from the rock icon
|
en
|
https://pitchfork.com/verso/static/pitchfork/assets/favicon.ico
|
Pitchfork
|
https://pitchfork.com/news/paul-mccartneys-animated-film-high-in-the-clouds-gets-director-and-composer/
|
Paul McCartney’s animated feature film, High in the Clouds, has set a director, writer, composer, and more, Variety reports. The film, which has been in development since 2009 and is adapted from McCartney’s own 2005 children's book, is slated to begin production next year. Coco and Inside Out composer Michael Giacchino will handle the score, with Jon Croker writing and Toby Genkel directing. It also reportedly features six new original songs from McCartney.
High in the Clouds follows “a headstrong teenage squirrel, Wirral, who lives in Gretschville, a city where music has been banned by a diva-owl, Gretsch, who wants to be the only singer in town,” per a plot synopsis. McCartney reportedly voices a main character in the film adaptation. Since High in the Clouds, McCartney has written the children’s books Hey Grandude! and Grandude’s Green Submarine.
|
||||
correct_starring_00056
|
FactBench
|
1
| 70
|
https://www.wmagazine.com/culture/beatles-biopic-casting-rumors-sam-mendes
|
en
|
The Beatles Biopics: Everything We Know About Sam Mendes's Four Film Project
|
[
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"https://www.facebook.com/tr?id=1636673763227734&ev=PageView&noscript=1"
] |
[] |
[] |
[
""
] | null |
[
"Claire Valentine"
] |
2024-06-11T20:54:21+00:00
|
Hollywood's musical biopic era is thriving.
|
en
|
/favicon.ico
|
W Magazine
|
https://www.wmagazine.com/culture/beatles-biopic-casting-rumors-sam-mendes
|
In case you haven’t heard, The Beatles are finally getting the proper musical biopic treatment, with not just one but four separate films detailing each of the Fab Fours’s lives, from Oscar-winning filmmaker Sam Mendes.
“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” Mendes, who also directed American Beauty, 1917, and James Bond films Skyfall and Spectre said in a statement.
The four films will hit theaters in 2027, with Sony saying the release strategy will be “innovative and groundbreaking.” While three years seems far away, it’s not a ton of time to make four films—and rumors of the cast have already broken the internet.
According to the independent Hollywood newsletter The InSneider, the project is rumored to star four actors, all of whoe happen to be vying for the title of the Internet’s Boyfriend. Paul Mescal will reportedly play Paul McCartney, which is fitting beyond just the name match—the two also share a similar hairline, Irish background, and a certain leading man twinkle in the eye. Triangle of Sadness star Harris Dickinson will reportedly play the late John Lennon and Saltburn star (and Sabrina Carpenter’s rumored boyfriend) Barry Keoghan will reportedly play Ringo Starr. Rocketman’s Charlie Rowe was rumored to be playing the late George Harrison, but his reps confirmed to Metro UK that the news wasn’t true. So, the veracity of the rest of the casting rumors remains, for now, up in the air.
The Beatles made their own movies together (1964’s A Hard Day’s Night, 1965’s Help!, 1967’s Magical Mystery Tour, and 1968’s Yellow Submarine)—and have been the subject of numerous documentaries like Peter Jackson’s recent streaming hit Get Back and 1970’s Let It Be, which chronicled the group’s breakup (real fans will also recall 2007’s divisive Evan Rachel Wood-starring jukebox musical Across the Universe). This is the first time, however, that the original boy band and their respective estates and families have granted both full life rights and use of The Beatles’s musical catalog for the film (for a long time, they weren’t even on iTunes).
It’s been a huge couple of years for musical biopics; while each film’s quality is debatable, they certainly have been flooding the market. There was Baz Luhrmann’s Austin Butler-starring Elvis in 2022 (and its sister film, Priscilla, by Sofia Coppola the following year); Bob Marley: One Love, and the Amy Winehouse biopic Back to Black this year; the upcoming Bob Dylan film, A Complete Unknown (starring Timothée Chalamet) and a Linda Ronstadt biopic starring Selena Gomez; a forthcoming Michael Jackson feature from Training Day director Antoine Fuqua; a Ridley Scott film about the rise of the Bee Gees and a Martin Scorcese biopic about The Grateful Dead (and those are just the ones that are confirmed).
Audiences have also proved they like movies they can sing along to in theaters, with the massive success of concert films like Taylor Swift’s The Eras Tour and Beyoncé’s Renaissance film. Meanwhile, the Marvel Cinematic Universe has proven the appeal of interconnected film franchises. If f there’s one group that can still bring those trends and audiences from Boomers to Gen Z together (despite the long-running meme that they’re overrated), it’s perhaps The Beatles.
|
||||
correct_starring_00056
|
FactBench
|
3
| 86
|
https://www.paulmccartney.com/
|
en
|
Paul McCartney
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[] |
[
""
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[] | null |
PaulMcCartney.com
|
en
|
/images/favicon/apple-touch-icon.png
|
https://paulmccartney.com/
|
Media
Explore Paul’s musical journey, through thousands of images, videos, books, podcasts, and more.
|
|||
correct_starring_00056
|
FactBench
|
3
| 90
|
https://www.nme.com/news/film/paul-mccartney-elton-john-to-star-this-is-spinal-tap-sequel-3549741
|
en
|
Paul McCartney and Elton John to star in ‘This Is Spinal Tap’ sequel
|
[
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[
"Adam Starkey"
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2023-11-27T20:13:44+00:00
|
Paul McCartney, Elton John and Garth Brooks are set to appear in the upcoming sequel to 'This Is Spinal Tap'.
|
en
|
NME
|
https://www.nme.com/news/film/paul-mccartney-elton-john-to-star-this-is-spinal-tap-sequel-3549741
|
Paul McCartney and Elton John are set to appear in the upcoming sequel to This Is Spinal Tap.
Rob Reiner, who directed the original 1984 mockumentary film starring Christopher Guest, Michael McKean and Harry Shearer, confirmed various guest stars in the sequel during an appearance on Richard Herring’s Leicester Square Theatre Podcast.
READ MORE: ‘This Is Spinal Tap 2’: here’s what Rob Reiner told us about the long-awaited sequel
Speaking on the podcast about the sequel, which was announced in May last year, Reiner said: “We’re going to start shooting in the end of February.
“Everybody’s back. Paul McCartney is joining us, and Elton John. And a few other surprises, Garth Brooks.”
Advertisement
Along with directing the sequel, Reiner is set to reprise his role as filmmaker Marty DiBergi. McKean, Guest and Shearer will all return as the fictional metal band, comprised of David St. Hubbins, Nigel Tufnel and Derek Smalls respectively.
Speaking about the sequel to NME in May last year, Reiner said: “We never thought we would do a sequel. It was only because we started to talk to each other and we came up with an idea we think might work – we don’t know it will. We’re going to try. The bar is incredibly high. We debated whether or not we should do it… I said, ‘Look at us, we’re all in our 70s. How much time are we going to have [left] to have some fun?’”
Recommended
Regarding the plot, the sequel looks set to see DiBergi shoot a second film for the band in a bid for redemption.
“Marty DiBergi was roundly criticised by the band members for having done a hatchet job, [but] he’s going to be doing the second film,” Reiner told NME. “Marty has not been that successful [since]. I think he made Kramer vs Kramer vs Godzilla, which didn’t do very well. It was a threesome, and they were all in love… and, unfortunately, Godzilla crushed the other two, so it didn’t work.”
The sequel to This Is Spinal Tap was originally slated to be released in March 2024 to coincide with the original film’s 40th anniversary. With filming set to begin in February, however, it’s unclear when the sequel will be released.
|
|||||
correct_starring_00056
|
FactBench
|
1
| 66
|
https://www.udiscovermusic.com/stories/paul-mccartney-007-live-and-let-die/
|
en
|
‘Live And Let Die’: Paul McCartney Gives Wings To 007
|
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[
""
] | null |
[
"Paul Sexton"
] |
2024-06-09T04:52:09+00:00
|
'Live And Let Die' was an especially evocative entry in Paul McCartney's songbook because of its place in the James Bond movie franchise.
|
en
|
uDiscover Music
|
https://www.udiscovermusic.com/stories/paul-mccartney-007-live-and-let-die/
|
Paul McCartney has written countless lyrics that have been part of the soundtrack of the lives of millions. But the opening line “When you were young and your heart was an open book…” was an especially evocative entry in his song catalog because of its place in the James Bond movie franchise. “Live And Let Die” entered the UK singles chart on June 9, 1973, and remained a key moment in McCartney’s live set more than 45 years later.
The song was even more significant to Beatles fans as it reunited Paul with the esteemed producer George Martin. He composed and produced the score for the film of the same name, the first to star Roger Moore in the 007 role. The title track, written by McCartney, was more than just one of his classic ballads, twice changing gear into suitably high-speed instrumental sections featuring Martin’s quite brilliant orchestrations.
“Live And Let Die was my Bond picture, [and] I enjoyed that very much,” the producer told this writer in 1998. “I happened to have a very good director, Guy Hamilton, who told me he didn’t know much about music, but he knew what he wanted.
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“He was quite true to his word, too, he was very articulate and precise, described what he wanted to hear from the music, what the emotions should be, and we worked very well together. And it was a successful picture.”
In Stuart Grundy and John Tobler’s 1982 book The Record Producers, Martin said of the title track: “It all started with Paul ringing me up and saying, ‘Look, I’ve got a song for a film. Would you produce it and arrange it for me?’ I said, ‘Sure,’ and spent some time with him at his house going through the thing, and from my point of view, we were making a record, so I didn’t spare any expense and booked a large orchestra.
‘I’ll bring in the orchestra’
“I said, ‘This is the way we’ll do it – we’ll do it with Wings, and work on the session with just the group, and then in the evening, I’ll bring in the orchestra, but we’ll still keep Wings there, and try to do it live altogether, to try to get a live feeling to it,’ and that was what we did.”
McCartney and Wings recorded “Live And Let Die” during their autumn 1972 sessions for the Red Rose Speedway album, on which it didn’t appear. The song entered the UK chart at No.37 and peaked three weeks later at a relatively modest No.9. In the US, after a No.69 entry, it spent three weeks at No.2.
Listen to the best of Paul McCartney and Wings on Apple Music and Spotify.
The highest UK chart placing for the song came 18 years later, when Guns N’ Roses took their version to No.5. Both recordings were Grammy-nominated; in 2012, McCartney was given the Million-Air Award for four million performances of his composition in America alone. In 2023, to mark its 50th anniversary, the song was remixed in Dolby Atmos, fittingly, by George’s son Giles Martin.
|
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correct_starring_00056
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FactBench
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1
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https://www.youtube.com/channel/UCvGnJy9RnXX0kGSnDPKCZzQ
|
en
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PAUL McCARTNEY
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[] |
[] |
[] |
[
"Paul McCartney Official Channel Macca Beatles Wings New Egypt Station"
] | null |
[] | null |
Official Paul McCartney account administered by MPL | #EyesOfTheStorm | Text me: +1 (212) 313-9547
|
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https://www.youtube.com/channel/UCvGnJy9RnXX0kGSnDPKCZzQ
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correct_starring_00056
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FactBench
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0
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http://www.afterhoursfilmsociety.com/hard-days-night.html
|
en
|
Hard Days Night
|
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CAST & CREW Featuring John Lennon, Paul McCartney, George Harrison & Ringo Starr Directed by Richard Lester Fully Restored Version of the 1964 Classic Film! Not Rated 90 Mins.
|
en
|
AHFS
|
https://www.afterhoursfilmsociety.com/hard-days-night.html
|
CAST & CREW
Featuring John Lennon, Paul McCartney, George Harrison & Ringo Starr
Directed by Richard Lester
Fully Restored Version of the 1964 Classic Film!
Not Rated 90 Mins.
Reviewed by Stephanie Zacharek - The Village Voice
Let's get the obvious bit over with: The early days of the Beatles, as reflected in Richard Lester's ebullient shout of freedom A Hard Day's Night, were all about the optimism of the early 1960s, a thrilling and energizing time when young people, and even some older ones, truly believed that the future held great promise. By the late '60s, disillusionment had set in, and the Beatles broke up.
There. Now let's talk about joy, and about wistfulness, because one so often trails the other, and both are woven into the DNA of A Hard Day's Night. To read it as a movie that the future proved wrong—a movie that's somehow "about" our collective, historic innocence, a set of hopes that were dashed by Vietnam, or by Nixon's betrayal, or by anything—is to miss the glorious reality that A Hard Day's Night lives so fully in its particular present. At the end, as the band takes the stage for a televised appearance, the faces of the girls (and a few boys) in the audience complete the story that John, Paul, George, and Ringo set in motion at the beginning. If the audience looks incomprehensibly young, the Beatles themselves aren't that much older — there's still hopefulness in them, too. (During the filming, George, after all, met his first wife.) No wonder these kids are lost in the moment and totally of a piece with it, beside themselves with elation shot through with longing. Their future is before them, and before them: Everything they want out of life is up on that stage, both out of reach and theirs for the taking.
That's the beauty of A Hard Day's Night, and the source of its eternal freshness. For a 50-year-old movie, it still looks impossibly youthful, especially in this restored version: In all its satiny black-and-white splendor, it feels more like today than yesterday. I can't imagine what it must be like to be watching, in 2014, A Hard Day's Night for the first time. I didn't catch it during its original theatrical release — I was a bit too tiny for that — but I saw it not so long afterward on television, an event that occasioned much jumping around and faux fainting on the living room couch. I have watched it many times since, each time seeing new things. But this is the first time I've viewed it knowing that there's more of my life behind me than ahead of me, and now more than ever, I understand the faces of those girls.
Even through the mystical blur of my affection for it, I can see that A Hard Day's Night is one of the world's perfect films. Lester, who'd previously directed a trad jazz caper called Ring-A-Ding Rhythm!, knew just what to do with the material (written by Alun Owen) and with the stars, who were already on their way to being (almost) bigger than Jesus. This is a stylized day-in-the-life picture, and while this particular day does look extremely exciting to us average people, we can also see that it's not much of a life: The movie opens with a chase scene, in which John, Paul, George, and Ringo barely outrun a blur of screaming girls in their Balmacaans and parkas, their plaid skirts and skimmers — they're a schoolgirl pride on the hunt. The boys are on their way to make a television appearance in Liverpool, which, thanks to a series of mishaps, barely comes together: Ringo, feeling unloved and underappreciated, goes AWOL, disguising himself in an oversize, secondhand coat and shuffling through an unfamiliar city looking both irrevocably lost and finally possessed of profound inner peace. And Paul's "very clean" grandfather (the magnificently pinched sour patch Wilfrid Brambell), who has been entrusted to his grandson's care, keeps wandering off to gamble (at the casino) and gambol (with a series of comely cuties, all less than half his age).
Lester must have worked some magic, conscious or otherwise, to bring the personality of each Beatle to the fore so distinctly. George is the lover of off-kilter visual puns: He gives the band's road manager, Shake (John Junkin), a shaving lesson by spritzing foam on a bathroom mirror, neatly outlining the image of Shake's jaw and then swiping the shaver along the surface of the glass. John favors an even more oblique visual gag, daintily blocking off one nostril as he takes an imaginary snort from a Coke bottle. Paul is dutiful in looking after his grandfather, but he's also easily exasperated — he plays by the rules so honorably that he can't abide anyone else's breaking them. And Ringo is the language mangler who says exactly what he means, usually inadvertently—though sometimes his eyes, good-natured but also ringed with dark circles that suggest excessive worry, say more: On a train, he passes a glass-windowed compartment where a stunning young woman sits, stroking a furry cat that rests suggestively in her lap. She sees him, smiles, and crooks her finger; he does a double take — that cat! — and then demurs, half-shocked, half-flattered, and having no idea what to do.
The mischievous, semi-surreal jokes of A Hard Day's Night — like George's response to the journalist who asks what he calls that hairstyle he's wearing—have become legends unto themselves. (George calls his hairdo "Arthur.") There was a brief time when everyone loved the Beatles, finding them agreeable and charming and cheekily nonthreatening. But there's real danger, all right, in their music, and the numbers in A Hard Day's Night — filmed by the watchful, clever cinematographer Gilbert Taylor — are the most gently seductive ever put on film. The boys captivate the young schoolgirl played by Patti Boyd—later to become Mrs. George Harrison — with a magically impromptu performance of "I Should Have Known Better" in a train carriage, the song's myriad boy-meets-girl questions wedged between the hands of a card game. But it's in the final cluster of songs, an artful melding of "Tell Me Why," "If I Fell," and "I Should Have Known Better," where Lester truly tips his hand. He knows what this movie is about, and he knows who it's for. And if the Beatles have never looked as beautiful as they do in this performance sequence—beautiful even, or especially, dusted with the faintest dew of sweat, visible in Taylor's tight close-ups —they're at least matched by the plaintive, surrendering beauty of the girls screaming and crying over them.
One of those girls, a blonde with a round, heartbreakingly readable face, touched Lester deeply. He would later refer to her as the "white rabbit," and the camera finds its way back to her over and over, because it just can't stay away. Her face is tear streaked; she can't believe what she's seeing, she can't stand it even just one more moment, but she wouldn't be anywhere else in the world. She mouths George's name, a mute prayer.
I know nothing about this girl, who, I presume and hope, grew up to be a woman. But I can't help superimposing her experience of this moment, of this band, onto mine. Did we get the life the Beatles promised us—at no small cost to themselves — of love and despair, heartbreak and elation, disappointment and exuberance? I want to ask her, as I ask myself, now on the far side of the beginning of everything, Was it all you hoped it would be? No. Absolutely not. And yes, a thousand times over.
This program will serve as a fundraiser to support the After Hour Film Society's
Say It In Eight Student Film Festival
|
|||||
correct_starring_00056
|
FactBench
|
3
| 53
|
https://www.instagram.com/paulmccartney/%3Fhl%3Den
|
en
|
Login • Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Welcome back to Instagram. Sign in to check out what your friends, family & interests have been capturing & sharing around the world.
|
en
|
https://www.instagram.com/accounts/login/
| |||||||
correct_starring_00056
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FactBench
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https://www.uncut.co.uk/features/the-making-of-a-hard-days-night-the-fans-had-got-hacksaws-71060/
|
en
|
The making of A Hard Day’s Night: “The fans had got hacksaws…”
|
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[] |
[
""
] | null |
[
"Michael Bonner"
] |
2015-10-05T11:53:02+00:00
|
We begin our week-long celebrations commemorating John Lennon's 75th birthday with the story behind The Beatles' landmark film debut
|
en
|
UNCUT
|
https://www.uncut.co.uk/features/the-making-of-a-hard-days-night-the-fans-had-got-hacksaws-71060/
|
Here’s our piece on the making of A Hard Day’s Night which originally appeared in the September 2014 edition of Uncut
The feature includes original interviews with director Richard Lester, associate producer Denis O’Dell and executive producer David Picker as well as cast members Pattie Boyd, Phil Collins and Lionel Blair: with a few words from The Beatles themselves…
Follow me on Twitter @MichaelBonner
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———-
Looking back on his first meeting with The Beatles, film director Richard Lester remembers the unexpected topic of conversation that brought them together. “The boys found out that I was this pathetic jazz piano player,” he explains. “That gave them something to lord over me because I was the past and they were the future. John Lennon in particular hated jazz, and he told me that.”
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When Lester met The Beatles in late 1963, the intention was to make a cheap, black-and-white jukebox movie to capitalise on the band’s extraordinary success. For his film, Lester assembled a remarkable cross section of talent – including Wilfred Brambell, Victor Spinetti, Pattie Boyd and Lionel Blair – who all witnessed first hand Beatlemania in full tilt. “It was becoming increasingly intense for the boys,” says Boyd, who met her future husband George Harrison on the film’s shoot.
Meanwhile Blair, an old friend of the band, recalls the logistical problems accompanying the shoot: “They couldn’t walk round the streets or anything. There were screaming girls everywhere.” But despite such obstacles, A Hard Day’s Night rose about the ruck of rock’n’roll exploitation movies: its sprightly blend of absurdist humour, French New Wave aesthetics and unshakable optimism enlivened the dreary cultural landscape of post-war Britain.
The soundtrack album, too, proved equally successful: the first album to feature all original Beatles compositions, it gave the band two No 1 singles on both sides of the Atlantic. Reflecting on what it was that made A Hard Day’s Night so remarkable, Richard Lester considers, “It was four people against the world and winning.”
“… by the end of the summer The Beatles might be a spent force…”
Brian Epstein is pitched the idea of a three-picture deal with The Beatles by American studio, United Artists. Goon Show affiliate Richard Lester is approached to direct…
RICHARD LESTER [DIRECTOR]: I first met The Beatles at The Playhouse Theatre on Northumberland Avenue. They were doing a radio show. This was November, 1963. I’d just finished a film with United Artists [The Mouse On The Moon] and David Picker, the head of production there, had seen the Running, Jumping & Standing Still Film I’d made with Peter Sellers and Spike Milligan. He knew that John [Lennon] liked the Goon Show. It seemed a nice fit. UA wanted to make a very low budget black and white film, to start shooting in March, but it would have to be in cinemas in July because they felt that by the end of the summer The Beatles might be a spent force. So I was brought along to meet the band by [producer] Walter Shenson, with whom I’d made The Mouse On The Moon.
DAVID PICKER [EXECUTIVE PRODUCER]: My main responsibilities were working with the filmmakers and deciding what movies we were going to make. I was also responsible for our music and record operation. I said to our London office, if there were a couple of up-coming groups we could sign or make a relationship with, I’d be interested. One of the groups they recommended was The Beatles. I met Brian Epstein and we agreed to consider making some very low budget movies. Then they performed in front of The Queen at the Royal Command Performance and suddenly it wasn’t a little group from Liverpool. It was The Beatles, and we had ‘em.
DENIS O’DELL [ASSOCIATE PRODUCER]: I’d be away filming and I hadn’t much heard abut The Beatles. United Artists asked me if I would do this cheap film with a new pop group. I said I wasn’t really interested, but my children asked who the band was. I said it as some pop group called The Beatles and they all went mad: “You said no to it?” I called back and contracted with UA for six or seven weeks.
RICHARD LESTER: Johnny Speight was my first choice for writer, but he had other commitments. I’d worked with Alun Owen before, in the very beginnings of television. Alun had written No Trams To Lime Street, as John said, “The trouble with you, Alun, is that you’re a professional Scouser.” Alun at least had the courage to say, “It’s better than being an amateur one.”
DAVID PICKER: We shared publishing. We had the soundtrack album. The thing that made United Artists a very attractive place for some filmmakers is that once we agreed on a budget and on a script we left them totally alone. They had final cut as long as they stayed on budget.
DENIS O’DELL: From memory, I think the budget was £200,000 but I managed to bring it in for well under that. From memory again, The Beatles were paid £40,000 collectively. The deal with United Artists and Brian Epstein? I think Brian just agreed to everything that UA said. I’ll give you an example of how you worked with Brian. When we did How I Won The War, I went to see him in his office because we were a bit short on the budget. I said, “Do you think John will play a part?” He said, “Why don’t you go and ask him, he’s in the next office.” So I went and asked John and John said, “Yeah, yeah. I could do it, Denis. Yeah.” That was a deal with Brian.
RICHARD LESTER: In February 1964, we went to Paris with the boys when they were playing with Francoise Hardy at the Olympia. That was a key moment. They took a suite of rooms at the George V. Alun Owen and myself had rooms with them. The film was writing itself as we went. You got that sense of being told where to go, what to do, and being pursued a lot. We watched how they went from the car to the hotel, and the hotel to the Olympia and back and then to a club. We wrote a script to ask them to do things they knew. Messing about in hotel rooms with large blondes. Those elements of being let a bit off the leash and then being tugged back is very much a part of the early sequences of the film. They’re in low rooms, trains with low ceilings, being told what to do and organised.
“… They had this ability to find people that they thought weren’t going to do them down….”
Monday, March 2, 1964. The Beatles join actors’ union Equity minutes before starting work on their first film. Cast and crew head off from platform 5 at Paddington station as shooting begins…
DENIS O’DELL: In the original script, all those scenes with The Beatles on the train were written as rear projection. I suggested to Richard quietly, “If I could get a real train, what do you think about the idea of shooting on that?” I spent the next two weeks arguing with British Rail to get the train. Then I had to get almost a private line so we could use a train as and when we wanted it. I got little platforms made up for the camera to go up and down the corridor of the train.
RICHARD LESTER: There were no rehearsals, everything started on March 2. By the time we started shooting, The Beatles had gone to America and done the Ed Sullivan Show. The film was already in profit because of advanced sales of the album. We started with them running for the train with about 500 people screaming after them.
PAUL McCARTNEY (1964): The film virtually opens with our departures from somewhere like Liverpool to somewhere like London, and that’s how we come to be on the train.
PATTIE BOYD [ACTRESS]: I was working as a fashion model. I got a phone call from my agent asking if I had my porfolio with me. If so, would I go to an address in Soho for a go-see. I went and there were loads of girls in the same room, waiting. We were called in and I saw Dick Lester, who I’d met on a TV commercial. Later that afternoon my agent phoned and said I had a part in the Beatles film! I did two days on set. We got the train from London to Cornwall and back. We got on at Paddington. After about twenty minutes, we stopped at a very small station, there were only four people on the platform – it was The Beatles. They came into our carriage – there were four of us girls, all dressed in school uniforms. They drew back the glass door and introduced themselves. It was so charming. The energy was explosive as they came in smiling and laughing.
RICHARD LESTER: I thought they were extraordinarily like each other. And that they liked each other. They protected each other. If one of them was down a bit, they would take over and protect them. Two or three nights later someone else would be down and they would pick them up. We tried to artificially create a difference between the four, so each had a unique characteristic. It’s probably apocryphal, but George was the mean one, they picked on Ringo, John was cynical and Paul was cute. It was something to hang things on. In real life, John was not known to suffer fools. I think I probably fell into the fool category. I have wounds, but I have huge admiration for John. I hope I formed a relationship with all of them. They had this ability to find people that they thought weren’t going to do them down. I spent a lot of time with John and was never less than impressed. How was it to direct Paul? I think the problem with Paul is he is so enthusiastic towards what’s going on, that it got in the way. Sometimes he tried harder than he should have. George was the most effective actor all the way through in that he attempted less but he always hit it right in the centre.
PATTIE BOYD: The shoot took over two or three carriages. The boys didn’t hide away. They were mixing quite a lot. I think the train stopped for lunchtime. I remember going to sit with George. We were talking quite a bit. For some reason I imagined that he’d want to sit with the others but he said, “Come on, let’s sit here.” I thought he was really, really good looking. He wasn’t as vocal as John and Paul were; they seemed to behave in a more clownish way. George was quieter, more my level because I’m very shy.
RINGO STARR (1964): In the film, John is going to play mouth-organ for the first time in ages. He’ll do it during a number called “I Should Have Known Better”, which we’ll probably use in the guard’s van scene.
DENIS O’DELL: I first met them on the train, on the first day of shooting. They seemed like a really nice bunch of young fellas for musicians. They were very polite. I was on set almost all the time. It turned out to be quite a dangerous operation. Kids were jumping in front of the bloody train to try and stop it.
“… The fans had got hacksaws…”
Lionel Blair and Phil Collins are among those who witness over-zealous fans disrupting the shoot. Filming locations include The Scala Theatre, where the band’s TV concert takes place…
RICHARD LESTER: We couldn’t control the crowd. It became impossible to shoot. Every day we got one take. We got police permission to shoot in whichever street. We’d do Take 1 and suddenly 2,000 kids would arrive from nowhere. I think we had a mole in our production department. The police would rip up the permit and we’d have to go off and find a street six blocks away and hope we could get another take in before they found us again. It was total guerrilla filmmaking.
DENIS O’DELL: I knew shooting exteriors would be a problem. I arranged the schedule so we did half a day on location and half a day in the studios. I was aware there was a studio in Twickenham that had closed. It was 15 minutes from the London, so it would be easy to dive in there when we were in trouble. I talked to Ken Shipman, who owned the studios, and I agreed to rent them. It worked out so well. I had the idea of filming the television show scenes at the old Scala Theatre on Charlotte Street. I took a week’s lease on the theatre and we moved in there: lock, stock and barrel.
GEORGE HARRISON (1964): When we get to the big city we have to make our way to a television studio for a bit of a show – and that’s where the speciality acts like Lionel Blair Dancers come in.
LIONEL BLAIR [TV CHOREOGRAPHER]: I worked with The Beatles on Big Night Out with Mike and Bernie Winters up in Manchester. Then when Big Night Out came to London, they were our first guests. We filmed at Teddington Studios and the girls were waiting there from Saturday night for them to arrive. They came up the river in a boat then we had an open car to take them into the studio. As they got in, a girl got out of the crowd and threw herself inside the car. I said to her, “Why are you here?” She said, “We want to breathe the same air they are.” Anyway, I knew Dick Lester, and he said, “We’d love you in it, because there’s a scene where they’re supposed to be at the Palladium so we’d like you and your dancers in it.” That was at the Scala.
RICHARD LESTER: When we were shooting in La Scala Theatre, the fans had got hacksaws and sawed through the iron bars of the fire escape doors.
DENIS O’DELL: There was one situation where the kids had gotten a ladder and climbed out on the roof to try and get in the roof of the Scala as I’d had it barred up there to stop intruders.
PHIL COLLINS [EXTRA]: I had just started going to the Barbara Speake Stage School in East Acton. One of the first jobs I got sent out on was with about 20 or 30 other kids from the school. We didn’t know where we were going or what it was for. We arrived at the Scala. There were loads of other kids there from other stage schools. We traipsed into the theatre and saw The Beatles drum kit on stage. Then suddenly they rushed out and lip-synched. They did “She Loves You” – although I don’t know if that was in the movie – “Tell Me Why”, “I Should Have Known Better”, all that stuff.
RICHARD LESTER: I met George Martin about half way through. I was given a group of 10 songs and chose the eight that I wanted because I thought they would fit the rhythms of the film. Then we put old bits of the songs when we needed them. When they’re playing the songs in the film, they were working to play back. I was slightly miffed in the end that George wrote two and a half minutes of background music and got an Academy Award nomination.
LIONEL BLAIR: One thing I remember was there was a piano on the set and Paul was fiddling around. He wrote “Yesterday”. On set, we’d fool around. They wanted them to do dance steps. I said to Paul, “Look, let’s do this…” and he said, “No, I don’t want to do any dance steps, Lionel!” They never did. Dance, that is.
RICHARD LESTER: The boys were pretty well behaved. One day, John was too hungover to turn up. So I borrowed his shoes and operated the camera. I started with my feet and then panned up to the other three. We had to do things like that to keep going because we had a very short schedule. I wasn’t surprised by their ease in front of the cameras. I think performers are performers, and we were only asking them to do things they were comfortable with. They’d done press conferences, they’d done shows, they’d been in hotel rooms, they’d gone to nightclubs. There were a few lines that were improvised. But most of the dialogue in the film was written down.
DENIS O’DELL: They had a very busy schedule, but it didn’t make any difference to them at all. They just sailed through what they had to do on a day and spent most of the nights at nightclubs. They were very professional for youngsters who’d never seen a film studio in their lives.
“… Dad! We got the horse…”
Shooting finishes on April 24. The film receives two premiers – one at the London Pavilion (July 6) and one at the Odeon Cinema, Liverpool (July 10). The film takes $20,000 in its first week at the Pavilion; there are 1,600 prints in circulation. The soundtrack album, released on July 10, enters the charts at No 3: kept off the top spot by Cliff Richard and the Rolling Stones.
RICHARD LESTER: It was rushed. There wasn’t a lot of time to sit and chat. We only had three and a half weeks to dub the film, cut the negative and get our showprint ready for the premier at the London Pavilion. The film was in 10 minute reels. If something went wrong with the take, you’d have to stop, take all the reels off the projectors, put them on a bench and rewind them back to zero. In the dubbing theatre, we marked out a badminton court using camera tape. We had a league going in the ten minutes it took to rewind all these bloody bits of film. At that point, we showed it to United Artists, who hadn’t seen a frame of it.
DAVID PICKER: I didn’t see the movie until it was finished. We didn’t even look at dailies. It was simply the way we operated. I first saw A Hard Day’s Night in London in a small screening room.
DENIS O’DELL: All the executives were sitting in the projection room. I’m not sure if Richard was there, he was a bit shy about these things. To my astonishment, at the end of the film, I think it was [UA vice-president] Arnold Picker’s wife who said, “I think it’s lovely but we’ll have to dub the film. I can’t understand a word they say.” Can you believe dubbing The Beatles? It was extraordinary. These guys were powerful people.
RICHARD LESTER: We showed them the film in a cinema in Curzon Street and at the end they all thought it was terrific and they all – from United Artists – agreed that as soon as we could dub it, it would be terrific. We all said, “No.”
DAVID PICKER: Was there any concern about the accents? Why, no.
RICHARD LESTER: I went to the London premier at the Pavilion. They had an organist playing Beatles hits, with a spotlight on him. The lights were just about to go down, the film was about to start, but he hadn’t finished. I had made sure that there were no credits or titles before the first chord that opens “A Hard Day’s Night”. But this mighty Wurlizter was still finishing off his version of “Can’t By Me Love” and ran over it. We heard nothing during the film. There was wall to wall screening for 90 minutes.
PATTIE BOYD: I didn’t go to the premier. Brian Epstein was so keen on promoting The Beatles as single guys so they could be potentially available to their fans. Even though George and I were going out, Brian invited Hayley Mills to accompany George to the premier. She was the young English actress, it would have been a good look.
DENIS O’DELL: The premiers were incredible. While we were filming at the Scala, Paul had said to me, “It’s my dad’s birthday and I don’t know what to get him.” I bred race horses as a hobby. I said to Paul, ‘Does your dad ever have a bet? My father used to have a shilling each way on horses. Why don’t you buy him a race horse?’ Paul said, ‘Where do you get ‘em? How much do you pay for one?’ So I bought a horse called Drake’s Drum. I had a trainer in the north of England, a very straight, proper military man. He looked after the horse for a couple of months. Then Paul asked me to get a painting of the horse – ‘Drake’s Drum, Owned By James McCartney’. At the party after the premier, Paul called me over to join the band and one or two other people as Jim McCartney received his birthday present, wrapped in brown paper. He unwrapped it, looked at the painting and said in amazement, “What’s this?” I said to Paul, “Did you tell your dad we’ve got the horse?” “Oh, no! I forgot. Dad, we got the horse!” The horse won or three races afterwards, so that was a great success.
RICHARD LESTER: There was another premier in Liverpool, but I’d gone on holiday by then.
DENIS O’DELL: The biggest premier was in Liverpool. I’ve never seen so many people turn up in my life. It was amazing. We charted a train. All of us went up by train. There were thousands and thousands of people on the sidewalks from the railway station up the town hall. We were standing with the mayor and The Beatles on the balcony of the town hall and I couldn’t believe the amount of people we could see.
LIONEL BLAIR: I went to the premier in Liverpool. We went to the town hall. There was a balcony. We all walked out, even me. There were thousands there, screaming. Before the film started, they said, “We’ve got some of the people who were in the cast.” I went up on stage, and they went mad for everybody. Everybody that was associated with them, they went crazy for.
DENIS O’DELL: There was such a burst of interest, before we’d even finished it. I ended up running around the country delivering prints to the cinemas for UA to save time. They couldn’t get it out quick enough. What did the boys think of the film? They loved it, of course. Some years ago we went to a showing of it. Paul was there. We had a laugh about it. I think we did about eight pictures together, Richard and I. And my association with The Beatles went on for six or seven years.
RICHARD LESTER: How do I feel about the film now? I knew while we were filming, probably the second week, that one day in fiftysomething years time, if I fell under a bus and died the newspaper headlines would say, “Beatles director in death drama”, no matter what else I did. And that has absolutely come out to be the way it’s been. If I managed to produce the way I felt about them on the screen in a way that holds up, I’m just grateful. They were a marvellous part of my life.
You can buy A Hard Day’s Night on DVD from Amazon.co.uk by clicking here
The History Of Rock – a brand new monthly magazine from the makers of Uncut – a brand new monthly magazine from the makers of Uncut – is now on sale in the UK. Click here for more details.
Meanwhile, the November 2015 issue of Uncut is now on sale in the UK – featuring Rod Stewart, Joanna Newsom, Julian Cope, Otis Redding, John Grant, The Doors, Harmonia, Linda Ronstadt, Dave Gahan, John Cooper Clarke and more.
Uncut: the spiritual home of great rock music.
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English musician and member of the Beatles (born 1942)
"McCartney" redirects here. For other uses, see McCartney (disambiguation).
Sir James Paul McCartney (born 18 June 1942) is an English singer, songwriter and musician who gained worldwide fame with the Beatles, for whom he played bass guitar and shared primary songwriting and lead vocal duties with John Lennon. One of the most successful composers and performers of all time, McCartney is known for his melodic approach to bass-playing, versatile and wide tenor vocal range, and musical eclecticism, exploring genres ranging from pre–rock and roll pop to classical, ballads, and electronica. His songwriting partnership with Lennon is the most successful in modern music history.[3]
Born in Liverpool, McCartney taught himself piano, guitar, and songwriting as a teenager, having been influenced by his father, a jazz player, and rock and roll performers such as Little Richard and Buddy Holly. He began his career when he joined Lennon's skiffle group, the Quarrymen, in 1957, which evolved into the Beatles in 1960. Sometimes called "the cute Beatle", McCartney later immersed himself in the London avant-garde scene and played a key role in incorporating experimental aesthetics into the Beatles' studio productions. Starting with the 1967 album Sgt. Pepper's Lonely Hearts Club Band, he gradually became the band's de facto leader, providing creative impetus for most of their music and film projects. Many of his Beatles songs, including "And I Love Her", "Yesterday", "Eleanor Rigby", and "Blackbird", rank among the most covered songs in history.[4][5] Although primarily a bassist with the Beatles, he played a number of other instruments, including keyboards, guitars, and drums, on various songs.
After the Beatles disbanded, he debuted as a solo artist with the 1970 album McCartney and went on to form the band Wings with his first wife, Linda, and Denny Laine. Under McCartney's leadership, Wings became one of the most successful bands of the 1970s. He wrote or co-wrote their US or UK number-one hits, such as "My Love", "Band on the Run", "Listen to What the Man Said", "Silly Love Songs", and "Mull of Kintyre". He resumed his solo career in 1980 and has been touring as a solo artist since 1989. Apart from Wings, his UK or US number-one hits include "Uncle Albert/Admiral Halsey" (with Linda), "Coming Up", "Pipes of Peace", "Ebony and Ivory" (with Stevie Wonder), and "Say Say Say" (with Michael Jackson). Beyond music, he has been involved in projects to promote international charities related to animal rights, seal hunting, land mines, vegetarianism, poverty, and music education.
McCartney has written or co-written a record 32 songs that have topped the Billboard Hot 100 and, as of 2009 , he had sales of 25.5 million RIAA-certified units in the US. His honours include two inductions into the Rock and Roll Hall of Fame (as a member of the Beatles in 1988 and as a solo artist in 1999), an Academy Award, a Primetime Emmy Award, 18 Grammy Awards, an appointment as a Member of the Order of the British Empire in 1965, and was appointed Knight Bachelor in 1997 for services to music. As of 2024, he is one of the wealthiest musicians in the world, with an estimated fortune of £1 billion.[6]
Early life
McCartney was born on 18 June 1942 at Walton Hospital in the Walton area of Liverpool, where his mother, Mary Patricia (née Mohin), had qualified to practise as a nurse. Both of his parents were of Irish descent. McCartney has a younger brother, Peter Michael, and a younger stepsister, Ruth, born to his father Jim's second wife, Angie, during her first marriage.[8] Paul and Michael were baptised in their mother's Catholic faith, even though their father was a former Protestant who had turned agnostic. Religion was not emphasised in the household.[9]
Before the war, Jim had worked as a salesman for the cotton merchants A. Hannay and Co., having been promoted from his job as a sample boy in their warehouse; when the war broke out, Hannay's was shuttered, and Jim was employed as a lathe turner at Napier's defence engineering works, volunteering for the fire brigade at night.[10] The growing family was rehoused at a flat in Knowsley in 1944 and then in a council housing development in Speke in 1946. After the war, Jim returned to his job at the cotton merchants with a reduced income. Mary's work as a visiting midwife was much more remunerative.[11]
McCartney attended Stockton Wood Road Primary School in Speke from 1947 until 1949, when he transferred to Joseph Williams Junior School in Belle Vale because of overcrowding at Stockton.[12] In 1953, he was one of only three students out of 90 to pass the 11-Plus exam, meaning he could attend the Liverpool Institute, a grammar school rather than a secondary modern school.[13] In 1954, he met schoolmate George Harrison on the bus from his suburban home in Speke. The two quickly became friends; McCartney later admitted: "I tended to talk down to him because he was a year younger."[14]
Mary McCartney's midwifery paid well, and her earnings enabled them to move into 20 Forthlin Road in Allerton,[16] where they lived until 1964.[17] She rode a bicycle to her patients; McCartney described an early memory of her leaving at "about three in the morning [the] streets ... thick with snow". On 31 October 1956, when McCartney was 14, his mother died of an embolism as a complication of surgery for breast cancer.[19] McCartney's loss later became a connection with John Lennon, whose mother, Julia, died in 1958 when Lennon was 17.
McCartney's father was a trumpet player and pianist who led Jim Mac's Jazz Band in the 1920s. He kept an upright piano in the front room, encouraged his sons to be musical and advised McCartney to take piano lessons. However, McCartney preferred to learn by ear.[nb 1] When McCartney was 11, his father encouraged him to audition for the Liverpool Cathedral choir, but he was not accepted. McCartney then joined the choir at St Barnabas' Church, Mossley Hill.[24] McCartney received a nickel-plated trumpet from his father for his fourteenth birthday, but when rock and roll became popular on Radio Luxembourg, McCartney traded it for a £15 Framus Zenith (model 17) acoustic guitar, since he wanted to be able to sing while playing.[25] He found it difficult to play guitar right-handed, but after noticing a poster advertising a Slim Whitman concert and realising that Whitman played left-handed, he reversed the order of the strings. McCartney wrote his first song, "I Lost My Little Girl", on the Zenith, and composed another early tune that would become "When I'm Sixty-Four" on the piano. American rhythm and blues influenced him, and Little Richard was his schoolboy idol; "Long Tall Sally" was the first song McCartney performed in public, at a Butlin's Filey holiday camp talent competition.[27]
Career
1957–1960: The Quarrymen
Main article: The Quarrymen
At the age of fifteen on 6 July 1957, McCartney met John Lennon and his band, the Quarrymen, at the St Peter's Church Hall fête in Woolton. The Quarrymen played a mix of rock and roll and skiffle, a type of popular music with jazz, blues and folk influences.[29] Soon afterwards, the members of the band invited McCartney to join as a rhythm guitarist, and he formed a close working relationship with Lennon. Harrison joined in 1958 as lead guitarist, followed by Lennon's art school friend Stuart Sutcliffe on bass, in 1960. By May 1960, the band had tried several names, including Johnny and the Moondogs, Beatals and the Silver Beetles. They adopted the name the Beatles in August 1960 and recruited drummer Pete Best shortly before a five-engagement residency in Hamburg.
1960–1970: The Beatles
Main article: The Beatles
In 1961, Sutcliffe left the band, and McCartney became their bass player. It is disputed whether he did so reluctantly or actively sought out the role.[33][34] While in Hamburg, they recorded professionally for the first time and were credited as the Beat Brothers, who were the backing band for English singer Tony Sheridan on the single "My Bonnie". This resulted in attention from Brian Epstein, who was a key figure in their subsequent development and success. He became their manager in January 1962. Ringo Starr replaced Best in August, and the band had their first hit, "Love Me Do", in October, becoming popular in the UK in 1963, and in the US a year later. The fan hysteria became known as "Beatlemania", and the press sometimes referred to McCartney as the "cute Beatle".[37][nb 2] McCartney co-wrote (with Lennon) several of their early hits, including "I Saw Her Standing There", "She Loves You", "I Want to Hold Your Hand" (1963) and "Can't Buy Me Love" (1964).[39]
In August 1965, the Beatles released the McCartney composition "Yesterday", featuring a string quartet. Included on the Help! LP, the song was the group's first recorded use of classical music elements and their first recording that involved only a single band member.[40] "Yesterday" became one of the most covered songs in popular music history.[41] Later that year, during recording sessions for the album Rubber Soul, McCartney began to supplant Lennon as the dominant musical force in the band. Musicologist Ian MacDonald wrote, "from [1965] ... [McCartney] would be in the ascendant not only as a songwriter, but also as instrumentalist, arranger, producer, and de facto musical director of the Beatles." Critics described Rubber Soul as a significant advance in the refinement and profundity of the band's music and lyrics.[43] Considered a high point in the Beatles catalogue, both Lennon and McCartney said they had written the music for the song "In My Life".[44] McCartney said of the album, "we'd had our cute period, and now it was time to expand." Recording engineer Norman Smith stated that the Rubber Soul sessions exposed indications of increasing contention within the band: "the clash between John and Paul was becoming obvious ... [and] as far as Paul was concerned, George [Harrison] could do no right—Paul was absolutely finicky."
In 1966, the Beatles released the album Revolver. Featuring sophisticated lyrics, studio experimentation, and an expanded repertoire of musical genres ranging from innovative string arrangements to psychedelic rock, the album marked an artistic leap for the Beatles. The first of three consecutive McCartney A-sides, the single "Paperback Writer" preceded the LP's release.[48] The Beatles produced a short promotional film for the song, and another for its B-side, "Rain". The films, described by Harrison as "the forerunner of videos", aired on The Ed Sullivan Show and Top of the Pops in June 1966.[49] Revolver also included McCartney's "Eleanor Rigby", which featured a string octet. According to Jonathan Gould, the song is "a neoclassical tour de force ... a true hybrid, conforming to no recognizable style or genre of song".[50] Except for some backing vocals, the song included only McCartney's lead vocal and the strings arranged by producer George Martin.[nb 3]
The band gave their final commercial concert at the end of their 1966 US tour. Later that year, McCartney completed his first musical project independent of the group—a film score for the UK production The Family Way. The score was a collaboration with Martin, who used two McCartney themes to write thirteen variations. The soundtrack failed to chart, but it won McCartney an Ivor Novello Award for Best Instrumental Theme.
Upon the end of the Beatles' performing career, McCartney sensed unease in the band and wanted them to maintain creative productivity. He pressed them to start a new project, which became Sgt. Pepper's Lonely Hearts Club Band, widely regarded as rock's first concept album.[55] McCartney was inspired to create a new persona for the group, to serve as a vehicle for experimentation and to demonstrate to their fans that they had musically matured. He invented the fictional band of the album's title track.[56] As McCartney explained, "We were fed up with being the Beatles. We really hated that fucking four little mop-top approach. We were not boys we were men ... and [we] thought of ourselves as artists rather than just performers."
Starting in November 1966, the band adopted an experimental attitude during recording sessions for the album. Their recording of "A Day in the Life" required a forty-piece orchestra, which Martin and McCartney took turns conducting.[59] The sessions produced the double A-side single "Strawberry Fields Forever"/"Penny Lane" in February 1967, and the LP followed in June.[nb 4] Based on an ink drawing by McCartney, the LP's cover included a collage designed by pop artists Peter Blake and Jann Haworth, featuring the Beatles in costume as the Sgt. Pepper's Lonely Hearts Club Band, standing with a host of celebrities.[61] The cover piqued a frenzy of analysis.[62]
Epstein's death in August 1967 created a void, which left the Beatles perplexed and concerned about their future. McCartney stepped in to fill that void and gradually became the de facto leader and business manager of the group that Lennon had once led. In his first creative suggestion after this change of leadership, McCartney proposed that the band move forward on their plans to produce a film for television, which was to become Magical Mystery Tour. According to Beatles historian Mark Lewisohn, the project was "an administrative nightmare throughout". McCartney largely directed the film, which brought the group their first unfavourable critical response. However, the film's soundtrack was more successful. It was released in the UK as a six-track double extended play disc (EP) and as an identically titled LP in the US, filled out with five songs from the band's recent singles. The only Capitol compilation later included in the group's official canon of studio albums, the Magical Mystery Tour LP achieved $8 million in sales within three weeks of its release, higher initial sales than any other Capitol LP up to that point.
The Beatles' animated film Yellow Submarine, loosely based on the imaginary world evoked by McCartney's 1966 composition, premiered in July 1968. Though critics admired the film for its visual style, humour and music, the soundtrack album issued six months later received a less enthusiastic response.[69] By late 1968, relations within the band were deteriorating. The tension grew during the recording of their eponymous double album, also known as the "White Album".[nb 5] Matters worsened the following year during the Let It Be sessions, when a camera crew filmed McCartney lecturing the group: "We've been very negative since Mr. Epstein passed away ... we were always fighting [his] discipline a bit, but it's silly to fight that discipline if it's our own".[72]
In March 1969, McCartney married his first wife, Linda Eastman, and in August, the couple had their first child, Mary, named after his late mother.[73] Abbey Road was the band's last recorded album, and Martin suggested "a continuously moving piece of music", urging the group to think symphonically. McCartney agreed, but Lennon did not. They eventually compromised, agreeing to McCartney's suggestion: an LP featuring individual songs on side one and a long medley on side two. In October 1969, a rumour surfaced that McCartney had died in a car crash in 1966 and was replaced by a lookalike, but this was quickly refuted when a November Life magazine cover featured him and his family, accompanied by the caption "Paul is still with us".
John Lennon privately left the Beatles in September 1969, though agreed not to go public with the information to not jeopardise ongoing business negotiations. McCartney was in the midst of business disagreements with his bandmates, largely concerning Allen Klein's management of the group, when he announced his own departure from the group on 10 April 1970.[76] He filed a suit for the band's formal dissolution on 31 December 1970, and in March 1971 the court appointed a receiver to oversee the finances of the Beatles' company Apple Corps. An English court legally dissolved the Beatles' partnership on 9 January 1975, though sporadic lawsuits against their record company EMI, Klein, and each other persisted until 1989.[nb 6][nb 7]
1970–1981: Wings
Main article: Wings (band)
I didn't really want to keep going as a solo artist ... so it became obvious that I had to get a band together ... Linda and I talked it through and it was like, "Yeah, but let's not put together a supergroup, let's go back to square one."
— McCartney
As the Beatles were breaking up in 1969–70, McCartney fell into a depression. His wife helped him pull out of that condition by praising his work as a songwriter and convincing him to continue writing and recording. In her honour, he wrote "Maybe I'm Amazed", explaining that with the Beatles breaking up, "that was my feeling: Maybe I'm amazed at what's going on ... Maybe I'm a man and maybe you're the only woman who could ever help me; Baby won't you help me understand ... Maybe I'm amazed at the way you pulled me out of time, hung me on the line, Maybe I'm amazed at the way I really need you." He added that "every love song I write is for Linda."[82][83] In 1970, McCartney continued his musical career with his first solo release, McCartney, a US number-one album. Apart from some vocal contributions from Linda, McCartney is a one-man album, with McCartney providing compositions, instrumentation and vocals.[84][nb 8] In 1971, he collaborated with Linda and drummer Denny Seiwell on a second album, Ram. A UK number one and a US top five, Ram included the co-written US number-one hit single "Uncle Albert/Admiral Halsey".[86] Later that year, ex-Moody Blues guitarist Denny Laine joined the McCartneys and Seiwell to form the band Wings. McCartney had this to say on the group's formation: "Wings were always a difficult idea ... any group having to follow [the Beatles'] success would have a hard job ... I found myself in that very position. However, it was a choice between going on or finishing, and I loved music too much to think of stopping."[nb 9] In September 1971, the McCartneys' daughter Stella was born, named in honour of Linda's grandmothers, both of whom were named Stella.[89]
Following the addition of guitarist Henry McCullough, Wings' first concert tour began in 1972 with a debut performance in front of an audience of seven hundred at the University of Nottingham. Ten more gigs followed as they travelled across the UK in a van during an unannounced tour of universities, during which the band stayed in modest accommodation and received pay in coinage collected from students, while avoiding Beatles songs during their performances.[90] McCartney later said, "The main thing I didn't want was to come on stage, faced with the whole torment of five rows of press people with little pads, all looking at me and saying, 'Oh well, he is not as good as he was.' So we decided to go out on that university tour which made me less nervous ... by the end of that tour I felt ready for something else, so we went into Europe." During the seven-week, 25-show Wings Over Europe Tour, the band played almost solely Wings and McCartney solo material: the Little Richard cover "Long Tall Sally" was the only song that the Beatles had previously recorded. McCartney wanted the tour to avoid large venues; most of the small halls they played had capacities of fewer than 3,000 people.
In March 1973, Wings achieved their first US number-one single, "My Love", included on their second LP, Red Rose Speedway, a US number one and UK top five.[93][nb 10] McCartney's collaboration with Linda and former Beatles producer Martin resulted in the song "Live and Let Die", which was the theme song for the James Bond film of the same name. Nominated for an Academy Award, the song reached number two in the US and number nine in the UK. It also earned Martin a Grammy for his orchestral arrangement.[94] Music professor and author Vincent Benitez described the track as "symphonic rock at its best".[95][nb 11]
After the departure of McCullough and Seiwell in 1973, the McCartneys and Laine recorded Band on the Run. The album was the first of seven platinum Wings LPs. It was a US and UK number one, the band's first to top the charts in both countries and the first ever to reach Billboard magazine's charts on three separate occasions. One of the best-selling releases of the decade, it remained on the UK charts for 124 weeks. Rolling Stone named it one of the Best Albums of the Year for 1973, and in 1975, Paul McCartney and Wings won the Grammy Award for Best Pop Vocal Performance for the song "Band on the Run", and Geoff Emerick won the Grammy for Best Engineered Recording for the album.[98][nb 12] In 1974, Wings achieved a second US number-one single with the title track.[100] The album also included the top-ten hits "Jet" and "Helen Wheels", and earned the 418th spot on Rolling Stone's list of the 500 Greatest Albums of All Time.[101] In 1974, McCartney hired guitarist Jimmy McCulloch and drummer Geoff Britton to replace McCullough and Seiwell. Britton subsequently quit during recording sessions in 1975 and was replaced by Joe English.
Wings followed Band on the Run with the chart-topping albums Venus and Mars (1975) and Wings at the Speed of Sound (1976).[103][nb 13] In 1975, they began the fourteen-month Wings Over the World Tour, which included stops in the UK, Australia, Europe and the US. The tour marked the first time McCartney performed Beatles songs live with Wings, with five in the two-hour set list: "I've Just Seen a Face", "Yesterday", "Blackbird", "Lady Madonna" and "The Long and Winding Road".[105] Following the second European leg of the tour and extensive rehearsals in London, the group undertook an ambitious US arena tour that yielded the US number-one live triple LP Wings over America.[106]
In September 1977, the McCartneys' third child was born, a son they named James. In November, the Wings song "Mull of Kintyre", co-written with Laine, was quickly becoming one of the best-selling singles in UK chart history.[107] The most successful single of McCartney's solo career, it achieved double the sales of the previous record holder, "She Loves You", and went on to sell 2.5 million copies and hold the UK sales record until the 1984 charity single, "Do They Know It's Christmas?"[108][nb 14]
London Town (1978) spawned a US number-one single ("With a Little Luck"), and continued Wings' string of commercial successes, making the top five in both the US and the UK. Critical reception was unfavourable, and McCartney expressed disappointment with the album.[nb 15] Back to the Egg (1979) featured McCartney's assemblage of a rock supergroup dubbed "Rockestra" on two tracks. The band included Wings along with Pete Townshend, David Gilmour, Gary Brooker, John Paul Jones, John Bonham and others. Though certified platinum, critics panned the album.[112] Wings completed their final concert tour in 1979, with twenty shows in the UK that included the live debut of the Beatles songs "Got to Get You into My Life", "The Fool on the Hill" and "Let It Be".[113]
In 1980, McCartney released his second solo LP, the self-produced McCartney II, which peaked at number one in the UK and number three in the US. As with his first album, he composed and performed it alone.[114] The album contained the song "Coming Up", the live version of which, recorded in Glasgow, Scotland, in 1979 by Wings, became the group's last number-one hit.[115] By 1981, McCartney felt he had accomplished all he could creatively with Wings and decided he needed a change. The group discontinued in April 1981 after Laine quit following disagreements over royalties and salaries.[nb 16][nb 17]
1982–1990
In 1982, McCartney collaborated with Stevie Wonder on the Martin-produced number-one hit "Ebony and Ivory", included on McCartney's Tug of War LP, and with Michael Jackson on "The Girl Is Mine" from Thriller.[120][nb 18] "Ebony and Ivory" was McCartney's record 28th single to hit number one on the Billboard 100.[122] The following year, he and Jackson worked on "Say Say Say", McCartney's most recent US number one as of 2014 . McCartney earned his latest UK number one as of 2014 with the title track of his LP release that year, "Pipes of Peace".[123][nb 19]
In 1984, McCartney starred in the musical Give My Regards to Broad Street, a feature film he also wrote and produced and which included Starr in an acting role. It was disparaged by critics: Variety described the film as "characterless, bloodless, and pointless";[125] while Roger Ebert awarded it a single star, writing, "you can safely skip the movie and proceed directly to the soundtrack".[126] The album fared much better, reaching number one in the UK and producing the US top-ten hit single "No More Lonely Nights", featuring David Gilmour on lead guitar.[127] In 1985, Warner Brothers commissioned McCartney to write a song for the comedic feature film Spies Like Us. He composed and recorded the track in four days, with Phil Ramone co-producing.[nb 20] McCartney participated in Live Aid, performing "Let it Be", but technical difficulties rendered his vocals and piano barely audible for the first two verses, punctuated by squeals of feedback. Equipment technicians resolved the problems and David Bowie, Alison Moyet, Pete Townshend and Bob Geldof joined McCartney on stage, receiving an enthusiastic crowd reaction.
McCartney collaborated with Eric Stewart on Press to Play (1986), with Stewart co-writing more than half the songs on the LP.[nb 21] In 1988, McCartney released Снова в СССР, initially available only in the Soviet Union, which contained eighteen covers; recorded over the course of two days.[133] In 1989, he joined forces with fellow Merseysiders Gerry Marsden and Holly Johnson to record an updated version of "Ferry Cross the Mersey", for the Hillsborough disaster appeal fund.[nb 22] That same year, he released Flowers in the Dirt; a collaborative effort with Elvis Costello that included musical contributions from Gilmour and Nicky Hopkins.[136][nb 23] McCartney then formed a band consisting of himself and Linda, with Hamish Stuart and Robbie McIntosh on guitars, Paul "Wix" Wickens on keyboards and Chris Whitten on drums.[138] In September 1989, they launched the Paul McCartney World Tour, his first in over a decade. During the tour, McCartney performed for the largest paying stadium audience in history on 21 April 1990, when 184,000 people attended his concert at Maracanã Stadium in Rio de Janeiro, Brazil. That year, he released the triple album Tripping the Live Fantastic, which contained selected performances from the tour.[nb 24][nb 25]
1991–1999
McCartney ventured into orchestral music in 1991 when the Royal Liverpool Philharmonic Society commissioned a musical piece by him to celebrate its sesquicentennial. He collaborated with composer Carl Davis, producing Liverpool Oratorio. The performance featured opera singers Kiri Te Kanawa, Sally Burgess, Jerry Hadley and Willard White with the Royal Liverpool Philharmonic Orchestra and the choir of Liverpool Cathedral.[143] Reviews were negative. The Guardian was especially critical, describing the music as "afraid of anything approaching a fast tempo", and adding that the piece has "little awareness of the need for recurrent ideas that will bind the work into a whole". The paper published a letter McCartney submitted in response in which he noted several of the work's faster tempos and added, "happily, history shows that many good pieces of music were not liked by the critics of the time so I am content to ... let people judge for themselves the merits of the work." The New York Times was slightly more generous, stating, "There are moments of beauty and pleasure in this dramatic miscellany ... the music's innocent sincerity makes it difficult to be put off by its ambitions".[145] Performed around the world after its London premiere, the Liverpool Oratorio reached number one on the UK classical chart, Music Week.[146] In 1991, McCartney performed a selection of acoustic-only songs on MTV Unplugged and released a live album of the performance titled Unplugged (The Official Bootleg).[147][nb 26] During the 1990s, McCartney collaborated twice with Youth of Killing Joke as the musical duo "the Fireman". The two released their first electronica album together, Strawberries Oceans Ships Forest, in 1993. McCartney released the rock album Off the Ground in 1993.[nb 27] The subsequent New World Tour followed, which led to the release of the Paul Is Live album later that year.[152][nb 28][nb 29]
Starting in 1994, McCartney took a four-year break from his solo career to work on Apple's Beatles Anthology project with Harrison, Starr and Martin. He recorded a radio series called Oobu Joobu in 1995 for the American network Westwood One, which he described as "widescreen radio". Also in 1995, Prince Charles presented him with an Honorary Fellowship of the Royal College of Music—"kind of amazing for somebody who doesn't read a note of music", commented McCartney.[157]
In 1997, McCartney released the rock album Flaming Pie. Starr appeared on drums and backing vocals in "Beautiful Night".[nb 30] Later that year, he released the classical work Standing Stone, which topped the UK and US classical charts. In 1998, he released Rushes, the second electronica album by the Fireman.[161] In 1999, McCartney released Run Devil Run.[nb 31] Recorded in one week, and featuring Ian Paice and David Gilmour, it was primarily an album of covers with three McCartney originals. He had been planning such an album for years, having been previously encouraged to do so by Linda, who had died of cancer in April 1998.[163]
McCartney did an unannounced performance at the benefit tribute, "Concert for Linda", his wife of 29 years who died a year earlier. It was held at the Royal Albert Hall in London on 10 April 1999, and was organised by two of her close friends, Chrissie Hynde and Carla Lane. Also during 1999, he continued his experimentation with orchestral music on Working Classical.
2000–2009
In 2000, he released the electronica album Liverpool Sound Collage with Super Furry Animals and Youth, using the sound collage and musique concrète techniques that had fascinated him in the mid-1960s. He contributed the song "Nova" to a tribute album of classical, choral music called A Garland for Linda (2000), dedicated to his late wife.[166]
Having witnessed the September 11 attacks from the JFK airport tarmac, McCartney was inspired to take a leading role in organising the Concert for New York City. His studio album release in November that year, Driving Rain, included the song "Freedom", written in response to the attacks.[167][nb 32] The following year, McCartney went out on tour with a new band that included guitarists Rusty Anderson and Brian Ray, accompanied by Paul "Wix" Wickens on keyboards and Abe Laboriel Jr. on drums.[169] They began the Driving World Tour in April 2002, which included stops in the US, Mexico and Japan. The tour resulted in the double live album Back in the US, released internationally in 2003 as Back in the World.[nb 33][nb 34] The tour earned a reported $126.2 million, an average of over $2 million per night, and Billboard named it the top tour of the year.[172] The group continues to play together; McCartney has played live with Ray, Anderson, Laboriel, and Wickens longer than he played live with the Beatles or Wings.[173]
In July 2002, McCartney married Heather Mills. In November, on the first anniversary of George Harrison's death, McCartney performed at the Concert for George.[174] He participated in the National Football League's Super Bowl, performing "Freedom" during the pre-game show for Super Bowl XXXVI in 2002 and headlining the halftime show at Super Bowl XXXIX in 2005.[175] The English College of Arms honoured McCartney in 2002 by granting him a coat of arms. His crest, featuring a Liver bird holding an acoustic guitar in its claw, reflects his background in Liverpool and his musical career. The shield includes four curved emblems which resemble beetles' backs. The arms' motto is Ecce Cor Meum, Latin for "Behold My Heart".[176] In 2003, the McCartneys had a child, Beatrice Milly.
In July 2005, he performed at the Live 8 event in Hyde Park, London, opening the show with "Sgt. Pepper's Lonely Hearts Club Band" (with U2) and closing it with "Drive My Car" (with George Michael), "Helter Skelter", and "The Long and Winding Road".[nb 35] In September, he released the rock album Chaos and Creation in the Backyard, for which he provided most of the instrumentation.[nb 36][nb 37] In 2006, McCartney released the classical work Ecce Cor Meum.[nb 38] The rock album Memory Almost Full followed in 2007.[nb 39] In 2008, he released his third Fireman album, Electric Arguments.[nb 40] Also in 2008, he performed at a concert in Liverpool to celebrate the city's year as European Capital of Culture. In 2009, after a four-year break, he returned to touring and has since performed over 80 shows.[188] More than forty-five years after the Beatles first appeared on American television during The Ed Sullivan Show, he returned to the same New York theatre to perform on Late Show with David Letterman.[189] On 9 September 2009, EMI reissued the Beatles catalogue following a four-year digital remastering effort, releasing a music video game called The Beatles: Rock Band the same day.[190]
McCartney's enduring fame has made him a popular choice to open new venues. In 2009, he performed three sold-out concerts at the newly built Citi Field, a venue constructed to replace Shea Stadium in Queens, New York. These performances yielded the double live album Good Evening New York City later that year.
2010–2019
In 2010, McCartney opened the Consol Energy Center in Pittsburgh, Pennsylvania; it was his first concert in Pittsburgh since 1990 due to the old Civic Arena being deemed unsuitable for McCartney's logistical needs.[192][nb 41] In July 2011, McCartney performed at two sold-out concerts at the new Yankee Stadium. A New York Times review of the first concert reported that McCartney was "not saying goodbye but touring stadiums and playing marathon concerts".[194] In August 2011, McCartney left EMI and signed with Decca Records, the same record company that famously rejected The Beatles back in January 1962.[195] McCartney was commissioned by the New York City Ballet, and in September 2011, he released his first score for dance, a collaboration with Peter Martins called Ocean's Kingdom on Decca Records.[196] Also in 2011, McCartney married Nancy Shevell.[197] He released Kisses on the Bottom, a collection of standards, in February 2012, the same month that the National Academy of Recording Arts and Sciences honoured him as the MusiCares Person of the Year, two days prior to his performance at the 54th Annual Grammy Awards.[198]
McCartney remains one of the world's top draws. He played to over 100,000 people during two performances in Mexico City in May, with the shows grossing nearly $6 million.[199][nb 42] In June 2012, McCartney closed Queen Elizabeth's Diamond Jubilee Concert held outside Buckingham Palace, performing a set that included "Let It Be" and "Live and Let Die".[201] He closed the opening ceremony of the 2012 Summer Olympics in London on 27 July, singing "The End" and "Hey Jude" and inviting the audience to join in on the coda.[202] Having donated his time, he received £1 from the Olympic organisers.[203]
On 12 December 2012, McCartney performed with three former members of Nirvana (Krist Novoselic, Dave Grohl, and guest member Pat Smear) during the closing act of 12-12-12: The Concert for Sandy Relief, seen by approximately two billion people worldwide.[204] On 28 August 2013, McCartney released the title track of his upcoming studio album New, which came out in October 2013.[205] A primetime entertainment special was taped on 27 January 2014 at the Ed Sullivan Theater with a 9 February 2014 CBS airing. The show featured McCartney and Ringo Starr, and celebrated the legacy of the Beatles and their groundbreaking 1964 performance on The Ed Sullivan Show. The show, titled The Night That Changed America: A Grammy Salute to The Beatles, featured 22 classic Beatles songs as performed by various artists, including McCartney and Starr.[206]
In May 2014, McCartney cancelled a sold-out tour of Japan and postponed a US tour to October due to begin that month after he contracted a virus.[207] He resumed the tour with a high-energy three-hour appearance in Albany, New York on 5 July 2014.[208] On 14 August 2014, McCartney performed in the final concert at Candlestick Park in San Francisco, California before its demolition; this was the same venue at which the Beatles played their final concert for a paying audience in 1966.[209] In 2014, McCartney wrote and performed "Hope for the Future", the ending song for the video game Destiny.[210][211] In November 2014, a 42-song tribute album titled The Art of McCartney was released, which features a wide range of artists covering McCartney's solo and Beatles work.[212] Also that year, McCartney collaborated with American rapper Kanye West on the single "Only One", released on 31 December.[213] In January 2015, McCartney collaborated with West and Barbadian singer Rihanna on the single "FourFiveSeconds".[214] They released a music video for the song in January[215] and performed it live at the 57th Annual Grammy Awards on 8 February 2015.[216] McCartney featured on West's 2015 single "All Day", which also features Theophilus London and Allan Kingdom.[217]
In February 2015, McCartney performed with Paul Simon for the Saturday Night Live 40th Anniversary Special. McCartney and Simon performed the first verse of "I've Just Seen a Face" on acoustic guitars, and McCartney later performed "Maybe I'm Amazed".[218] McCartney shared lead vocals on the Alice Cooper-led Hollywood Vampires supergroup's cover of his song "Come and Get It", which appears on their debut album, released on 11 September 2015.[219] On 10 June 2016, McCartney released the career-spanning collection Pure McCartney.[220] The set includes songs from throughout McCartney's solo career and his work with Wings and the Fireman, and is available in three different formats (2-CD, 4-CD, 4-LP and Digital). The 4-CD version includes 67 tracks, most of which were top-40 hits.[221][non-primary source needed][222] McCartney appeared in the 2017 adventure film Pirates of the Caribbean: Dead Men Tell No Tales, in a cameo role as Uncle Jack.[223]
In January 2017, McCartney filed a suit in United States district court against Sony/ATV Music Publishing seeking to reclaim ownership of his share of the Lennon–McCartney song catalogue beginning in 2018. Under US copyright law, for works published before 1978 the author can reclaim copyrights assigned to a publisher after 56 years.[224][225] McCartney and Sony agreed to a confidential settlement in June 2017.[226][227] On 20 June 2018, McCartney released "I Don't Know" and "Come On to Me" from his album Egypt Station, which was released on 7 September through Capitol Records.[228] Egypt Station became McCartney's first album in 36 years to top the Billboard 200, and his first to debut at number one.[229] On 26 July 2018, McCartney played at The Cavern Club, with his regular band of Anderson, Ray, Wickens and Abe Laboriel Jr. The gig was filmed and later broadcast by BBC, on Christmas Day 2020, as Paul McCartney at the Cavern Club.[230][231]
2020–present
McCartney's 18th solo album, McCartney III, was released on 18 December 2020, via Capitol Records; it became his first number-one solo album in the UK since Flowers in the Dirt in 1989.[232][233] The album was recorded in England during the COVID-19 lockdowns and continues McCartney's trend of self-titled solo albums with him playing all of the instruments.[234] An album of "reinterpretations, remixes, and covers" titled McCartney III Imagined was released on 16 April 2021.[235]
McCartney's book The Lyrics: 1956 to the Present was released in November 2021. Described as a "self-portrait in 154 songs", the book is based on conversations McCartney had with the Irish poet Paul Muldoon.[236] The Lyrics was named Book of the Year by both Barnes & Noble and Waterstones.[237][238] McCartney's "Got Back" tour ran from 28 April 2022 to 16 June 2022 in the United States, his first in the country since 2019.[239] The tour concluded on 25 June 2022 when McCartney headlined Glastonbury Festival, a week after his 80th birthday. Performing on the Pyramid Stage, he became the oldest solo headliner at the festival.[240][241] Special guests were Dave Grohl and Bruce Springsteen.[242][243] In 2022, he received the Primetime Emmy Award for Outstanding Documentary or Nonfiction Series at the 74th Primetime Creative Arts Emmy Awards, as a producer for the documentary The Beatles: Get Back.[244]
In 2023, McCartney published the book 1964: Eyes of the Storm, a collection of recently discovered photos he had taken at the height of Beatlemania.[245][246]
Musicianship
McCartney is a largely self-taught musician, and his approach was described by musicologist Ian MacDonald as "by nature drawn to music's formal aspects yet wholly untutored ... [he] produced technically 'finished' work almost entirely by instinct, his harmonic judgement based mainly on perfect pitch and an acute pair of ears ... [A] natural melodist—a creator of tunes capable of existing apart from their harmony."[247] McCartney likened his approach to "the primitive cave artists, who drew without training".
Early influences
McCartney's earliest musical influences include Elvis Presley, Little Richard, Buddy Holly, Carl Perkins, and Chuck Berry.[250] When asked why the Beatles did not include Presley on the Sgt. Pepper cover, McCartney replied, "Elvis was too important and too far above the rest even to mention ... so we didn't put him on the list because he was more than merely a ... pop singer, he was Elvis the King." McCartney stated that for his bassline for "I Saw Her Standing There", he directly quoted Berry's "I'm Talking About You".[252]
McCartney called Little Richard an idol, whose falsetto vocalisations inspired McCartney's own vocal technique. McCartney said he wrote "I'm Down" as a vehicle for his Little Richard impersonation.[254] In 1971, McCartney bought the publishing rights to Holly's catalogue, and in 1976, on the fortieth anniversary of Holly's birth, McCartney inaugurated the annual "Buddy Holly Week" in England. The festival has included guest performances by famous musicians, songwriting competitions, drawing contests and special events featuring performances by the Crickets.[255]
Bass guitar
Best known for primarily using a plectrum or pick, McCartney occasionally plays fingerstyle. He was strongly influenced by Motown artists, in particular James Jamerson, whom McCartney called a hero for his melodic style. He was also influenced by Brian Wilson, as he commented: "because he went to very unusual places". Another favourite bassist of his is Stanley Clarke.[258] McCartney's skill as a bass player has been acknowledged by bassists including Sting, Dr. Dre bassist Mike Elizondo, and Colin Moulding of XTC.
McCartney has consistently been ranked at or near the top of lists of the best bass players ever. He was voted the best rock bassist in Creem's 1973 and 1974 Reader Poll Results and the third best rock bassist in its 1975 and 1977 Reader Poll Results.[260] He was voted the third best bassist of all time in a 2011 Rolling Stone readers' poll[261] and, in 2020, the same magazine ranked him the ninth greatest bassist of all time.[262] In 2020, Bass Player magazine ranked him the third best bass player of all time.[263] He was voted the fifth greatest bassist of all time in a 2021 MusicRadar readers' poll.[264] Music critic J. D. Considine ranked McCartney the second best bass player.[265]
During McCartney's early years with the Beatles, he primarily used a Höfner 500/1 bass, although from 1965, he favoured his Rickenbacker 4001S for recording. While typically using Vox amplifiers, by 1967, he had also begun using a Fender Bassman for amplification.[267] During the late 1980s and early 1990s, he used a Wal 5-String, which he said made him play more thick-sounding basslines, in contrast to the much lighter Höfner, which inspired him to play more sensitively, something he considers fundamental to his playing style. He changed back to the Höfner around 1990 for that reason. He uses Mesa Boogie bass amplifiers while performing live.
MacDonald identified "She's a Woman" as the turning point when McCartney's bass playing began to evolve dramatically, and Beatles biographer Chris Ingham singled out Rubber Soul as the moment when McCartney's playing exhibited significant progress, particularly on "The Word".[270] Bacon and Morgan agreed, calling McCartney's groove on the track "a high point in pop bass playing and ... the first proof on a recording of his serious technical ability on the instrument."[271] MacDonald inferred the influence of James Brown's "Papa's Got a Brand New Bag" and Wilson Pickett's "In the Midnight Hour", American soul tracks from which McCartney absorbed elements and drew inspiration as he "delivered his most spontaneous bass-part to date".
Bacon and Morgan described his bassline for the Beatles song "Rain" as "an astonishing piece of playing ... [McCartney] thinking in terms of both rhythm and 'lead bass' ... [choosing] the area of the neck ... he correctly perceives will give him clarity for melody without rendering his sound too thin for groove." MacDonald identified the influence of Indian classical music in "exotic melismas in the bass part" on "Rain" and described the playing as "so inventive that it threatens to overwhelm the track". By contrast, he recognised McCartney's bass part on the Harrison-composed "Something" as creative but overly busy and "too fussily extemporised". McCartney identified Sgt. Pepper's Lonely Hearts Club Band as containing his strongest and most inventive bass playing, particularly on "Lucy in the Sky with Diamonds".
Acoustic guitar
McCartney primarily flatpicks while playing acoustic guitar, though he also uses elements of fingerpicking. Examples of his acoustic guitar playing on Beatles tracks include "Yesterday", "Michelle", "Blackbird", "I Will", "Mother Nature's Son" and "Rocky Raccoon".[278] McCartney singled out "Blackbird" as a personal favourite and described his technique for the guitar part in the following way: "I got my own little sort of cheating way of [fingerpicking] ... I'm actually sort of pulling two strings at a time ... I was trying to emulate those folk players." He employed a similar technique for "Jenny Wren". He played an Epiphone Texan on many of his acoustic recordings, but also used a Martin D-28.[280]
Electric guitar
McCartney played lead guitar on several Beatles recordings, including what MacDonald described as a "fiercely angular slide guitar solo" on "Drive My Car", which McCartney played on an Epiphone Casino. McCartney said of the instrument: "if I had to pick one electric guitar it would be this."[282] McCartney bought the Casino in 1964, on the knowledge that the guitar's hollow body would produce more feedback. He has retained that original guitar to the present day.[283] He contributed what MacDonald described as "a startling guitar solo" on the Harrison composition "Taxman" and the "shrieking" guitar on "Sgt. Pepper's Lonely Hearts Club Band" and "Helter Skelter". MacDonald also praised McCartney's "coruscating pseudo-Indian" guitar solo on "Good Morning Good Morning".[284] McCartney also played lead guitar on "Another Girl".
During his years with Wings, McCartney tended to leave electric guitar work to other group members, though he played most of the lead guitar on Band on the Run.[287] In 1990, when asked who his favourite guitar players were he included Eddie Van Halen, Eric Clapton and David Gilmour, stating, "but I still like Hendrix the best". He has primarily used a Gibson Les Paul for electric work, particularly during live performances.
In addition to these guitars, McCartney is known to use and own a range of other electric guitars, usually favouring the Fender Esquire and its subsequent incarnation, the Fender Telecaster, using the latter with a sunburst finish on Wings' tours in the 1970s. He also owns a rare Ampeg Dan Armstrong Plexi guitar, the only left handed one known to be in existence, which appeared in the Wings video for "Helen Wheels".[288]
Vocals
McCartney is known for his belting power, versatility and wide tenor vocal range, spanning over four octaves.[289][290] He was ranked the 11th greatest singer of all time by Rolling Stone,[291] voted the 8th greatest singer ever by NME readers[292] and number 10 by Music Radar readers in the list of "the 30 greatest lead singers of all time".[293] Over the years, McCartney has been named a significant vocal influence by Chris Cornell,[294] Billy Joel,[295] Steven Tyler,[296] Brad Delp,[297] and Axl Rose.[298]
McCartney's vocals have crossed several music genres throughout his career. On "Call Me Back Again", according to Benitez, "McCartney shines as a bluesy solo vocalist", while MacDonald called "I'm Down" "a rock-and-roll classic" that "illustrates McCartney's vocal and stylistic versatility".[299] MacDonald described "Helter Skelter" as an early attempt at heavy metal, and "Hey Jude" as a "pop/rock hybrid", pointing out McCartney's "use of gospel-style melismas" in the song and his "pseudo-soul shrieking in the fade-out".[300] Benitez identified "Hope of Deliverance" and "Put It There" as examples of McCartney's folk music efforts while musicologist Walter Everett considered "When I'm Sixty-Four" and "Honey Pie" attempts at vaudeville.[301] MacDonald praised the "swinging beat" of the Beatles' twenty-four bar blues song, "She's a Woman" as "the most extreme sound they had manufactured to date", with McCartney's voice "at the edge, squeezed to the upper limit of his chest register and threatening to crack at any moment." MacDonald described "I've Got a Feeling" as a "raunchy, mid-tempo rocker" with a "robust and soulful" vocal performance and "Back in the U.S.S.R." as "the last of [the Beatles'] up-tempo rockers", McCartney's "belting" vocals among his best since "Drive My Car", recorded three years earlier.[303]
McCartney also teasingly tried out classical singing, namely singing various renditions of "Besame Mucho" with the Beatles. He continued experimenting with various musical and vocal styles throughout his post-Beatles career.[304][305][306][text–source integrity?] "Monkberry Moon Delight" was described by Pitchfork's Jayson Greene as "an absolutely unhinged vocal take, Paul gulping and sobbing right next to your inner ear", adding that "it could be a latter-day Tom Waits performance".[307]
Keyboards
McCartney played piano on several Beatles songs, including "She's a Woman", "For No One", "A Day in the Life", "Hello, Goodbye", "Lady Madonna", "Hey Jude", "Martha My Dear", "Let It Be" and "The Long and Winding Road".[308] MacDonald considered the piano part in "Lady Madonna" as reminiscent of Fats Domino, and "Let It Be" as having a gospel rhythm.[309] MacDonald called McCartney's Mellotron intro on "Strawberry Fields Forever" an integral feature of the song's character. McCartney played a Moog synthesiser on the Beatles song "Maxwell's Silver Hammer" and the Wings track "Loup (1st Indian on the Moon)".[311] Ingham described the Wings songs "With a Little Luck" and "London Town" as being "full of the most sensitive pop synthesizer touches".[312]
Drums
McCartney played drums on the Beatles' songs "Back in the U.S.S.R.", "Dear Prudence", "Martha My Dear", "Wild Honey Pie" and "The Ballad of John and Yoko".[313] He also played all the drum parts on his albums McCartney, McCartney II and McCartney III, as well as on Wings' Band on the Run, and most of the drums on his solo LP Chaos and Creation in the Backyard.[314] His other drumming contributions include Paul Jones' rendition of "And the Sun Will Shine" (1968),[315] Steve Miller Band's 1969 tracks "Celebration Song" and "My Dark Hour",[316][317] and "Sunday Rain" from the Foo Fighters' 2017 album Concrete and Gold.[318]
Tape loops
In the mid-1960s, when visiting artist friend John Dunbar's flat in London, McCartney brought tapes he had compiled at then-girlfriend Jane Asher's home. They included mixes of various songs, musical pieces and comments made by McCartney that Dick James made into a demo for him. Heavily influenced by American avant-garde musician John Cage, McCartney made tape loops by recording voices, guitars and bongos on a Brenell tape recorder and splicing the various loops. He referred to the finished product as "electronic symphonies". He reversed the tapes, sped them up, and slowed them down to create the desired effects, some of which the Beatles later used on the songs "Tomorrow Never Knows" and "The Fool on the Hill".[321]
Personal life
Creative outlets
While at school during the 1950s, McCartney thrived at art assignments, often earning top accolades for his visual work. However, his lack of discipline negatively affected his academic grades, preventing him from earning admission to art college. During the 1960s, he delved into the visual arts, explored experimental cinema, and regularly attended film, theatrical and classical music performances. His first contact with the London avant-garde scene was through artist John Dunbar, who introduced McCartney to art dealer Robert Fraser. At Fraser's flat he first learned about art appreciation and met Andy Warhol, Claes Oldenburg, Peter Blake, and Richard Hamilton. McCartney later purchased works by Magritte, whose painting of an apple had inspired the Apple Records logo. McCartney became involved in the renovation and publicising of the Indica Gallery in Mason's Yard, London, which Barry Miles had co-founded and where Lennon first met Yoko Ono. Miles also co-founded International Times, an underground paper that McCartney helped to start with direct financial support and by providing interviews to attract advertiser income. Miles later wrote McCartney's official biography, Many Years from Now (1997).[326]
McCartney became interested in painting after watching artist Willem de Kooning work in de Kooning's Long Island studio. McCartney took up painting in 1983, and he first exhibited his work in Siegen, Germany, in 1999. The 70-painting show featured portraits of Lennon, Andy Warhol, and David Bowie. Though initially reluctant to display his paintings publicly, McCartney chose the gallery because events organiser Wolfgang Suttner showed genuine interest in McCartney's art. In September 2000, the first UK exhibition of McCartney's paintings opened, featuring 500 canvases at the Arnolfini Gallery in Bristol, England.[330] In October 2000, McCartney's art debuted in his hometown of Liverpool. McCartney said, "I've been offered an exhibition of my paintings at the Walker Art Gallery ... where John and I used to spend many a pleasant afternoon. So I'm really excited about it. I didn't tell anybody I painted for 15 years but now I'm out of the closet".[331] McCartney is lead patron of the Liverpool Institute for Performing Arts, a school in the building formerly occupied by the Liverpool Institute for Boys.
When McCartney was a child, his mother read him poems and encouraged him to read books. His father invited Paul and his brother Michael to solve crosswords with him, to increase their "word power", as McCartney said.[333] In 2001, McCartney published Blackbird Singing, a volume of poems and lyrics to his songs for which he gave readings in Liverpool and New York City.[334] In the foreword of the book, he explains: "When I was a teenager ... I had an overwhelming desire to have a poem published in the school magazine. I wrote something deep and meaningful—which was promptly rejected—and I suppose I have been trying to get my own back ever since". His first children's book was published by Faber & Faber in 2005, High in the Clouds: An Urban Furry Tail, a collaboration with writer Philip Ardagh and animator Geoff Dunbar. Featuring a squirrel whose woodland home is razed by developers, it had been scripted and sketched by McCartney and Dunbar over several years, as an animated film. The Observer labelled it an "anti-capitalist children's book".[336] In 2018, he wrote the children's book Hey Grandude! together with illustrator Kathryn Durst, which was published by Random House Books in September 2019. The book is about a grandpa and his three grandchildren with a magic compass on an adventure.[337] A follow-up, titled Grandude's Green Submarine, was released in September 2021.[338]
I think there's an urge in us to stop the terrible fleetingness of time. Music. Paintings ... Try and capture one bloody moment please.
— McCartney
In 1981, McCartney asked Geoff Dunbar to direct a short animated film called Rupert and the Frog Song; McCartney was the writer and producer, and he also added some of the character voices. His song "We All Stand Together" from the film's soundtrack reached No. 3 in the UK Singles Chart. In 1992, he worked with Dunbar on an animated film about the work of French artist Honoré Daumier, which won them a BAFTA award.[341] In 2004, they worked together on the animated short film Tropic Island Hum. The accompanying single, "Tropic Island Hum"/"We All Stand Together", reached number 21 in the UK.
McCartney also produced and hosted The Real Buddy Holly Story, a 1985 documentary featuring interviews with Keith Richards, Phil and Don Everly, the Holly family, and others.[344] In 1995, he made a guest appearance on the Simpsons episode "Lisa the Vegetarian" and directed a short documentary about the Grateful Dead.
Business
Since the Rich List began in 1989, McCartney has been the UK's wealthiest musician, with an estimated fortune of £730 million in 2015.[346] In addition to an interest in Apple Corps and MPL Communications, an umbrella company for his business interests, he owns a significant music publishing catalogue, with access to over 25,000 copyrights, including the publishing rights to the musicals Guys and Dolls, A Chorus Line, Annie and Grease.[347] He earned £40 million in 2003, the highest income that year within media professions in the UK.[348] This rose to £48.5 million by 2005.[349] McCartney's 18-date On the Run Tour grossed £37 million in 2012.[350]
McCartney signed his first recording contract, as a member of the Beatles, with Parlophone Records, an EMI subsidiary, in June 1962. In the United States, the Beatles recordings were distributed by EMI subsidiary Capitol Records. The Beatles re-signed with EMI for another nine years in 1967. After forming their own record label, Apple Records, in 1968, the Beatles' recordings would be released through Apple although the masters were still owned by EMI. Following the break-up of the Beatles, McCartney's music continued to be released by Apple Records under the Beatles' 1967 recording contract with EMI which ran until 1976. Following the formal dissolution of the Beatles' partnership in 1975, McCartney re-signed with EMI worldwide and Capitol in the US, Canada and Japan, acquiring ownership of his solo catalogue from EMI as part of the deal. In 1979, McCartney signed with Columbia Records in the US and Canada—reportedly receiving the industry's most lucrative recording contract to date, while remaining with EMI for distribution throughout the rest of the world. As part of the deal, CBS offered McCartney ownership of Frank Music, publisher of the catalogue of American songwriter Frank Loesser. McCartney's album sales were below CBS' expectations and reportedly the company lost at least $9 million on the contract.[352] McCartney returned to Capitol in the US in 1985, remaining with EMI until 2006.[353] In 2007, McCartney signed with Hear Music, becoming the label's first artist.[354] He returned to Capitol for 2018's Egypt Station.
In 1963, Dick James established Northern Songs to publish the songs of Lennon–McCartney. McCartney initially owned 20% of Northern Songs, which became 15% after a public stock offering in 1965. In 1969, James sold a controlling interest in Northern Songs to Lew Grade's Associated Television (ATV) after which McCartney and John Lennon sold their remaining shares although they remained under contract to ATV until 1973. In 1972, McCartney re-signed with ATV for seven years in a joint publishing agreement between ATV and McCartney Music. Since 1979, MPL Communications has published McCartney's songs.
McCartney and Yoko Ono attempted to purchase the Northern Songs catalogue in 1981, but Grade declined their offer. Soon afterward, ATV Music's parent company, Associated Communications Corp., was acquired in a takeover by businessman Robert Holmes à Court, who later sold ATV Music to Michael Jackson in 1985. McCartney has criticised Jackson's purchase and handling of Northern Songs over the years. In 1995, Jackson merged his catalogue with Sony for a reported £59,052,000 ($95 million), establishing Sony/ATV Music Publishing, in which he retained half-ownership.[356] Northern Songs was formally dissolved in 1995, and absorbed into the Sony/ATV catalogue.[357] McCartney receives writers' royalties which together are 33+1⁄3 per cent of total commercial proceeds in the US, and which vary elsewhere between 50 and 55 per cent. Two of the Beatles' earliest songs—"Love Me Do" and "P.S. I Love You"—were published by an EMI subsidiary, Ardmore & Beechwood, before signing with James. McCartney acquired their publishing rights from Ardmore in 1978, and they are the only two Beatles songs owned by MPL Communications.[359]
Drugs
McCartney first used drugs in the Beatles' Hamburg days when they often used Preludin to maintain their energy while performing for long periods. Bob Dylan introduced them to cannabis in a New York hotel room in 1964; McCartney recalls getting "very high" and "giggling uncontrollably". His use of the drug soon became habitual, and according to Miles, McCartney wrote the lyrics "another kind of mind" in "Got to Get You into My Life" specifically as a reference to cannabis.[362] During the filming of Help!, McCartney occasionally smoked a joint in the car on the way to the studio during filming, and often forgot his lines. Director Richard Lester overheard two physically attractive women trying to persuade McCartney to use heroin, but he refused. Introduced to cocaine by Robert Fraser, McCartney used the drug regularly during the recording of Sgt. Pepper's Lonely Hearts Club Band, and for about a year in total but stopped because of his dislike of the unpleasant melancholy he felt afterwards.[364]
Initially reluctant to try LSD, McCartney eventually did so in late 1966, and took his second "acid trip" in March 1967 with Lennon after a Sgt. Pepper studio session.[365] He later became the first Beatle to discuss the drug publicly, declaring: "It opened my eyes ... [and] made me a better, more honest, more tolerant member of society." McCartney made his attitude about cannabis public in 1967, when he, along with the other Beatles and Epstein, added his name to a July advertisement in The Times, which called for its legalisation, the release of those imprisoned for possession, and research into marijuana's medical uses. In 1972, a Swedish court fined McCartney £1,000 for cannabis possession. Soon after, Scottish police found marijuana plants growing on his farm, leading to his 1973 conviction for illegal cultivation and a £100 fine.
As a result of his drug convictions, the US government repeatedly denied him a visa until December 1973.[368] Arrested again for marijuana possession in 1975 in Los Angeles, Linda took the blame, and the court soon dismissed the charges. In January 1980, when Wings flew to Tokyo for a tour of Japan, customs officials found approximately 8 ounces (230 g) of cannabis in his luggage. Years later, McCartney said, "I don't know what possessed me to just stick this bloody great bag of grass in my suitcase. Thinking back on it, it almost makes me shudder."[369] They arrested McCartney and brought him to a local jail while the Japanese government decided what to do. After ten days, they released and deported him without charge.
In 1984, while McCartney was on holiday in Barbados, authorities arrested him for possession of marijuana and fined him $200. Upon his return to England, he stated that cannabis was less harmful than the legal substances alcohol, tobacco and glue, and that he had done no harm to anyone. In 1997, he spoke out in support of decriminalisation of cannabis: "People are smoking pot anyway and to make them criminals is wrong." McCartney quit cannabis in 2015, citing a desire to set a good example for his grandchildren.[373]
Vegetarianism and activism
Since 1975, McCartney has been a vegetarian.[374][375] He and his wife Linda were vegetarians for most of their 29-year marriage. They decided to stop consuming meat after Paul saw lambs in a field as they were eating a meal of lamb. Soon after, the couple became outspoken animal rights activists. In his first interview after Linda's death, he promised to continue working for animal rights, and in 1999, he spent £3,000,000 to ensure Linda McCartney Foods remained free of genetically engineered ingredients.[377] In 1995, he narrated the documentary Devour the Earth, written by Tony Wardle.[378] McCartney is a supporter of the animal-rights organisation People for the Ethical Treatment of Animals. He has appeared in the group's campaigns, and in 2009, McCartney narrated a video for them titled "Glass Walls", which was harshly critical of slaughterhouses, the meat industry, and their effect on animal welfare.[379][380][381] McCartney has also supported campaigns headed by the Humane Society of the United States, Humane Society International, World Animal Protection, and the David Shepherd Wildlife Foundation.[382][383]
Following McCartney's marriage to Mills, he joined her in a campaign against land mines, becoming a patron of Adopt-A-Minefield.[384] In a 2003 meeting at the Kremlin with Vladimir Putin, ahead of a concert in Red Square, McCartney and Mills urged Russia to join the anti-landmine campaign.[385] In 2006, the McCartneys travelled to Prince Edward Island to raise international awareness of seal hunting. The couple debated with Danny Williams, Newfoundland's then Premier, on Larry King Live, stating that fishermen should stop hunting seals and start seal-watching businesses instead.[386] McCartney also supports the Make Poverty History campaign.[387]
McCartney has participated in several charity recordings and performances, including the Concerts for the People of Kampuchea, Ferry Aid, Band Aid, Live Aid, Live 8, and the recording of "Ferry Cross the Mersey".[388] In 2004, he donated a song to an album to aid the "US Campaign for Burma", in support of Burmese Nobel Prize winner Aung San Suu Kyi. In 2008, he donated a song to Aid Still Required's CD, organised as an effort to raise funds to assist with the recovery from the devastation caused in Southeast Asia by the 2004 tsunami.[389]
In 2009, McCartney wrote to Tenzin Gyatso, the 14th Dalai Lama, asking him why he was not a vegetarian. As McCartney explained, "He wrote back very kindly, saying, 'my doctors tell me that I must eat meat'. And I wrote back again, saying, you know, I don't think that's right ... I think he's now being told ... that he can get his protein somewhere else ... It just doesn't seem right—the Dalai Lama, on the one hand, saying, 'Hey guys, don't harm sentient beings ... Oh, and by the way, I'm having a steak.'"[390] In 2012, McCartney joined the anti-fracking campaign Artists Against Fracking.[391]
Save the Arctic is a campaign to protect the Arctic and an international outcry and a renewed focus concern on oil development in the Arctic, attracting the support of more than five million people. This includes McCartney, Archbishop Desmond Tutu and 11 Nobel Peace Prize winners.[392][393] In 2015, following British prime minister David Cameron's decision to give members of parliament a free vote on amending the law against fox hunting, McCartney was quoted: "The people of Britain are behind this Tory government on many things but the vast majority of us will be against them if hunting is reintroduced. It is cruel and unnecessary and will lose them support from ordinary people and animal lovers like myself."[394] After the 2016 Orlando shooting, McCartney expressed his solidarity for the victims during a concert in Berlin.[395]
During the COVID-19 pandemic, McCartney called for Chinese wet markets (which sell live animals, including wild ones) to be banned. He expressed concern over both the health impacts of the practice as well as its cruelty to animals.[396] In 2020 McCartney commented on ecocide, stating that he "recently heard about this campaign to make ecocide a crime at the International Criminal Court. The idea is clearly catching on... and not before time if we are to prevent further devastation of the planet."[397][398][399] McCartney is one of the 100 contributors to the book Dear NHS: 100 Stories to Say Thank You, of which all proceeds go to NHS Charities Together and The Lullaby Trust.[400]
In 2024, McCartney continued his connection to the Tree Register by sponsoring the first ever Tree Register Yearbook.[401]
McCartney has publicly professed support for Everton F.C. and has also shown favour for Liverpool F.C.[402] In 2008, he ended speculation about his allegiance when he said: "Here's the deal: my father was born in Everton, my family are officially Evertonians, so if it comes down to a derby match or an FA Cup final between the two, I would have to support Everton. But after a concert at Wembley Arena I got a bit of a friendship with Kenny Dalglish, who had been to the gig and I thought 'You know what? I am just going to support them both because it's all Liverpool.'"[403]
Relationships
Girlfriends
Dot Rhone
McCartney's first serious girlfriend in Liverpool was Dorothy "Dot" Rhone, whom he met at the Casbah club in 1959. According to Spitz, Rhone felt that McCartney had a compulsion to control situations. He often chose clothes and makeup for her, encouraging her to grow her blonde hair to simulate Brigitte Bardot's hairstyle, and at least once insisting she have her hair restyled, to disappointing effect.[406] When McCartney first went to Hamburg with the Beatles, he wrote to Rhone regularly, and she accompanied Cynthia Lennon to Hamburg when they played there again in 1962. The couple had a two-and-a-half-year relationship, and were due to marry until Rhone's miscarriage. According to Spitz, McCartney, now "free of obligation", ended the engagement.
Jane Asher
McCartney first met British actress Jane Asher on 18 April 1963 when a photographer asked them to pose at a Beatles performance at the Royal Albert Hall in London. The two began a relationship, and in November of that year he took up residence with Asher at her parents' home at 57 Wimpole Street in Marylebone, central London. They had lived there for more than two years before the couple moved to McCartney's own home in St John's Wood in March 1966.[411] He wrote several songs while living with the Ashers, including "Yesterday", "And I Love Her", "You Won't See Me" and "I'm Looking Through You", the latter three having been inspired by their romance. They had a five-year relationship and planned to marry, but Asher broke off the engagement after she discovered that McCartney had become involved with Francie Schwartz,[413] an American screenwriter who moved to London at age 23, thinking she could sell a script to the Beatles. Schwartz met McCartney and he invited her to move into his London house, where events ensued that possibly broke up his relationship with Asher.[414]
Wives
Linda Eastman
Linda Eastman was a music fan who once commented, "all my teen years were spent with an ear to the radio." At times, she skipped school to see artists such as Fabian, Bobby Darin and Chuck Berry. She became a popular photographer with several rock groups, including the Jimi Hendrix Experience, the Grateful Dead, the Doors and the Beatles, whom she first met at Shea Stadium in 1966. She commented, "It was John who interested me at the start. He was my Beatle hero. But when I met him the fascination faded fast, and I found it was Paul I liked." The pair first became properly acquainted on 15 May 1967 at a Georgie Fame concert at The Bag O'Nails club, during her UK assignment to photograph rock musicians in London. As Paul remembers, "The night Linda and I met, I spotted her across a crowded club, and although I would normally have been nervous chatting her up, I realised I had to ... Pushiness worked for me that night!"[418]
Linda said this about their meeting: "I was quite shameless really. I was with somebody else [that night] ... and I saw Paul at the other side of the room. He looked so beautiful that I made up my mind I would have to pick him up." The pair married in March 1969. About their relationship, Paul said, "We had a lot of fun together ... just the nature of how we aren't, our favourite thing really is to just hang, to have fun. And Linda's very big on just following the moment." He added, "We were crazy. We had a big argument the night before we got married, and it was nearly called off ... [it's] miraculous that we made it. But we did."
After the break-up of the Beatles, the two collaborated musically and formed Wings in 1971. They faced derision from some fans and critics, who questioned her inclusion. She was nervous about performing with Paul, who explained, "she conquered those nerves, got on with it and was really gutsy." Paul defended her musical ability: "I taught Linda the basics of the keyboard ... She took a couple of lessons and learned some bluesy things ... she did very well and made it look easier than it was ... The critics would say, 'She's not really playing' or 'Look at her—she's playing with one finger.' But what they didn't know is that sometimes she was playing a thing called a Minimoog, which could only be played with one finger. It was monophonic." He went on to say, "We thought we were in it for the fun ... it was just something we wanted to do, so if we got it wrong—big deal. We didn't have to justify ourselves." Former Wings guitarist McCullough said of collaborating with Linda, "trying to get things together with a learner in the group didn't work as far as I was concerned."
They had four children—Linda's daughter Heather (legally adopted by Paul), Mary, Stella, and James—and remained married until Linda's death from breast cancer at age 56 in 1998. After Linda died, Paul said, "I got a counsellor because I knew that I would need some help. He was great, particularly in helping me get rid of my guilt [about wishing I'd been] perfect all the time ... a real bugger. But then I thought, hang on a minute. We're just human. That was the beautiful thing about our marriage. We were just a boyfriend and girlfriend having babies."
Heather Mills
In 2002, McCartney married Heather Mills, a former model and anti-landmine campaigner. In 2003, the couple had a child, Beatrice Milly, named in honour of Mills's late mother and one of McCartney's aunts. They separated in April 2006 and divorced acrimoniously in May 2008.[427] In 2004, he commented on media animosity toward his partners: "[the British public] didn't like me giving up on Jane Asher ... I married [Linda], a New York divorcee with a child, and at the time they didn't like that".[428]
Nancy Shevell
McCartney married New Yorker Nancy Shevell in a civil ceremony at Marylebone Town Hall, London, on 9 October 2011. The wedding was a modest event attended by a group of about 30 relatives and friends.[429] The couple had been together since November 2007.[430] Shevell is vice-president of a family-owned transportation conglomerate which owns New England Motor Freight.[431] She is a former member of the board of the New York area's Metropolitan Transportation Authority.[432] Shevell is about 18 years younger than McCartney.[433] They had known each other for about 20 years prior to marrying, having met because both had homes in the Hamptons.[433]
Beatles
This section is about social and other general interactions. For creative collaborations, see Collaborations between ex-Beatles.
John Lennon
Though McCartney had a strained relationship with Lennon post-Beatles, they briefly became close again in early 1974, and played music together on one occasion.[434] In later years, the two grew apart. McCartney often phoned Lennon, but was apprehensive about the reception he would receive. During one call, Lennon told him, "You're all pizza and fairytales!" In an effort to avoid talking only about business, they often spoke of cats, babies, or baking bread.
On 24 April 1976, McCartney and Lennon were watching an episode of Saturday Night Live at Lennon's home in the Dakota when Lorne Michaels made a $3,000 cash offer for the Beatles to reunite. While they seriously considered going to the SNL studio a few blocks away, they decided it was too late. This was their last time together.[438] VH1 fictionalised this event in the 2000 television film Two of Us. McCartney's last telephone call to Lennon, days before Lennon and Ono released Double Fantasy, was friendly: "[It is] a consoling factor for me, because I do feel it was sad that we never actually sat down and straightened our differences out. But fortunately for me, the last phone conversation I ever had with him was really great, and we didn't have any kind of blow-up", he said.[440]
Reaction to Lennon's murder
Main article: Murder of John Lennon
On 9 December 1980, McCartney followed the news that Lennon had been murdered the previous night; Lennon's death created a media frenzy around the surviving members of the band. McCartney was leaving an Oxford Street recording studio that evening when he was surrounded by reporters who asked him for his reaction; he responded: "It's a drag". The press quickly criticised him for what appeared to be a superficial response. He later explained, "When John was killed somebody stuck a microphone at me and said: 'What do you think about it?' I said, 'It's a dra-a-ag' and meant it with every inch of melancholy I could muster. When you put that in print it says, 'McCartney in London today when asked for a comment on his dead friend said, "It's a drag".' It seemed a very flippant comment to make." He described his first exchange with Ono after the murder, and his last conversation with Lennon:
I talked to Yoko the day after he was killed, and the first thing she said was, "John was really fond of you." The last telephone conversation I had with him we were still the best of mates. He was always a very warm guy, John. His bluff was all on the surface. He used to take his glasses down, those granny glasses, and say, "it's only me." They were like a wall you know? A shield. Those are the moments I treasure.
In 1983, McCartney said: "I would not have been as typically human and standoffish as I was if I knew John was going to die. I would have made more of an effort to try and get behind his 'mask' and have a better relationship with him." He said that he went home that night, watched the news on television with his children and cried most of the evening. In 1997, he said that Lennon's death made the remaining ex-Beatles nervous that they might also be murdered. He told Mojo magazine in 2002 that Lennon was his greatest hero. In 1981, McCartney sang backup on Harrison's tribute to Lennon, "All Those Years Ago", which featured Starr on drums. McCartney released "Here Today" in 1982, a song Everett described as "a haunting tribute" to McCartney's friendship with Lennon.
George Harrison
Discussing his relationship with McCartney, Harrison said: "Paul would always help along when you'd done his ten songs—then when he got 'round to doing one of my songs, he would help. It was silly. It was very selfish, actually ... There were a lot of tracks, though, where I played bass ... because what Paul would do—if he'd written a song, he'd learn all the parts for Paul and then come in the studio and say (sometimes he was very difficult): 'Do this'. He'd never give you the opportunity to come out with something."[448]
After Harrison's death in November 2001, McCartney said he was "a lovely guy and a very brave man who had a wonderful sense of humour". He went on to say: "We grew up together and we just had so many beautiful times together—that's what I am going to remember. I'll always love him, he's my baby brother."[449] On the first anniversary of his death, McCartney played Harrison's "Something" on a ukulele at the Concert for George; he would perform this rendition of the song on many subsequent solo tours. He also performed "For You Blue" and "All Things Must Pass", and played the piano on Eric Clapton's rendition of "While My Guitar Gently Weeps".
Ringo Starr
During a recording session for The Beatles in 1968, the two got into an argument over McCartney's critique of Starr's drum part for "Back in the U.S.S.R.", which contributed to Starr temporarily leaving the band.[452] Starr later commented on working with McCartney: "Paul is the greatest bass player in the world. But he is also very determined ... [to] get his own way ... [thus] musical disagreements inevitably arose from time to time."
McCartney and Starr collaborated on several post-Beatles projects, starting in 1973 when McCartney contributed instrumentation and backing vocals for "Six O'Clock", a song McCartney wrote for Starr's album Ringo.[454] McCartney played a kazoo solo on "You're Sixteen" from the same album.[455] Starr appeared as a fictional version of himself in McCartney's 1984 film Give My Regards to Broad Street, and played drums on most tracks of the soundtrack album, which includes re-recordings of several McCartney-penned Beatles songs. Starr played drums and sang backing vocals on "Beautiful Night" from McCartney's 1997 album Flaming Pie. The pair collaborated again in 1998, on Starr's Vertical Man, which featured McCartney's backing vocals on three songs, and instrumentation on one.
In 2009, the pair performed "With a Little Help from My Friends" at a benefit concert for the David Lynch Foundation.[457] They collaborated on Starr's album Y Not in 2010. McCartney played bass on "Peace Dream", and sang a duet with Starr on "Walk with You".[458] On 7 July 2010, Starr was performing at Radio City Music Hall in New York with his All-Starr Band in a concert celebrating his seventieth birthday. After the encores, McCartney made a surprise appearance, performing the Beatles' song "Birthday" with Starr's band.[459] On 26 January 2014, McCartney and Starr performed "Queenie Eye" from McCartney's new album New at the 56th Annual Grammy Awards.[460] McCartney inducted Starr into the Rock and Roll Hall of Fame in April 2015, and played bass on his 2017 album Give More Love. On 16 December 2018, Starr and Ronnie Wood joined McCartney onstage to perform "Get Back" at his concert at London's O2 Arena. Starr also made an appearance on the final day of McCartney's Freshen Up tour in July 2019, performing "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" and "Helter Skelter".[461]
Legacy
Achievements
McCartney was inducted into the Rock and Roll Hall of Fame in 1988 as a member of the Beatles and again as a solo artist in 1999. In 1979, the Guinness Book of World Records recognised McCartney as the "most honored composer and performer in music", with 60 gold discs (43 with the Beatles, 17 with Wings) and, as a member of the Beatles, sales of over 100 million singles and 100 million albums, and as the "most successful song writer", he wrote jointly or solo 43 songs which sold one million or more records between 1962 and 1978.[462] In 2009, Guinness World Records again recognised McCartney as the "most successful songwriter" having written or co-written 188 charted records in the United Kingdom, of which 91 reached the top 10 and 33 made it to number one.[463]
McCartney has written, or co-written, 32 number-one singles on the Billboard Hot 100: twenty with the Beatles; seven solo or with Wings; one as a co-writer of "A World Without Love", a number-one single for Peter and Gordon; one as a co-writer on Elton John's cover of "Lucy in the Sky with Diamonds"; one as a co-writer on Stars on 45's "Medley"; one as a co-writer with Michael Jackson on "Say Say Say"; and one as writer on "Ebony and Ivory" performed with Stevie Wonder.[464] As of 2009 , he has 15.5 million RIAA-certified units in the United States as a solo artist, plus another 10 million with Wings.[465]
Credited with more number ones in the UK than any other artist, McCartney has participated in twenty-four chart topping singles: seventeen with the Beatles, one solo, and one each with Wings, Stevie Wonder, Ferry Aid, Band Aid, Band Aid 20 and "The Christians et al."[466][nb 43] He is the only artist to reach the UK number one as a soloist ("Pipes of Peace"), duo ("Ebony and Ivory" with Wonder), trio ("Mull of Kintyre", Wings), quartet ("She Loves You", the Beatles), quintet ("Get Back", the Beatles with Billy Preston) and as part of a musical ensemble for charity (Ferry Aid).
"Yesterday" is one of the most covered songs in history, with more than 2,200 recorded versions, and, according to the BBC, "the track is the only one by a UK writer to have been aired more than seven million times on American TV and radio and is third in the all-time list ... [and] is the most played song by a British writer [last] century in the US".[469] His 1968 Beatles composition "Hey Jude" achieved the highest sales in the UK that year and topped the US charts for nine weeks, which is longer than any other Beatles single. It was also the longest single released by the band and, at seven minutes eleven seconds, was at that time the longest number one. "Hey Jude" is the best-selling Beatles single, achieving sales of over five million copies soon after its release.[nb 44]
In July 2005, McCartney's performance of "Sgt. Pepper's Lonely Hearts Club Band" with U2 at Live 8 became the fastest-released single in history. Available within forty-five minutes of its recording, hours later it had achieved number one on the UK Official Download Chart.
In December 2020, the release of his album McCartney III and its subsequent charting at number 2 on the US Billboard 200 earned McCartney the feat of being the first artist to have a new album in the top two chart positions in each of the last six decades.[473]
Awards and honours
18-time Grammy Award winner:
Nine as a member of the Beatles
Six as a solo artist
Two as a member of Wings
One as part of a joint collaboration
Two-time inductee – Rock and Roll Hall of Fame:
Class of 1988 as a member of the Beatles
Class of 1999 as a solo artist
1965: Member of the Order of the British Empire
1971: Academy Award winner (as a member of the Beatles)
1988: Honorary Doctor of the University degree from University of Sussex[476]
1997: Knighted by Queen Elizabeth II for services to music
2000: Fellowship into the British Academy of Songwriters, Composers and Authors
2008: BRIT Award for Outstanding Contribution to Music
2008: Honorary Doctor of Music degree from Yale University[479]
2010: Gershwin Prize for his contributions to popular music[480]
2010: Kennedy Center Honors[481]
2012: Star on the Hollywood Walk of Fame[482]
2012: Légion d'Honneur for his services to music[483]
2012: MusiCares Person of the Year
2015: 4148 McCartney, asteroid named after him by the International Astronomical Union's Minor Planet Center[484]
2017: Appointed Member of the Order of the Companions of Honour (CH) in the 2017 Birthday Honours for services to music[485][486]
Coat of arms of Paul McCartney
Notes
Granted by the College of Arms, 18 June 2001[487]
Crest
On a wreath of the colours a Liver Bird calling Sable supporting with the dexter claws a guitar Or stringed Sable.
Escutcheon
Or between two Flaunches fracted fesswise two roundels Sable over all six guitar strings palewise throughout counterchanged.
Motto
ECCE COR MEUM (Behold My Heart)
Orders
Suspended below the Shield, the insignia of the Order of the Companions of Honour (CH), Knight Bachelor, and a member of the Order of the British Empire (MBE).
Discography
Main article: Paul McCartney discography
Filmography
Main article: Paul McCartney discography § Videography
Film
Year Title Role Notes 1964 A Hard Day's Night Himself 1965 Help! Himself 1967 Magical Mystery Tour Himself / Major McCartney / Red-Nosed Magician (uncredited) Director (writer and producer uncredited) 1968 Yellow Submarine Himself (uncredited) Animated, based upon a song by Beatles 1970 Let It Be Himself Documentary 1977 The Day the Music Died Himself Documentary 1980 Concert for Kampuchea Himself Documentary Rockshow Himself Documentary 1982 The Cooler[488] Cowboy Short, executive producer The Compleat Beatles Himself Documentary 1984 Give My Regards to Broad Street Paul Screenplay, producer, actor 1985 Rupert and the Frog Song Rupert / Edward / Bill / Boy Frog (voice) Animated short, writer, executive producer 1987 Eat the Rich Banquet Rich Cameo The Real Buddy Holly Story Himself Documentary, producer 1990 The Beatles: The First U.S. Visit Himself Documentary 1991 Get Back Himself Documentary 1992 Daumier's Law Animated short, music, writer, executive producer 1997 Tropic Island Hum Wirral / Froggo / Bison / Various (voice) Animated short, writer, executive producer 2000 Shadow Cycle Animated short, writer 2001 Tuesday[489] Himself (voice) Animated short, executive producer 2003 Mayor of the Sunset Strip Himself Documentary Concert for George Himself Documentary 2008 Tribute This! Himself Documentary All Together Now Himself Documentary 2009 Brüno Himself Cameo Al's Brain in 3-D Man on the Street Short 2010 David Wants to Fly Himself Documentary The Last Play at Shea Himself Documentary 2011 The Love We Make Himself Documentary George Harrison: Living in the Material World Himself Documentary 2013 Sound City Himself Documentary 12-12-12 Himself Documentary, producer 2014 Finding Fela Himself Documentary Glen Campbell: I'll Be Me Himself Documentary 2016 The Beatles: Eight Days a Week Himself Documentary 2017 Pirates of the Caribbean: Dead Men Tell No Tales Uncle Jack Cameo 2018 Quincy Himself Documentary The Bruce McMouse Show Himself Unreleased Wings concert film with animation produced from 1972 to 1977, theatrical release 2019[490] 2023 If These Walls Could Sing Himself Documentary directed by Mary McCartney[491]
Television
Year Title Role Notes 1963–64 Ready Steady Go! Himself Music programme, 3 episodes 1964 Around the Beatles Himself Concert special What's Happening! The Beatles in the U.S. Himself Documentary 1964–65 The Ed Sullivan Show Himself Variety show, 4 episodes 1965 The Music of Lennon & McCartney Himself Variety tribute special 1966 The Beatles at Shea Stadium Himself Concert special The Beatles in Japan Himself Concert special 1973 James Paul McCartney Himself TV special 1975 A Salute to the Beatles: Once upon a Time Himself Documentary 1977 All You Need Is Love: The Story of Popular Music Himself Documentary mini-series 1985 Live Aid Himself Benefit concert special 1987 It Was Twenty Years Ago Today Himself Documentary 1988 The Power of Music Himself, narrator Documentary 1995 The Simpsons Himself (voice) Episode: "Lisa the Vegetarian" The Beatles Anthology Himself Documentary mini-series 1997 Music for Montserrat Himself Benefit concert special 2001 Wingspan Himself Documentary The Concert for New York City Himself Benefit concert special 2005 Live 8 Himself Benefit concert special Saturday Night Live Paul Simon Episode: "Alec Baldwin/Christina Aguilera" 2012 30 Rock Himself Episode: "Live from Studio 6H" (East Coast airing only) 2015 BoJack Horseman Himself (voice) Episode: "After the Party" 2021 McCartney 3,2,1 (miniseries) Himself Documentary mini-series The Beatles: Get Back Himself Documentary mini-series
Tours
See also
Pop music portal
Rock music portal
England portal
Grammy Award records – Most Grammys won by a male artist
List of animal rights advocates
List of British Grammy winners and nominees
List of highest-grossing live music artists
Paul is dead – urban legend/conspiracy theory that Paul McCartney is dead
List of largest music deals
Outline of the Beatles
The Beatles timeline
Notes
References
Sources
Further reading
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“A Hard Day’s Night” is a song by the English rock band The Beatles. Written by John Lennon, and credited to Lennon–McCartney, it was released on...
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The Paul McCartney project
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https://www.the-paulmccartney-project.com/song/a-hard-days-night/
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“A Hard Day’s Night” is a song by the English rock band The Beatles. Written by John Lennon, and credited to Lennon–McCartney, it was released on the movie soundtrack of the same name in 1964. It was later released in the U.K. as a single, with “Things We Said Today” as its B-side.
The song featured prominently on the soundtrack to the Beatles’ first feature film, A Hard Day’s Night, and was on their album of the same name. The song topped the charts in both the United Kingdom and United States when it was released as a single. The American and British singles of “A Hard Day’s Night” as well as both the American and British albums of the same title all held the top position in their respective charts for a couple of weeks in August 1964, the first time any artist had accomplished this feat.
Title
The song’s title originated from something said by Ringo Starr, the Beatles’ drummer. Starr described it this way in an interview with disc jockey Dave Hull in 1964: “We went to do a job, and we’d worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, ‘It’s been a hard day…’ and I looked around and saw it was dark so I said, ‘…night!’ So we came to ‘A Hard Day’s Night.’“
Starr’s statement was the inspiration for the title of the movie, which in turn inspired the composition of the song. According to Lennon in a 1980 interview with Playboy magazine: “I was going home in the car and Dick Lester [director of the movie] suggested the title, ‘Hard Day’s Night’ from something Ringo had said. I had used it in In His Own Write [a book Lennon was writing then], but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny… just said it. So Dick Lester said, ‘We are going to use that title.’“
In a 1994 interview for The Beatles Anthology, however, McCartney disagreed with Lennon’s recollections, basically stating that it was the Beatles, and not Lester, who had come up with the idea of using Starr’s verbal misstep: “The title was Ringo’s. We’d almost finished making the film, and this fun bit arrived that we’d not known about before, which was naming the film. So we were sitting around at Twickenham studios having a little brain-storming session… and we said, ‘Well, there was something Ringo said the other day.’ Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical… they were sort of magic even though he was just getting it wrong. And he said after a concert, ‘Phew, it’s been a hard day’s night.’“
In 1996, yet another version of events cropped up. In an Associated Press report, the producer of the film A Hard Day’s Night, Walter Shenson, stated that Lennon described to Shenson some of Starr’s funnier gaffes, including “a hard day’s night“, whereupon Shenson immediately decided that that was going to be the title of the movie (replacing other alternatives, including Beatlemania). Shenson then told Lennon that he needed a theme song for the film.
Production
Regardless of who decided on the title, Lennon immediately made up his mind that he would compose the movie’s title track. He dashed off the song in one night, and brought it in for comments the following morning. As he described in his 1980 Playboy interview, “…the next morning I brought in the song… ‘cuz there was a little competition between Paul and I as to who got the A-side — who got the hits. If you notice, in the early days the majority of singles, in the movies and everything, were mine… in the early period I’m dominating the group…. The reason Paul sang on ‘A Hard Day’s Night’ (in the bridge) is because I couldn’t reach the notes.“
On 16 April 1964, the Beatles gathered at Studio 2 of the Abbey Road Studios and recorded “A Hard Day’s Night“. It took them less than three hours to polish the song for its final release, eventually selecting the ninth take as the one to be released. Evening Standard journalist Maureen Cleave described a memorable taxi ride the morning the song was recorded:
One day I picked John up in a taxi and took him to Abbey Road for a recording session. The tune to the song ‘A Hard Day’s Night’ was in his head, the words scrawled on a birthday card from a fan to his little son Julian: ‘When I get home to you,’ it said, ‘I find my tiredness is through…’ Rather a feeble line about tiredness, I said. ‘OK,’ he said cheerfully and, borrowing my pen, instantly changed it to the slightly suggestive: ‘When I get home to you/I find the things that you do/Will make me feel all right.’ The other Beatles were there in the studio and, of course, the wonderful George Martin. John sort of hummed the tune to the others – they had no copies of the words or anything else. Three hours later I was none the wiser about how they’d done it but the record was made – and you can see the birthday card in the British Library.
In the Associated Press report, Shenson described his recollection of what happened. At 8:30 in the morning, “There were John and Paul with guitars at the ready and all the lyrics scribbled on matchbook covers. They played it and the next night recorded it.” Shenson declared, “It had the right beat and the arrangement was brilliant. These guys were geniuses.“
Release and reception
“A Hard Day’s Night” was first released to the United States, coming out on 26 June 1964 on the album A Hard Day’s Night, the soundtrack to the film, and released by United Artists. It was the first song to be released before single release (see below).
The United Kingdom first heard “A Hard Day’s Night” when it was released there on 10 July 1964, both on the album A Hard Day’s Night, and as a single, backed with “Things We Said Today” on the B-side. Both the album and single were released by Parlophone Records. The single began charting on 18 July 1964, a week later ousting the Rolling Stones’ “It’s All Over Now” from the top spot on the British charts on 25 July 1964, coincidentally the day when both the American and British albums too hit the peak of their respective charts. The single stayed on top for three weeks, and lasted another nine weeks in the charts afterwards.
America first saw the single of “A Hard Day’s Night” on 13 July 1964, featuring “I Should Have Known Better” on the B-side, and released by Capitol Records. Capitol had been in a quandary about cashing in on the success of the movie A Hard Day’s Night, as United Artists held the publishing rights for the soundtrack (thus owning the rights to release the album of the same title). However, there was nothing preventing Capitol from releasing the songs in other forms, leading to six out of the seven songs from the movie’s soundtrack coming out on singles.
The American single began its 13-week chart run five days after release, and on 1 August started a two-week-long run at the top, setting a new record—nobody before had ever held the number one position on both the album and singles charts in the United Kingdom and the United States at the same time. The Beatles were the first to do so, and continued to be the only ones who had done this until 1970 when Simon and Garfunkel achieved the same feat with their album Bridge over Troubled Water and its title track. “A Hard Day’s Night” went on to sell one million copies in America within just over five weeks.
The song was the fifth of seven songs by the Beatles to hit #1 in a one-year period, an all-time record on the US charts. In order, these were “I Want to Hold Your Hand“, “She Loves You“, “Can’t Buy Me Love“, “Love Me Do“, “A Hard Day’s Night“, “I Feel Fine“, and “Eight Days a Week“. It was also the sixth of seven songs written by Lennon-McCartney to hit #1 in 1964, an all-time record on the US charts for writing the most songs to hit #1 in the same calendar year.
In 1965, “A Hard Day’s Night” won The Beatles the Grammy Award for Best Performance by a Vocal Group. In 2004, this song was ranked number 154 on Rolling Stone’s list of “The 500 Greatest Songs of All Time“.
Opening chord
“A Hard Day’s Night” is immediately identifiable before the vocals even begin, thanks to George Harrison’s unmistakable Rickenbacker 360/12 12-string guitar’s “mighty opening chord“. According to George Martin, “We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning. The strident guitar chord was the perfect launch,” having what Ian MacDonald calls, “a significance in Beatles lore matched only by the concluding E major of “A Day in the Life“, the two opening and closing the group’s middle period of peak creativity“. “That sound you just associate with those early 1960s Beatles records“.
Analysis of the chord has been debated, it having been described as G7add9sus4, G7sus4, or G11sus4 and others below.
The exact chord is an Fadd9 as confirmed by Harrison during an online chat on 15 February 2001:
Q: Mr Harrison, what is the opening chord you used for “A Hard Day’s Night”?
A: It is F with a G on top, but you’ll have to ask Paul about the bass note to get the proper story.
According to Walter Everett the opening chord has an introductory dominant function because McCartney plays D in the bass: Harrison and Martin play F A C G, over the bass D, on twelve-string guitar and piano respectively, giving the chord a mixture-coloured neighbour, F; two diatonic neighbours, A and C; plus an anticipation of the tonic, G — the major subtonic as played on guitar being a borrowed chord commonly used by the Beatles, first in “P.S. I Love You” (see mode mixture), and later in “Every Little Thing“, “Tomorrow Never Knows” and “Got to Get You into My Life” (in the latter two against a tonic pedal).
Alan W. Pollack also interprets the chord as a surrogate dominant, the G being an anticipation that resolves on the G major chord that opens the verse. He suggests it is a mixture of D minor, F major, and G major (missing the B). Tony Bacon calls it a Dm7sus4 (D F G A C), which is the minor seventh chord (plus the fourth, G) (for more information regarding chord functions see diatonic function).
Everett points out that the chord relates to the Beatles’ interest in pandiatonic harmony.
Dominic Pedler has also provided an interpretation of the famous chord, with The Beatles and George Martin playing the following:
George Harrison: Fadd9 in 1st position on Rickenbacker 360/12 12-string electric guitar
John Lennon: Fadd9 in 1st position on a Gibson J-160E 6-string acoustic guitar
Paul McCartney: high D played on the D-string, 12th fret on Hofner 500/1 electric bass
George Martin: D2-G2-D3 played on a Steinway Grand Piano
Ringo Starr: subtle snare drum and ride cymbal
This gives the notes: G-B-D-F-A-C (the B is a harmonic). One of the interesting things about this chord (as described by Pedler) is how McCartney’s high bass note reverberates inside the soundbox of Lennon’s acoustic guitar and begins to be picked up on Lennon’s microphone or pick-up during the sounding of the chord. This gives the chord its special “wavy” and unstable quality. Pedler describes the effect as a “virtual pull-off“.
The chord’s notes were estimated using Fourier analysis, according to which Harrison played the A2, A3, D3, D4, G3, G4, C4, and another C4 on his 12-string guitar; McCartney played a D3 on his bass; producer George Martin played D3, F3, D5, G5, and E6 on the piano; and Lennon played a loud C5 on his six-string guitar.
In November 2009, Wired published an article where Celemony’s Melodyne Editor with Direct Note Access technology was used to analyse the opening chord.
Randy Bachman has stated that he heard the original masters of the recordings and could hear the 12-string guitar playing “an F chord, but you put a G on top, and you put a G on the bottom, and you put a C next to that G“, “a D on the bass“, and “rhythm guitar was a D chord with a sus 4“.
A repeated arpeggio outlining the notes of the opening chord ends the song in a circular fashion. This provides, “a sonic confirmation that the thirty-six hours we have just seen [in the movie] will go on and on and on“. This was an inspiration of George Martin, who said: “Again, that’s film writing. I was stressing to them the importance of making the song fit, not actually finishing it but dangling on so that you’re into the next mood.” The song contains 12 other chords.
Music
The song is composed in the key of G major and in a 4/4 time signature. The verse features the ♭VII or major subtonic chord that was a part of the opening chord as an ornament or embellishment below the tonic. Transposed down a perfect fifth, the modal frame of the song though pentatonic features a ladder of thirds axially centred on G with a ceiling note of B♭ and floor note of E♭ (the low C being a passing tone).
According to Middleton, the song, “at first glance major-key-with-modal-touches“, reveals through its “Line of Latent Mode” “a deep kinship with typical blues melodic structures: it is centred on three of the notes of the minor-pentatonic mode (E♭-G-B♭), with the contradictory major seventh (B♮) set against that. Morever, the shape assumed by these notes – the modal frame – as well as the abstract scale they represent, is revealed, too; and this – an initial, repeated circling round the dominant (G), with an excursion to its minor third (B♭), ‘answered’ by a fall to the ‘symmetrical’ minor third of the tonic (E♭) – is a common pattern in blues.“
Lennon opens the twelve measure-long verse and carries it along, suddenly joined at the end by McCartney, who then sings the bridge.
Recording
During the recording of “A Hard Day’s Night“, Lennon and McCartney doubletracked their vocals throughout including the chorus. Lennon sings the lead vocal on the verses and Paul sings lead on the middle eight. During the chorus McCartney handles the high harmony and Lennon the low harmony. Take 7 reveals that the lyrics were still not set with Lennon singing “you make me feel all right” and McCartney and Harrison still unsteady with their respective lines, ending with Lennon chiding them with the line “I heard a funny chord“.
The instrumental break, is played by George Harrison on a Rickenbacker 12-string guitar, with George Martin doubling on a piano recorded to tape at half-speed and then sped up to normal. Recording this solo was the most challenging aspect of the session; a take that surfaced on a bootleg in the 1980s reveals Harrison fumbling over his strings, losing his timing and missing notes. But by the time the session wrapped at 10 p.m. that night, he had sculpted one of his most memorable solos — an upward run played twice and capped with a circular flourish – in illustration of an observation made by engineer Geoff Emerick: “George would spend a lot of time working out solos. Everything was a little bit harder for him, nothing quite came easily.“
The song closes with Harrison playing an arpeggio of the opening chord (Fadd9) during the fade-out, the first time the Beatles had used such a technique — most, if not all, of their earlier work had closed with a final chord (and cadence), such as “She Loves You” and “I Want to Hold Your Hand“.
Lyrics
The lyrics speak about the singer’s undying devotion to his lover, and how he works so she can buy the things she wants. The singer sings about his tiredness when he comes home from work, but how the things that his lover does perk him up. Critics have pointed out that the first verse, repeated as the last verse, exploits three worn-out-sounding cliches, “a hard day’s work,” “working like a dog,” and “sleeping like a log,” only to quicken up the pace with a patter-couplet reassuring the singer’s girlfriend that his energy and pleasure level have been renewed by her ministrations.
In 1965, Peter Sellers released a 45 rpm single on which he recited the lyrics to “A Hard Day’s Night” in the manner of Laurence Olivier’s famous performance of Shakespeare’s Richard III. He later performed the piece in full costume for the Granada television show The Music of Lennon and McCartney.
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2019-10-31T22:26:18+00:00
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Posts about Paul McCartney written by Alan L. Chrisman
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Yesterday Film Review: “ A FAIRY TALE/ CARTOON” by Alan Chrisman, copyright.
With the recent Beatles influenced film, Yesterday, I wanted to see it in a theater, but I waited until it hit my local second-run movie house(I usually wait until the hype has boiled down on these things to make up my own mind). I knew its basic plot about a young aspiring immigrant musician in England being in a bus accident and going into a fantasy that when he wakes up no one else had remembered Beatles’ songs, but himself. But soon after, he starts singing them and claiming he wrote them, and he’s about to become the biggest pop star on the planet. At first, it seemed the movie was a combination of director, Danny Boyle’s (Slumdog Millionaire, Trainspotting) and screenwriter, Richard Curtis’ quirky Brit. Rom- Coms., usually staring Hugh Grant (Four Weddings and a Funeral, Love Actually, Notting Hill) previous movies. Or Slumdog Millionaire meets Bridget Jones- but with a Beatles song track-which in many ways, it was. Interestingly, the back story is somewhat similar to the recent Queen bio.–pic., Bohemian Rhapsody, about real life immigrant , Freddie Mercury, wanting to become the next big pop star too. I thought upon viewing that film that it was almost a caricature , especially with the lead actor equipped with an excess of fake teeth, supposedly because Mercury had a larger mouth with more teeth than normal, which partly accounted for his wider range vocals in his songs and with his exaggerated mannerisms(although it was supposed to be a true story).
The characters in Yesterday are also almost carictures too. The musician, Jack Malik, played by Himesh Patel( Bit. soap opera, Eastenders) and his childhood friend, first manager, and eventual crush, Ellie( played by Lily James from Downton Abbey) are almost too wide-eyed naïve and innocent to be true( certainly in these times). They become pitted against the stereotyped Big Bad Music Business, personified by the Evil New Manager, played by Saturday Night Live comedian, Katherine McKinnon. Her portrayal, especially, is way over the top and extreme, almost like the evil nemesis Cruella de Vil in Disney’s original cartoon, One Hundred and One Dalmations. I thought at first this movie was meant to be taken straight. But later I realized the whole film was not only a fantasy, in the lead characters head, but in ours too. The film was actually, I think, a more like cartoon. Much as the 2nd Beatles film, Help was. Even though Beatles fans at the time, despite its silly plot (something about Ringo being chased around for his ring) took it seriously as a continuation of their first Marx Brothers-compared movie classic, A Hard Day’s Night. Even though the Beatles themselves knew better (spending most of the time on set for Help, high on pot and and giggling to themselves at the absurdity of it all). “We were extras in our own film.”, Lennon later said.
Like Help, what saves Yesterday is, of course, Beatles’ music. It also strangely reminded me of the Beatles cartoon, Yellow Submarine (which The Beatles themselves had little to do with in the making). Yesterday, at some points as when it visits Liverpool landmarks, puts Yellow Submarine-like big colorful titles of some of their songs across the screen. But it also continued the clichéd arc of films these days about pop music and rock stars: starting out unknown; being discovered virtually overnight (in Yesterday’s case, current pop idol, Ed Sheeran, playing himself, shows up at Jacks door); then getting caught up in the fame and temptations of the Music Business, but in the end( despite many rock stars in real life dying of their own excesses)– but that’s okay because their music will out survive them- goes the usual theme. So the myths continue. But in this fairy tale , of course, the hero comes to his senses and recognizes the error of his ways and they live happily ever after(“Ob La Di Ob La DA. Life Goes on Bra).” There’s also a scene with talk show host, James Cordon, doing his usual in real life fawning to rock and movie stars, which I think was meant to be a satire of the media coverage today and how they both build you up and then tear you down with the next breath. Ironically, it was Cordon who took Paul back to his childhood house in Liverpool last year. Paul probably only did it being the savy PR man he is, to promote his latest album, Egypt Station.
The audience I saw it with was almost entirely Baby Boomers. When it first came out, on several Beatles sites, Boomers defended the film because they said it would allow younger generations to rediscover Beatles music (even in this watered down form) and hoped to take their own children and grandchildren to see it. I thought it was revealing that my generation was so insecure about their own music, that they were even worried about this. I’m not, for the Beatles will be known, I’m sure, not only for their music, but because they also changed the wider culture. We don’t really know what pop music will be like in a hundred years or more from now. Maybe those grainy black and white photos and films of them playing on Ed Sullivan will be like us watching old silent films from the 20’s and 30’s. But just like we know the best of that era still, Chaplin, Keaton, and the Marx Bros. when people look back on our century the Beatles will be a part of it. Because they also represent a time of historical change, the 60s(which in turn affected them to change too). There’s a scene at the end of Yesterday, where, a character, (you-know-who) makes a brief appearance. The audience actually gets quiet as they recognize him(even though I thought it didn’t look that much like him or especially sound like him), as we waited for the icon he has become, words of wisdom(to borrow Paul’s expression). But then its right back to Beatles covers. The Beatles and publishers reportedly got $10 Million alone for the use of their songs.
It would be curious to see what young people do see in the film, not having the baggage we do about our own music and memories. They might see the film more like a graphic novel, which ironically, there was a French one in 2011 called Yesterday, with a similar theme (which would fit in with my theory that the film is really more of a cartoon). But I don’t think most of the audience (or the critics, who gave it mixed reviews ) understand this. Most of the audience were just taping their toes along to the catchy nostalgia of it all (I noticed most of the songs were McCartney ones). I overheard a lady next to me tell her friend that the actor in that climatic scene was played by his son, Julian. I responded that, no it wasn’t, but that if it had of been, it might have looked more like him. And that I had met his mother, Cynthia. We both stayed to watch as the credits rolled to see who was playing the part, but it didn’t seem to be listed. Research later showed it was Scottish actor (no wonder his accent seemed confused) Robert Carlyle, from the previous Boyle film, Trainspotting. Then that woman said, “Well, the music today is not as good as our music.” I realized that each generation is caught up in its own little bubble. Yesterday was a light bubble of a film, whose Beatles’ songs saved it from bursting into reality. I came with a couple of friends: my ex-wife, whom said afterwards she didn’t get the film, but who usually likes Hugh Grant movies and happy endings. Part of that may be because we arrived a few minutes late and she didn’t realize it was a fantasy inside the lead characters’ head. My male friend, who also came with us and who’s into early 60’s music, liked the character of Ellie( and the actress who played her, Lily James). He dreams in real life of women like her, which I joked probably don’t even exist anymore, since perhaps 1962, or in movies such as this. In some ways, her character and the film, reminded me of an innocence long gone by. Which is why, “Yesterday”, I maintain, is basically a Baby Boomer fantasy and cartoon. I also saw later, the Rocketman film about Elton John. There’s a scene in it in the Beatles music publisher, Dick James( who did later represent Elton John) office where Reg Dwight(” Elton John”) looks at a picture of the Beatles on the wall and the film makes it look like Elton got his name from Lennon- but it isn’t true. Elton John was actually named after Brit. blues singer, Long JOHN Baldry, and after ELTON Dean (later of the Soft Machine) who, along with an early Rod Stewart, was in Baldry’s band. The Elton John song “ Somebody Saved my Life Today” was about when Elton almost tried to commit suicide, after his failed relationship with a woman, and Baldry had helped talk him out of it(their both having to come to grips with being gay), at a time when in England it was still illegal. The film should have at least got this right about where Elton got his name. Yet despite that, I thought Rocketman was a better film than either Bohemian Rhapsody or Yesterday. It had more original imagination( and real feeling ) in it than Yesterday or Rhapsody. If you’re going to make a cliched rock film, you should least come up a few new ways to do it.
by Alan Chrisman, copyright.
Let’s just suppose John Lennon hadn’t met Paul McCartney; how would things have been different?
Or what if they had passed their Decca Records audition? They might have been forced to record someone else’s songs, like Mitch Murray’s “How Do You Do it”. Decca might have released a single and it might have become a minor hit. And on that supposed Decca album there might even have been, unnoticed, one of their early original songs like “Like Dreamers Do” . Or what if Brian Epstein hadn’t decided to manage them, would they have ever made it out of Liverpool, then London, let alone America? And if George Martin hadn’t signed them, would any other producer had allowed them to do their own songs or experiment with new sounds? Would there have been a Revolver or Peppers without him and his innovative engineers? On the other hand, Martin, without them, might have only become known for his James Bond soundtracks and comedy records.
How would that have changed music in Britain? Would it, after skiffle had faded in a year or two, have reverted back to imitating U.S. pop stars and sounds. Without The Beatles leading the assault on America would there have been a British Invasion? No English bands had before made much of a mark on American shores. What if Kennedy hadn’t recently been assassinated and the pop charts weren’t filled with clean-cut white “Bobby Bobbys”, as Jerry Lee Lewis called them, because most of the 50’s often black founders of rock’n’roll had vacated the spots for various reasons. So there was a real vacuum to fill.
Of course, the 60’s would still have happened, civil rights and anti-Vietnam demonstrations and drugs and acid rock from California. In England, some Brit. bands like the Rolling Stones, Yardbirds, and Animals would have still copied their blues heroes. But how many would have written their own songs if Lennon/McCartney hadn’t shown that it was possible? Would Brian Wilson have gone against his record company and some of his fellow Beach Boys, wanting to move past just writing about girls, cars and surfing? Although he was already experimenting with pot and sound textures, without Rubber Soul, would he made the Good Vibrations of Pet Sounds? And even Bob Dylan , already with a following on college campuses with his protest songs, but also craving a mass audience, having been booed for going electric, if he hadn’t heard “I Want to Hold Your Hand” and recognizing that “was where music had to go.”? Would his new direction have been accepted by the general public without the revitalization of rock by the The Beatles too? What if there had been no Hard Days’ Night movie and The Byrds’ Roger McGuinn hadn’t seen George Harrison’s Rickenbacker guitar and decided to put it together with Dylan’s folk and help popularize folk-rock? Pop music might have just remained entertainment for teenagers, but The Beatles, especially, showed that it could be so much more- even art.
What might each Beatle have done instead? Would Paul have become a teacher as his mother wanted; perhaps at Liverpool Institute where he might have become a headmaster? Or with his natural musical talent, he might have become a Prof. of Music and composed a classical piece about his childhood called, “Liverpool Oratorio.” Or he might have become just a songwriter providing songs for pop singers like Welsh singer, Tom Jones(whom in real life turned down “Long And Winding Road”). Or perhaps with his boyish good looks and charm, he might have been the next pop idol a la Cliff Richard and had hits with his ballads “Yesterday” and ” Michelle.” But unlikely then, he would have been allowed to display his more rocky side, such as “She Loves You” “Lady Madonna” or “Paperback Writer”. Although he could have still had massive hits with his own songs, “Hey Jude” or “Let It Be”. Or maybe he might have gone another way and become like an Andrew Lloyd Weber and written a show for Broadway based on a character whom had a lonely wedding called “Eleanor Rigby”. That’s all possible.
George Harrison, might have joined his mate, Jackie Lomax’ Liverpool band, The Undertakers, and they might have written together a guitar instrumental, like “Cry For A Shadow. But unlikely anything as majestic as “While My Guitar Gently Weeps” or “Something” or “My Sweet Lord”, with Lennon/ McCartney not providing him expert competition.
And Ringo? After Rory Storm broke up, his drum skills would have gotten him steady work in several Liverpool bands and he’d have been a regular at Butlins’ Holiday camps. And maybe opened a hair dressing shop and married its hairdresser, Maureen. In short, he would still have been Ringo.
But what of John Lennon-if he hadn’t met Paul? After his teenage band, The Quarry Men, fell apart, would “Johnnie” Lennon, as he might have been called, like his estranged father, “Freddie”, have become a Liverpool pub entertainer, playing old rock covers(and perhaps an occasional original tune), when he wasn’t in jail for getting in drunken fights? Or might he have done stand-up comedy like his Dove Dale Primary School classmate, Jimmy Tarbuck? Comedian Lennon, known for his politically-incorrect jokes about “cripples.” For as a Liverpool School of Art friend had said, “You will one day hit the bottle or hit the top boy and nothing in between.”
Would his pub friends have believed him when he said he knew he’d always been a genius? Would there have ever been a “Strawberry Fields Forever” or “Walrus” (or “Imagine” or “Give Peace a Chance”, if he hadn’t met a Japanese avant garde artist), or a more commercial, Paul McCartney?
It took a lot of just the right circumstances and personalities and talents to all come together. Fortunately, they all did. A Beatle flapped its wings and the universe opened up-for us all.
I just saw the new Beatles film, “Eight Days a Week” and these are some of my impressions. I didn’t think I would actually like it that much. The Beatlemania years, frankly, don’t interest me as much as their more interesting Liverpool and Hamburg beginnings or their more creative period in the studio. The usual story is that, most of the time, they were just going through the motions, unable to hear themselves play, with all the screaming fans’ madness (especially near the end of their “Touring Years”, as the movie’s subtitle is called).
I thought director Ron (“Happy Days”) Howard might only cover the nice parts of Beatlemania. He does in the first half of the film and captures the pure energy of their early performances. He has assembled some not usually-seen footage and photos of their early concerts and appearances in Liverpool and Europe. These sometimes black and white images give it an almost old newsreel and historical feel. The film does seem primarily aimed at the North American market though. There were only a couple Liverpool interviewees included in the theatre version, except for some trusted Beatles-insiders like roadie and later Apple director, Neil Aspinall (although I understand the later-to-be-released Deluxe 2 DVD version will include more of these and lots more).
Howard also puts the Beatles Invasion into context with the tumultuous events the U.S.A. was going through in the mid-60’s with the Vietman War, Civil Rights demonstrations, and the assassination of JFK, which had only happened a few months before. The American people, especially its teenagers, were certainly ready for something to lift them out of their depression. Along come these 4 English lads with the funny Liverpool accents and humor and it’s just the right medicine. The Fab Four did so with its own version of the, ironically, America’s export, rock and roll, and the simple but catchy words and rhythms of their early original songs. But what struck me again, upon seeing the film, is just how young and mainly female so many of their fans were. For by this time, The Beatles themselves were already grown men in their early 20’s, playing to some only half their age. Some of the most interesting and humorous moments for the movie audience, I was with anyway, was seeing again the complete hysteria they created in their fans (remember early attendees to their performances in the Cavern and Hamburg, evidently, didn’t originally scream).
But by ’66 and for most of the rest of the film, the whole atmosphere begins to change around The Beatles and they themselves could do little to contain it. Of course, there was the infamous “we’re more popular than Jesus” Lennon remark and the reaction it caused. But it wasn’t only in America that they began to feel a backlash; there were death threats in Japan and, in the Philippines, they barely escaped when its First Lady Imelda Marcos felt snubbed. Howard has said in interviews promoting the film, that he didn’t want to go intodark corners. But I have to give him credit for also not shying away from this part of their story too. For it seemed the once innocent teen hysteria had indeed turned into a far more dangerous form of madness. Howard includes excerpts from John and George’s recorded comments and also present day interviews with Paul and Ringo on both, the good and bad, aspects of this period.
The pall of these later more disturbing times toward the end of their touring years, which somewhat descends on the last half of the movie, is fortunately broken by his choice to also include their famous last public appearance on their Apple company’s rooftop in 1969. What this reveals once again, is that even to the end (which they would also demonstrate on their last recorded album, Abbey Road) these were first and foremost musicians and original songwriters. Once they decided to finally get off the road because of the mounting pressures they were feeling, it would also allow them more time to spend in the studio and become more and more creative artists and not just entertainers.
Also shown in the movie theater after, was a half-hour film of their ’65 Shea Stadium concert. With improved color footage and remixed sound for this project by George Martin’s son, Gilles (although some in the particular theater I was in, said the sound wasn’t that good-but it may be fine in the movie and DVD itself), it shows just how good of performers they could be, even in often chaotic conditions. Ringo says that they really did try to always give their best-all four of them. You can tell by their on-stage jokes that they are still having fun-most of the time. In the Shae Stadium show, Paul does one of his best, but perhaps underrated rockers, “I’m Down”, with which they often ended their concerts, but for some reason was never released on a regular Beatles album(it was the B-side of the “Help” single). John seems to be his old self, mugging and delivering gobbledigook asides and Paul is always the consummate showman. George is the musician, making sure he doesn’t miss a single guitar note and Ringo is driving the beat and shaking his hair. They alone were in the eye of the hurricane, but the film does seem to capture what it must have been like. Howard’s title for his film is appropriate, for it really was “8 Days a Week.” As I said, the DVD will be released later this fall with some interesting extras. But I would recommend, if you can, going to see this film still in the movie theater, and getting that feeling of enjoying it with other fans, which is what the best of Beatlemania was all about.
Stuart Sutcliffe was born on June 23, 1940. He was one of the original 5 Beatles who went to Hamburg and was John Lennon’s close friend and a big artistic influence. There have been many myths built up over the years about Stu’s bass playing, as with Pete Best’s drumming, that they both weren’t that good and that’s one of the main reasons Stu left and Pete was later let go. But several Liverpool people who knew them and witnessed their playing, dispute these myths (including Bill Harry, Editor of Mersey Beat Newspaper, and who had introduced John to Stu at their Liverpool art school). Bill Harry says “the photo floating around in which Stu’s back is turned to the audience was taken during a tune up session. It’s pointed out that none of the Beatles were accomplished musicians at that time, that George Harrison wrote Stu after he left asking him to ‘please come back’, It is suggested that he actually was a good bass player, certainly not bad, and his reason for leaving the band was something other than his musical abilities.” They and others have also said that there was competition between Paul and Stu for John’s friendship. Pete Best says: “When we came back from Germany I was playing using my bass drum very loud and laying down a very solid beat. This was unheard of at the time in Liverpool as all the groups were playing the Shadows’ style. Even Ringo in Rory Storm’s group copied our beat and it wasn’t long before most drummers in Liverpool were playing the same style. This way of drumming had a great deal to do with the big sound we were producing.” This beat was referred to as “The Atom Beat”. Pete was actually the most popular Beatle in Liverpool and called, “ Mean, Moody, Magnificent” Pete and when they played the Cavern with new drummer , Ringo, George got a black eye from some of the fans. Cynthia Lennon told me she thought Pete just couldn’t compete with John and Paul’s egos: he was too nice.
Stu was also a talented painter who left The Beatles right before their success to pursue art and stay with his German girlfriend, Astrid Kirchherr. .Astrid, an art student and photographer, would also have a huge effect on The Beatles who posed for her iconic black and white photos and encouraged them to change to their later famous Beatles haircuts and helped create their whole image. Stu would die soon after of a brain hemorrhage at only age 21.
I was fortunate to meet Stu sister, Pauline and to see some of Stu’s paintings and artwork at an exhibit in Toronto in ’95. I had actually talked on the phone to her before that, because when I met Cynthia Lennon and May Pang at the Conn. Beatles Convention the year before, when I returned there was a call from her (I assume Cynthia. had given her my number, because I had mentioned to her that I planned to put on my own more artistic Beatles Conventions), which I did. I was also to meet several from their beginnings including one of the Quarrymen, who was there the day John met Paul on July 6, 1957, Allan Williams who had sent them to Hamburg, Tony Sheridan, who they backed up in Germany and first recorded with, Pete Best who was guest at my 1st Convention, Louise Harrison, George’s sister, guest at my 2nd. B. Wooler Epstein’s assistant, and others. When I met these and others who were there, since I was especially interested in this period, I would ask their opinions on these and other Beatles’ stories. Pauline Sutcliffe would also co-write the book, Backbeat, which was the basis for the film of the same name, which told of their fascinating time in Hamburg and Stu’s short but productive life. Stu would pass away on April, 10, 1962. Ironically, The Beatles would officially break-up on April, 10, 1970, exactly 8 years later to the day.
“BACKBEAT FILM: HAMBURG BEATLES & INSIDE STORIES.” : https://beatlely.wordpress.com/2014/11/19/backbeat-film-hamburg-beatles-inside-stories/
Interviews about Stu with: Astrid Kirchherr (https://www.youtube.com/watch?v=39qqW7z8dAk), and a Liverpool musician (https://www.youtube.com/watch?v=cWpzUOxmY7g).
RINGO RECOGNIZED: The Still Down-To-Earth STARR
By Alan Chrisman (All Articles ARE written BY ALAN CHRISMAN), copyright 2012-2015.( a Praveen Patel has tried to hack them and claim them.)
Ringo was inducted into The Rock ’n’ Roll Hall of Fame by Paul McCartney on April 18, 2015. He was the fourth Beatle to be recognized there as his own solo artist, besides the Beatles as a group.
Ringo always was portrayed as the “everyman” in the group, often overshadowed by the giant song writing talents of John and Paul and later, George Harrison. Lennon-McCartney tailored certain songs just for Ringo to sing on Beatles’ albums like “Help from My Friends” and “Yellow Submarine.” Otherwise, he mainly sang covers of his favorite country heroes like “Act Naturally.”
But Ringo was the consistent drummer on all their albums. Ringo had replaced Pete Best just after they had gotten their record deal in 1962. Producer George Martin, as was common in those days, hired a session drummer to fill in for Ringo on the Beatles’ first single, “Love Me Do.” Ringo had actually been in a more popular Liverpool group than The Beatles at the time, Rory Storm & the Hurricanes, but he had sometimes played together with the Beatles when they were both in Hamburg. But Ringo was always much more than just a drummer while in The Beatles, for he was an integral part of that mysterious chemistry that made the Beatles, uniquely, The Beatles. And he had that same kind of off-the-wall humor. Someone said once they were like a four-way marriage with all their personalities and talents plugged into each other. And Ringo always seemed to be the “grounder.” He not only kept the beat grounded, but sometimes the members’ egos too.
When the Beatles split in 1970, many wondered about his solo future. He had only written a couple Beatles’ songs, “Don’t Pass Me By” and “Octopus’ Garden.” So it was to everyone’s surprise when he was to have one of the most successful ex-Beatles’ solo’s albums with his Ringo album in 1973, with several big hits including the George Harrison co-written song ,“Photograph.” He would go on to have seven Top Ten hits like, “It Don’t Come Easy”, “Back Off Boogaloo “, “ You’re Sixteen”, “Only You’, etc. Even when the other ex- Beatles sometimes were still not talking with each other much , they would still continue to appear on his albums and he theirs.
Then in the 80’s & 90’s, he put together his own of several All-Starr Bands with well-known musicians who hit the road playing their hits and his. Ringo has continued to release albums over the years. And he has actually turned into a pretty good co-writer and songwriter himself. Particularly with albums like his 2008, album, Liverpool 8, it was noticeable his growing skill in that area too. Also with that album and song, he has been writing songs looking back at his Liverpool beginnings. Ringo has continued this on his new recently released album, Postcards from Paradise, with a song called “Rory & the Hurricanes.” It is Ringo’s 18th album.
He also has appeared in several films as well: Magic Christian Music, Candy, Caveman (where on set, he met his current wife, Barbara Bach, in 1981). I think his best role is in That’ll Be the Day, where he plays a working-class carny at a holiday camp (similar to the ones Ringo’s band, Rory Storm, would have actually played). It perfectly captures early 60’s England just before The Beatles hit. He is also an accomplished photographer and shot the covers for his friend, Marc Bolan’s T-Rex albums and directed a film on him. Quite a career and life for a sickly, poor, relatively-uneducated lad named “Richie” Starkey, who only picked up drumming banging on biscuit tins with sticks in the beginning! Ringo said he had just hoped to make enough as a Beatle to maybe open a hair dressing shop.
Like has also been leveled at Pete Best (Cynthia Lennon told me, shy Pete didn’t have the ego to compete with John and Paul’s), over the years, some have even accused Ringo of not being the best drummer. Ringo himself has never claimed to be a trained drummer. But several other respected drummers have disagreed, crediting him with developing a whole “Ringo” sound, which many have copied. At one point during the making of The White Album, Ringo felt left-out and walked away from the sessions, but came back when the other Beatles sent him a postcard which said “You Are the Greatest Drummer in the World- Really.” Others have said he was just lucky to have been there at the right time. Paul McCartney has said they wouldn’t have stayed with Ringo, if they didn’t believe he was a good drummer. It’s hard, indeed, to imagine those Beatles’ songs without his distinctive back-beat rhythms.
Below Beatles’ postcard to Ringo asking him to return to The Beatles & Ringo’s iconic drum set on display at the R’n’R Hall Of Fame:
John Lennon said: “Ringo was a star in his own right in Liverpool before we even met. Ringo was a professional drummer who sang and performed and was in one of the top groups in Britain, but especially in Liverpool. So Ringo’s talent would have come out one way or the other … whatever that spark is, in Ringo, we all know it but can’t put our finger on it. Whether it’s acting, drumming, or singing, I don’t know. There’s something in him that is projectable and he would have surfaced as an individual … Ringo is a damn good drummer.”
The Beatles were more than just the sum of their parts. Ringo was and is much more than just a drummer, who happened to play in the best band in the world. He has his own personality and persona and talents and loyal following. Ringo still seems to be that same down-to-earth star that’s such a rarity these days, especially, with whom we can all still relate.
When McCartney and rock royalty induct Ringo into the Hall of Fame, it will be time and well-deserved. Paul and he are now receiving all kinds of accolades and still carrying on their great legacy and still performing.
Ringo has announced another tour starting in October with his All-Starr band line-up of the last 12 years to support his new album, Postcards from Paradise. I met his 1995 All-Starr band including Billy Preston, Randy Bachman (The Guess Who and BTO), and Felix Cavaliere (The Rascals). I’m very happy I was able to get tickets for his new show in October in Montreal, where I also saw Paul in ‘89 and George in ’74. I also saw Paul in Ottawa in 2013. We should still see these living legends while we still can, as they continue to put on great shows. Some things which are good, never change. And Ringo, as I said, is like that, or as he would say, like “Peace & Love” too. The Hall of Fame ceremony will be broadcast on HBO May 30.
Ringo doing his rocker, “Rory & the Hurricanes” about his beginnings, from his new album, Postcards from Paradise:
https://youtu.be/HPjQcqRsqBQ
Ringo on his new album and tour:
https://youtu.be/uGdhtLV8c50
FREDA KELLY: THE BEATLES’ SECRETARY & FAN CLUB HEAD
By Alan Chrisman (All Articles ARE written BY ALAN CHRISMAN), copyright 2012-2015.( a Praveen Patel has tried to hack them and claim them.)
I just saw a documentary on Freda Kelly, The Beatles’ secretary and who was in charge of their official fan club. The film is named “Good Ol’ Freda” after a shout-out The Beatles’ make about her in their 1962 Xmas’ message.
I thought it would be interesting, as she was one of the few who were there at their very beginnings. And it is, as she relates many everyday stories about them. She worked with them for 11 years, from 1961 on. She had been working in a typing pool and was a regular at The Cavern. Beatles’ manager, Brian Epstein, approached the seventeen-year-old to come help him deal with the growing workload at his NEMS Liverpool record store and help with his new band, The Beatles.
Besides her regular office work for Brian, a lot of her duties consisted of answering the, at first, a few letters a day to later thousands in big mailbags, from their increasing numbers of fans. Out of that grew her starting their first official Beatles’ Fan Club and newsletter and Beatles’ Monthly Magazine. She saw The Beatles’ often as they would drop in to Epstein’s office and got to know each well. They would have cups of tea and autograph the rising pile of fan letters requesting signed photos, snippets of hair and clothing. Freda also often had to go around and visit the Beatles’ homes after her already long hours at work to get them to sign more photos or papers, and she got to know all their families well. Ringo’s mom, she became especially close to, as her own mother had died when she was only 18 months old and was raised by a father, who saw no future in her working for a pop group.
All these stories and descriptions of The Beatles and the people around them are fascinating enough, but what really makes the film is Freda herself. She’s a very interesting person. While many others around the Beatles have exploited their connections to them, she never did. She calls herself a very private person and always wanted to respect their privacy too. She had even told little of her Beatles’ involvement to her own family and friends. She had given away most of the leftover Fan Club photos, magazines, etc. to fans with whom she identified and felt committed to, as she had been originally just a fan herself. At one point in the film, she goes into her attic and rummages through the last few boxes of Beatles’ material she has kept. She still feels a fierce loyalty to them and their story. After The Beatles broke up in 1970, she got another job as a private secretary and she is still working and living in Liverpool. She only agreed to tell her story (for the one and only time, she says) when her daughter finally persuaded her and for her grandchild, when approached by the filmmaker nephew of another Liverpool friend and band at the time, The Merseybeats. That’s the kind of person, Freda Kelly is, still not anxious to tell secrets on her old friends and bosses.
I, as I’ve said, have been fortunate to meet several people who knew The Beatles. I’ve written about several of these and others around them, as well as a series of recent tributes to Neil Aspinall, Tony Sheridan, and Cynthia Lennon (who passed away, Apr. 1st). Some have written books, appeared at Beatles’ Conventions, and been in documentaries. The Beatles are, of course, Rock Royalty now, but some behind-the scenes people, like Freda Kelly, haven’t gotten much recognition. Few around them became became rich or famous. Some have even preferred to remain mainly private: Astrid Kirchherr (who created their “look”), Bob Wooler (Cavern DJ), Tony Sheridan). I have found very interesting stories about The Beatles through theirs and others’ eyes and stories like Pete Shotten’s (Quarrymen and Lennon’s childhood friend), Derek Taylor and Tony Barrow Beatles’ publicists), etc. But as Freda Kelly breaks down near the end of the film and says, not many of them are still here anymore. What struck me about most, if not all, the people whom I met who knew The Beatles’ at their beginnings, is their reverence for The Beatles and what they experienced. That and their remarkable down–to-earthness, which must reflect their often Liverpool humble roots. Freda Kelly comes across like you could just drop in for a cup of tea, as she often had with The Beatles.
Trailor for film, “Good Ol’ Freda”:
https://youtu.be/LqO3DIaKTXM
Complete film Dvd available:
http://www.magpictures.com/goodolfreda/
A TRIBUTE TO CYNTHIA LENNON & MEETING HER
By Alan Chrisman, copyright.
Cynthia Lennon, John’s 1st. wife, passed away April 1, 2015 at the age of 75 after a battle with cancer. I’d always wanted to meet her and in 1994, I got my wish. Someone had told me of a Beatles’ Convention in Stamford , Connecticut and she was one of the main guests.
I had never been to a Beatles’ Convention before, but my fellow student and friend, Al Whyte, and I had just completed a course about putting on events and our two’s school project (only a fantasy) had been to do a Beatles’ Convention. So we had a chance to actually go to one and also meet, as I say, John Lennon’s wife. I had read her book, Twist of Lennon, and could picture what it must have been like before they were very well-known in those early Beatles’ days in Liverpool.
Al and I met her briefly and she was even nicer and lovely than I had hoped. She signed my copy of her book and I nervously asked her some questions. I’d always wanted to see if I could try and see what John had been like past the pop star and media images. We also ran into her later coming down in the elevator of the hotel where the Convention was being held. She had long blonde hair and wore wire-rimmed glasses like John.
I had read the romantic story in her book about how John had met her at their Liverpool art school in 1958. But they were complete opposites. John was the angry, chip-on his shoulder rebel, especially because his mother had been killed by a drunken driver when John was still a teenager. Cynthia Powell was the more middle-class “nice girl”. But what they had in common was both of them being near-sighted and their love of art. But she was able to detect underneath the Lennon sneer, a softer side too. They would sneak over to John’s aspiring-painter friend, Stu Sutcliffe’s room to make love.
Cynthia was very supportive of John and his early budding Beatles’ band. And when Paul, George, Pete Best, and Stu Sutcliffe were sent to Hamburg, John would write back regular funny postcards and letters to her (even though they were playing in some of most decadent bars and temptations in Europe). When they returned from Germany and first played the Cavern, she was there too. But Cynthia didn’t have it easy. She was renting a room from John’s sometimes stern Aunt Mimi, while working at Woolworths and the two women didn’t get along. She then moved to a small bedsitter room.
When Cynthia became pregnant with their son, Julian, they got married in 1962. (John said later, “it had been the thing to do”). Even as The Beatles were becoming more and more popular, Cynthia was still stuck alone while The Beatles were on tour, having to put up with her husband being away a lot of the time, and with all the girls throwing themselves at the young men. And Lennon would sometimes take his frustrations out on her, violently even. There’s a scene in The film, Backbeat about the Hamburg days, where Astrid Kirchherr, the German art student who basically created the whole Beatles’ “look” says to Cynthia’s character, ”but John wants the world.”
At their height, as The Beatles were experimenting with drugs, Cynthia never really felt comfortable with their excesses. Beatle wives were rarely allowed to be in the studio when their husbands were at work. When their manager, Brian Epstein died, they all went to India to see the Maharishi, but John was secretly writing to this new artist, Yoko Ono. On the plane home, he admitted to his wife the many affairs he’d had. John advised her to go to Greece for a vacation, the day she returned, she discovered Yoko had spent the night with him at her home. Lennon and Cynthia soon divorced in 1968.
John had remarried Yoko but Julian had been pretty well ignored by his father ( much as John himself has been deserted by his father). It wasn’t until Yoko and John had separated for several months in 1973 and John was with May Pang in L.A. that May encouraged John to re-connect with Julian. Interestingly, I also met May Pang at that same Conn. Convention. I was surprised she was there; she wasn’t a scheduled guest. But I soon learned she was good friends with Cynthia and had come in to see her. I was able to meet May Pang too and get her to sign my copy of Lennon’s Walls and Bridges album and get photos of her too.
.Al and I were so inspired by meeting Cynthia and May Pang and others at that Conn. Convention that we decided to actually put on our own Beatles’ Conventions. Also, soon after I got back home, Stu Sutcliffe’s sister, Pauline called me from England (I think Cynthia must have given Pauline my number). We had presented Cynthia with our “fantasy”. She seemed interested in our more ‘artistic’ convention than they usually were. Cynthia was an artist in her own right and she would later have exhibitions of some of her art. Cynthia Lennon’s own artwork of The Cavern. Cynthia’s own drawing of The Cavern.
We even thought of having her son, Julian, whom had had a successful album, Valotte, as a guest too (which she liked). Unfortunately, she couldn’t make it, but we did end up doing our Ottawa Conventions in ‘95 and ’96, with Pete Best and Louise Harrison as main guests, respectively. Cynthia Lennon would later write a second book simply called John in 2005. She was a lot more critical of John in that book than her first and even said she wished in some ways, she had never met him. Cynthia would, for years, have trouble getting much money and ran a couple failed restaurants and two of her marriages had ended in divorce before her final third husband died in 2013. When Yoko inherited John’s estate when John was killed in 1980, it still took years until Julian finally got a settlement which he shared with his mother. Julian has been bitter the way he felt he had been treated, but over time, all the Beatles’ wives and children finally did appear together at certain functions such as the premiere of Cirque de Soleil’s Beatles’ Love show.
Cynthia, despite having been married to one of the most famous people in the world, as I said, didn’t have it easy. But I was honored to meet her. I have no doubt that if Al and I hadn’t met Cynthia, we would never have actually done our own Beatles’ Conventions and gone on to meet several who knew The Beatles. That’s how much this lovely lady, Cynthia Lennon, had inspired me.
Below Julian Lennon’s video tribute to his mother, Cynthia, with his song:
https://youtu.be/fsyYqJxf9Qk
Tribute to Neil Aspinall: The Beatles’ Guardian Angel by Alan Chrisman, copyright.
No one was more trusted by The Beatles than Neil Aspinall( who died on Mar. 24, 2008). . He was director of their Apple Records for 30 years after Brian Epstein and Allan Klein. He had started out in Liverpool at their very beginnings, driving them around in his van to their early shows and was their road manager. He had been in the same class as Paul McCartney and knew George Harrison at Liverpool Institute and met John Lennon attending his first term at the Liverpool College of Art next door.
He became very good friends with Pete Best, original Beatles’ drummer and stayed at his house, where the Beatles first played Pete’s mother’s club, The Casbah, before The Cavern. And when The Beatles replaced Best with Ringo, Pete advised him to continue working with The Beatles, despite their close friendship.
Aspinall traveled with them to America and when George became sick, he stood in for him at rehearsals for the Ed Sullivan Show. He would also accompany them to promote the founding of their Apple Corp. in 1968. It was his idea to have a Sgt. Pepper as the narrator of their land-breaking album. He also participated in the recording of “For The Benefit of Mr. Kite”, “Within You, Without You”, on “Magical Mystery Tour” and “Yellow Submarine.”
Neil Aspinall’s Van in which he drove early Beatles (including above, Pete Best) to their shows, outside The Cavern.
But his main role besides being their personal assistant along with Mal Evans, was their confidant and protector. When Klein tried to “clean house” to save money at Apple and even let go of Aspinall, all the Beatles came to his rescue. After Klein and The Beatles parted ways, Aspinall, who was trained as an accountant, was asked by them to take over the running of Apple. Even during this period when The Beatles had split up and were suing each other, he was always able to maintain an impartiality with each of them, which couldn’t have been easy at times. He would be instrumental in fighting for several lawsuits for them against Apple Computers and their EMI Record Company.
It was Neil Aspinall’s idea for the later very successful Beatles’ Anthologies in the early 90’s. He had started working on compiling their official history as early as 1970 under the original title, “The Long and Winding Road.”
Although he had many lucrative offers to reveal inside secrets about The Beatles, he never did, maintaining their loyalty and trust until his death of lung cancer in 2008 (like George Harrison, whom he had first met sharing smokes behind a schoolyard shed).
A couple things which some people may not know: While Neil Aspinall was staying at Pete Best’s place, the 19 year-old had a relationship with Pete’s mother, who ran The Casbah. The result was the birth of Roag Best, Pete’s half-brother . Pete and his brother, Roag, were musical guests at 1st. first Ottawa Beatles Convention which I organized in 1995. It was there where I learned of this, for a long time, little-known connection between the two and this was during the release of the 1st Beatles Anthology. By the next year, when Pete came back to play during my second Convention week, Pete had become a millionaire “overnight” (30 years having been dismissed by The Beatles, with no explanation), because he was on several songs on the Anthology. I’ve always wondered if Neil Aspinall hadn’t had something to do with Pete finally getting his due, since it had been his idea, as I said, for The Anthologies. It wouldn’t surprise me a bit, as Aspinall seemed to always strive for fairness for everyone.
Pete Best Band (Including Neil Aspinall’s son and Pete’s half-brother, Roag, left) were musical guests at the 1st Ottawa Beatles Convention.
Another interesting story is that my friend, Yury Pelyushonok, actually got to know Neil Aspinall a bit. Neil had taken a liking to my Russ. Cdn. friend, Yury Pelyushonok and Yury’s book, Strings for A Beatle Bass, about how The Beatles helped bring down communism and Yury had been to see Aspinall in London at Apple headquarters a few times. This is an excerpt from my previous blog about how that originally came about: “Yury was going to London, in April, 2000, and I suggested he leave a copy of his book with the Beatles’ manager, Neil Aspinall (the BBC lady had given me his contact at the Connecticut convention in’94, because I had alerted her about a dealer that was trying to sell a rare BBC film, which she got back). Yury did leave a book there and upon returning, he called me one morning and said he’d had a dream, that Neil Aspinall had called me. I’d always wanted to meet Aspinall because he had been there since the beginning and was their closest confidant. And the very next day Yury calls me back and says, “Guess who just called?” I said “Who?” He says, “Paul McCartney’s personal assistant, Geoff Baker!”
The Beatles’ record company, Apple, would also later call back for more copies for George and Ringo. Yury went back to the Beatles’ headquarters a couple more times to discuss the possibility they would publish his book. Neil Aspinall told him in advance that Paul McCartney was to play in Red Square in May, 2003; it was to be a world event. Yury had taken a lot of flak for suggesting that the Beatles could have helped bring down Communism. But Yury was interviewed in N.Y. on ABC- TV “BEATLES REVOLUTION” in 2000 with several celebrities who agreed, including Czech director Milos Forman and Keith Richards (“What brought it down, in the end, was blues jeans and Rock N’ Roll”). And there was soon to be growing evidence that what Yury had first said, was indeed true.
Yury Pelyushonok’s book above, about how Beatles helped bring down communism.
Yury’s book and experiences were to partly inspire BBC film director, Leslie Woodhead’s film, HOW THE BEATLES ROCKED THE KREMLIN. Finally in 2009, the film was completed and shown on PBS in the States and CBC in Canada, in conjunction with the anniversary of the fall of the Berlin Wall in ’89. The film and idea got write-ups in the L.A. Times, Toronto Globe and Mail, etc. Yury was interviewed again by the Ottawa Citizen. And the film has since been repeated several times on both PBS and the CBC. In 2013, Mr. Woodhead released a book of the same title, chronicling the making of his film, including a whole chapter on Yury and the visit to Ottawa in 2007 (including about the day we shot the video and both Tony Copple of The Ottawa Beatles Site and I, are described in it) to film an interview with Yury and the video shooting of his song, “Yeah Yeah Virus”. It is used as a theme throughout the film. Yury had also told me about a call he received from Aspinall around the time of the premiere of The Beatles’ Love show and by Cirque du Soleil in 2006. Aspinall put on the phone briefly an oriental woman (Yoko?), as Aspinall was still working on helping Yury get his book known up until close to his death. As I said, he seemed to have taken a liking to my friend, Yury, and that was the kind of gentleman, Aspinall was.
It was my friend, Yury, above with Neil Aspinall at The Beatles’ Apple Corp. London, which first described him as The Beatles’ Earthly Guardian Angel.
Below video of those special few, including Neil Aspinall, who helped The Beatles, behind the scenes:
https://youtu.be/pBh47-WOk3Q
|
||||
correct_starring_00056
|
FactBench
|
0
| 46
|
https://www.themoviedb.org/movie/704-a-hard-day-s-night%3Flanguage%3Den-US
|
en
|
Yeah! Yeah! Yeah!
|
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Wir schreiben das Jahr 1964 und vier junge Typen aus Liverpool sind kurz davor, die Welt zu verändern – wenn die völlig durchgedrehte Welt sie nur unerkannt aus ihren Hotelzimmern entkommen ließe! Richard Lesters frech-zeitgenössische Rock-’n’-Roll-Komödie stößt die Jungs, die als The Beatles auftreten, in einen Strudel von kreischenden Fans, paranoiden Produzenten, fanatischen Journalisten und nervenden Familienangehörigen …
|
de
|
/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
|
The Movie Database
|
https://www.themoviedb.org/movie/704-a-hard-day-s-night
|
You need to be logged in to continue. Click here to login or here to sign up.
|
||||
correct_starring_00056
|
FactBench
|
3
| 52
|
https://www.radiotimes.com/movies/paul-mccartney-is-going-to-be-in-the-next-pirates-of-the-caribbean-film/
|
en
|
Paul McCartney is going to be in the next Pirates of the Caribbean film
|
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] |
[] |
[] |
[
""
] | null |
[
"Ellie Walker-Arnott"
] |
2016-03-25T11:42:00+00:00
|
The Beatles star will make an appearance in Pirates of the Caribbean: Dead Men Tell No Tales
|
en
|
Radio Times
|
https://www.radiotimes.com/movies/paul-mccartney-is-going-to-be-in-the-next-pirates-of-the-caribbean-film/
|
The latest film in the Pirates of the Caribbean franchises has just added another famous face.
Advertisement
The fifth movie, Dead Men Tell No Tales, is set to feature a cameo appearance from The Beatles star Paul McCartney.
Filming has wrapped on the movie, which also stars Johnny Depp, Geoffrey Rush, Javier Bardem, Orlando Bloom and Kaya Scodelario, but Deadline reports the filmmakers have "gone back to add an extra big set-piece scene."
There's no word yet on what role McCartney will be playing, but this isn't the first time the Pirates franchise has welcomed rock royalty onto its set. Rolling Stones guitarist Keith Richards played Captain Teague, Jack Sparrow’s father, in On Stranger Tides.
Advertisement
Pirates of the Caribbean: Dead Men Tell No Tales is tipped for released in May 2017
More like this
|
|||||
correct_starring_00056
|
FactBench
|
0
| 93
|
https://www.filmsfatale.com/blog/2020/4/10/a-hard-days-night
|
en
|
A Hard Day's Night — Films Fatale
|
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[] |
[] |
[
""
] | null |
[
"Andreas Babs"
] |
2020-04-10T00:00:00
|
Fifty years ago today, The Beatles broke up for good. Despite being a sombre occasion, we wish to celebrate their legacy with a review of the Richard Lester opus A Hard Day’s Night .
|
en
|
https://images.squarespace-cdn.com/content/v1/5c27df4a372b96a62fef2e22/1546119591258-VT9UB7UYSLTAIUGYFT0K/favicon.ico?format=100w
|
Films Fatale
|
https://www.filmsfatale.com/blog/2020/4/10/a-hard-days-night
|
In 1964, The Beatles were beyond a band. They were a cultural sensation. Having started out like many other musical groups at the time, this Liverpudlian quartet originally sang the works of others. Now, we obviously know about the famous Lennon-McCartney powerhouse duo, especially for their mark on pop music that has been felt ever since. Their first album entirely written by Beatles members — no covers — was A Hard Day’s Night. The album was still in the similar vein of their two previous releases (Please Please Me and With the Beatles): straight up pop and rock standards with heavy blues influences. Their experimental period came later, with releases like Rubber Soul, The Beatles (referred to as The White Album) and Abbey Road; most of these albums from this era weren’t paired up with any form of a touring cycle, as the band had written these off by then.
So, 1964 was the perfect time for a fictional film about The Beatles to come out, in hindsight. This was before the group had to alienate themselves from screaming auditoriums and venues, and while their sound was still of a particular ilk. I know there are comparisons to The Beatles being made today insisting that they were a boy band of their time. While their earliest material may be an indication of this, I believe A Hard Day’s Night was at least the start of their diverging away from this identity, particularly because they wrote all of the songs themselves (not rare at this time [see other rock and folk musicians], but a bit of an anomaly for a band of their exact nature, especially considering how experimental they became). The film of the same name as the album was essentially a means of retaining the wholesome, sensational image the band had, and they proved their own worth heavily with (arguably) the finest album of their early, non-experimental years. It was a perfect soundtrack to go along with a film that painted the Fab Four as the most fun guys in the world.
Part satire of the band’s milieu, and part serious opportunity to push musical films, A Hard Day’s Night is exactly like the album in film form: fun, but incredibly serious about being fun. Director Richard Lester had little legwork to do to make the film’s soundtrack better than it already is, but he had a huge task on his hands: to match the quality of these songs. The film has a very loose plot about the days in the lives of The Beatles (plus some running gag about this fictional take on Paul McCartney’s grandfather, who is a bit of a handful when he isn’t being stubbornly quiet), and these instances are an obvious exaggeration of what actually goes on. Rather than being a full-on joke about the actual rockstar lifestyle, A Hard Day’s Night incorporates other musical-comedy gags; a favourite example of mine is when the band leave the train they are riding on to purposefully chase the train alongside the passenger window, somehow with a bicycle none of them had beforehand (that kind of reality shattering that retro comedies didn’t mind breaking). Toss in homages to silent film and parodies of press junkets, and you have a silly film on your hands.
As funny as A Hard Day’s Night is, it is also a fantastic music film that pushed the boundaries of what music videos could be well before the call for music videos as a popular medium (well, as popular as they are now). It’s as if Lester knew one day that The Beatles would want to break out of their strict musical conventions, and predated their exploration with his own cinematic wizardry surrounding their songs. Each song has its own interesting set up and execution. “If I Fell” begins while Ringo Starr’s drum kit is still being assembled, and the entire song takes place while a television spot is being constructed. “She Loves You” tried to capture every single ounce of a live television concert, ranging from the panic of directors to the epiphany of super fans. “All My Loving” was about the nightlife in the music scene entirely, mostly shutting out The Beatles themselves as musicians, and featuring them as members of this society. Say what you want about the fun rambling of the plot. The musical numbers here are some of the finest ever for a few reasons. Lester achieved matching the quality of these songs. He also aimed to represent a different aspect of being a musician in every single melody. Starting off the film with the band gleefully running away from obsessive fans is the only way it could have started: with the marriage of their songs and real life woes, shot in a way to open up a playful film that celebrated music right.
Part screwball, part musical, and all parts uplifting, A Hard Day’s Night is one of those films that couldn’t have dropped at a better time. Before the schism between bandmates, and bad blood pouring out onto releases (their best releases, mind you), The Beatles was an unbreakable entity. They couldn’t be separated from each other, the history of music, and the world. Slowly but surely, that all went away. The band stopped touring and became a studio-only group. The band split very sourly, with various members making musical and public digs at one another. This was before all of that. This was the start of the Lennon-McCartney era, in the hub of their zeitgeist years. Let’s be honest. Any film of this nature about The Beatles (The-Freaking-Beatles) could have been phoned in and done sloppily. Nope. Richard Lester made sure this film was meant to last. As a result, we have segments like the" “And I Love Her” sequence which I can’t even write about. I’m just going to show you it, and leave the review at that.
|
||
correct_starring_00056
|
FactBench
|
3
| 91
|
https://virginradio.co.uk/entertainment/127785/paul-mccartney-elton-john-spinal-tap
|
en
|
Paul McCartney and Elton John to star in classic 80s comedy sequel
|
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[
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[] |
[
""
] | null |
[
"Virgin Radio"
] |
2023-11-28T08:41:47+00:00
|
One of the all-time greatest comedy mockumentaries is getting a long-awaited sequel, and it’s got some big names lined up.
|
en
|
/favicon.ico
|
https://virginradio.co.uk/entertainment/127785/paul-mccartney-elton-john-spinal-tap
|
Virgin Radio
28 Nov 2023, 08:41
Credit: Getty
One of the all-time greatest comedy mockumentaries is getting a long-awaited sequel, and it’s got some big names lined up.
Classic 1984 documentary-style film, This Is Spinal Tap, is a regular on all-time top movies lists, with its tale of a fictional ailing British rock-metal band’s disastrous US tour. Directed by Rob Reiner, it stars US actors Christopher Guest, Michael McKean from Better Call Saul and The Simpsons’ Harry Shearer as English musicians in the band Spinal Tap.
Now, Reiner has revealed that actual, real-life British music legends Sir Paul McCartney and Sir Elton John are set to appear in the upcoming sequel, and that US country singer-songwriter Garth Brooks will also feature.
Speaking on Richard Herring’s Leicester Square Theatre Podcast, the filmmaker said: “We’re going to start shooting in the end of February. Everybody’s back. Paul McCartney is joining us, and Elton John. And a few other surprises... Garth Brooks.”
Just as he did in the original film, Reiner will appear as Marty DiBergi, as well as directing the movie. And, as you would expect, McKean, Guest and Shearer will all return as David St. Hubbins, Nigel Tufnel and Derek Smalls.
The 1984 film, which was largely improvised, contains several moments that have gone down in movie folklore, including quotable moments such as guitarist Nigel telling Marty how his amps “go to eleven” because, “it’s one louder, isn’t it? It’s not ten.”.
Other highlights include the band being second on the bill to a puppet show, confusion regarding a replica of Stonehenge, and some bizarre reasons the band have to keep replacing their drummers.
The sequel to This Is Spinal Tap was due to land in March 2024, in order to coincide with the original film’s 40th anniversary. However with Reiner announcing that filming is set to begin in February, this release date will need to be revised. There is no news on when the film will be out.
|
|||||
correct_starring_00056
|
FactBench
|
1
| 71
|
https://www.facebook.com/PaulMcCartney/videos/when-winter-comes-official-music-video-paul-mccartney/141841277733645/
|
en
|
'It all started with this track really, as I was making a bit of music for a film project...' - Paul McCartney When Winter Comes. The animated short...
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
'It all started with this track really, as I was making a bit of music for a film project...' - Paul McCartney
When Winter Comes. The animated short...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/PaulMcCartney/videos/when-winter-comes-official-music-video-paul-mccartney/141841277733645/
| ||||||
correct_starring_00056
|
FactBench
|
3
| 68
|
https://www.usatoday.com/story/entertainment/movies/2023/11/29/this-is-spinal-tap-sequel-rob-reiner-paul-mccartney-elton-john/71738316007/
|
en
|
'This Is Spinal Tap' director teases sequel with Paul McCartney, Elton John: 'Everybody's back'
|
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[] |
[] |
[
""
] | null |
[
"USA TODAY",
"Naledi Ushe"
] |
2023-11-29T00:00:00
|
\
|
en
|
USA TODAY
|
https://www.usatoday.com/story/entertainment/movies/2023/11/29/this-is-spinal-tap-sequel-rob-reiner-paul-mccartney-elton-john/71738316007/
|
A sequel to the cult classic "This Is Spinal Tap" has a new batch of star-studded guests joining the cast, according to the director.
Director Rob Reiner appeared on the "RHLSTP with Richard Herring" podcast in an episode released Sunday, where he confirmed he is "making a sequel" to the 1984 movie, which will begin filming in February.
"Everybody's back," Reiner said. "And Paul McCartney is joining us, and Elton John, and a few other surprises. Garth Brooks."
"This Is Spinal Tap" is a mockumentary comedy about aging heavy metal rockers, starring Christopher Guest as the guitarist Nigel Tufnel; Michael McKean as the lead singer and guitarist David St. Hubbins; and Harry Shearer as bassist Derek Smalls. Reiner also starred in the film as director Martin Di Bergi, who followed the band's tour.
The movie was a slow burn to notoriety. Reiner shared that the secret to having a successful film ("Spinal Tap" was filmed without a script) is "that you get people who are good at improvising."
Several hours of the movie were cut in an effort to have some structure. "This is (like) stand-up — you leave them wanting. You go off on a big laugh and go out," the director explained of choices to leave out other funny moments caught on camera. "The worst thing you could do is just load it up with, even if they're funny things, they may be tangents and things that take away from the drive of the film."
'A Mighty Wind' turns 20: How ‘Spinal Tap'-inspired music spoof found award love at end of the rainbow
In May 2022, Deadline and Entertainment Weekly reported a sequel to "This Is Spinal Tap" would focus on the feuding band being forced to get together when it's discovered they are contractually obligated to give one more concert.
The film's star McKean spoke to USA TODAY in May, keeping coy about the details of a reunion film. "We're having fun every time we get together. We're putting our ducks in a row. We might wind up flame-throwing the ducks and walking away. So I don't want to promise anything," he said.
"Getting the band back together is still a good story," McKean added. "We're in the meat of it. But I can't tell you what kind of meat. It's mystery meat."
Contributing: Bryan Alexander
|
|||||
correct_starring_00056
|
FactBench
|
3
| 48
|
https://www.thedailybeast.com/ringo-starr-says-the-beatles-let-it-be-film-had-no-real-joyuntil-now
|
en
|
Ringo Starr Says the Beatles’ ‘Let It Be’ Film Had ‘No Real Joy’—Until Now
|
https://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_1688,w_3000,x_0,y_0/dpr_2.0/c_limit,w_740/fl_lossy,q_auto/v1715114366/050724-letitbefeature-hero_rfwlb9
|
https://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_1688,w_3000,x_0,y_0/dpr_2.0/c_limit,w_740/fl_lossy,q_auto/v1715114366/050724-letitbefeature-hero_rfwlb9
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[
"John Lennon",
"Music",
"Disney",
"Pop music",
"Rock music",
"George Harrison",
"The Beatles",
"Ringo Starr",
"Beatles",
"Paul McCartney",
"Documentary film",
"Peter Jackson",
"Movies",
"TV/Movies"
] | null |
[
"Jeff Slate",
"www.thedailybeast.com",
"jeff-slate"
] |
2024-05-08T08:29:59.748000+00:00
|
Starr, director Michael Lindsay-Hogg, and Giles Martin recall the fraught history of the band’s final film, which arrives on Disney+ this week in a newly restored format.
|
en
|
data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAABAAAAAQCAIAAACQkWg2AAABPUlEQVQoz6WSv6rCMBTGOymCIL6BizqIgvgHBRdxcPYJxNkHEDd1EhUclE6uPoKzu4OggoKP4CC3JqZNbJqbGKk3XVq4IcPJB7/DOV8+DdbrP6GQvEYk8kgm8WLBKFX0aBTkcni5ZIxp/M3cQyk9n2GthnVd0V8vejjAcpms13+A+53ZtqD2e5DPu7pzu/FGgtpsnq3WF4CNhtXviwpjIxZzdZDJ4NlMNDoeQamkAKjTkbUc3QXMdyN6OoFCIRBgDQZyVFip+APcAHq98oLoOmq3/YHPQQhWq9Zo5A/Y260wSu6QSgXbodd7ozb/2WAudbuu/g/g2Wzi8VhUpmnE48pIw6EMCA+V5nWDj7rbgWLxqyP0CRpfOptVAULk75DVyhvKy4XnF8/nmifeIJ3G0ylzHEUPhx+JBJ5MuFG/5/Ynabxw9yEAAAAASUVORK5CYII=
|
The Daily Beast
|
https://www.thedailybeast.com/ringo-starr-says-the-beatles-let-it-be-film-had-no-real-joyuntil-now
|
“I was always moaning about the original film, because there was no real joy in it,” Ringo Starr recalls to The Daily Beast of the 1970 documentary film Let It Be, which was released just weeks after news of the Beatles’ split had hit the press.
Since Peter Jackson’s Get Back documentary premiered on Disney+ in 2021, even the most casual Beatles fan knows what Starr is talking about. The Let It Be film and album were a dismal affair for all involved. Salvaged from the ashes of Paul McCartney’s idea for the Beatles to “get back,” literally, to their roots by writing and recording a new album, the nearly 60 hours of footage filmed by director Michael Lindsay-Hogg during January 1969 chronicled the end of the greatest creative collaboration of the last century.
But Let It Be got only a limited theatrical release in 1970. Now, at long last, a restored version arrives on Disney+ this week.
“All these years, did I wish it to come out? Of course. Did I hope it would? Well, you know, hope is a like a candle: sometimes it flickers and sometimes it’s bright and sometimes it goes out,” Lindsay-Hogg admits. Dressed nattily and holding forth in a Disney conference room in midtown Manhattan, the 84-year-old director looked preternaturally youthful when we recently met to discuss Let It Be, which has been wonderfully restored by Jackson’s team after he used Lindsay-Hogg’s footage for Get Back. “The catalyst, really, was Peter Jackson. Right from the beginning, he was very direct and very respectful.”
Of course, back in 1969 and ’70, things didn’t go according to plan, either. John Lennon was preoccupied with his then-blossoming relationship with Yoko Ono (and dabbling in heroin), and George Harrison had finally had enough, having just returned from a visit with Bob Dylan and the Band in Woodstock, where he had been treated with the respect he no doubt felt he deserved. Even Starr, frustrated by the ever-increasing tensions among the band members, had struck out in films and began contemplating a solo career in earnest.
Meanwhile, as seen in Let It Be, McCartney had become the quartet’s de facto leader, much to the growing annoyance of his bandmates. It was a role he’d filled to an increasing degree since manager Brian Epstein’s death in August 1967, but by January 1969, with the others’ interest in the group waning, the Beatles had essentially become, for better or worse, his band.
“It was always Paul who would want to get back to work,” Starr recalls. “I lived near John, and so I’d be at his place, lounging and having a bit of a smoke in the garden, and the phone would ring. We’d know even before we answered that it was Paul, saying, ‘C’mon, let’s get in the studio and make a new record.’”
But this time, it was not just a new record he was after. McCartney wanted the band to get back on the boards, performing to a live audience for the first time since their last concert at San Francisco’s Candlestick Park in 1966, for a television special to be broadcast worldwide. With a director needed to helm the special—as well as footage of the band rehearsing for promotional advertisements—he turned to a familiar face. “They had me shoot the promotional films for ‘Revolution’ and ‘Hey Jude,’ which was the first time they’d been in front of a live audience in almost three years,” Lindsay-Hogg recalls. “They really enjoyed it. And not long after, Paul called me and asked what I was doing in January.”
But the long hours of rehearsing a concert built around all-new material—which began just after the New Year in 1969 on a cold soundstage in the London suburb of Twickenham, at the very un-rock ’n’ roll hour of 10 a.m. each day—tested the patience of everyone involved.
“The issues they were having were that they were growing up, and they were making different choices in their lives as adults than they had made as teenagers, which affected their lives artistically, as well as the whole business dynamic,” Lindsay-Hogg remembers. “So even if we’d been in a warm, comfortable space, I don’t think the atmosphere would have been great. But Twickenham was a miserable experience for all of them, no doubt about it.”
“The history was always very negative,” adds Giles Martin, the son of Beatles producer George Martin and the band’s go-to producer since 2006’s LOVE remix album, whose audio restoration work on the restored Let It Be is some of his finest to date. “Paul hated the finished product, and the album came out when they were suing each other.”
“It was all based on this little downer incident,” is Starr’s take, as he recalls a fight between Harrison and McCartney that was caught on film and was much discussed in the wake of the initial release of Let It Be (and then given more context in Jackson’s Get Back.) “But that’s just how it was; four guys in a room, you know?” he adds with a laugh. “You’re bound to have a few ups and downs.”
Lindsay-Hogg agrees. “They never commented on that scene as being in any way making the Beatles look bad, or making Paul look bad,” he says of the rough cuts he showed the band members before the film’s release. “Because it was just two musicians talking about the best way to work on a song, like actors do with a scene.”
In fact, he says, the Beatles were fully behind the film after he screened a lengthy rough cut for them in July of 1969.
“George came with his father, John and Yoko, Paul and Linda, Ringo and Maureen Allen Klein, and the Apple team,” Lindsay-Hogg remembers. “Then, at the end of the evening, Paul asked me, ‘What are you doing? Why don’t we all go have dinner?’ So, dinner was Paul, Linda, John, Yoko, Peter Brown from Apple, and me and my girlfriend Jean. And we didn’t talk much about the movie, actually, because we all sort of regarded it as a promising work in progress. But if they hadn’t liked it, there would have been no dinner. And so I had a sense that everything was OK. In fact, they never interfered. I can’t think of anything, really, that they asked to be changed that I didn’t agree should be changed.’”
So what happened along the way to sour the band on the project?
“By the time it came out, in May 1970, the atmosphere had become poisoned,” Lindsay-Hogg says. “What was going on internally, which by then had become external, with the Beatles’ breakup, meant they didn’t support the movie at all. There was a screening in London, and in Los Angeles too, and none of them showed up. But it wasn’t because they didn’t like the movie. It was because they didn’t want to be with each other.”
Lindsay-Hogg adds that, if anything, Let It Be is proof that whatever was going on behind the scenes, once the Beatles strapped on guitars and stepped in front of a camera and an audience, they were an undeniable force.
“All that had been going on before—them not getting on or them having spats, like people who work together often do—[when] they started really playing and they knew there was a crowd down below, they were 16 again,” he says of the concert performed on the rooftop of the Beatles’ Apple Corps headquarters, which closes out Let It Be. “Once I got them on the roof—and that was the hard part, because they didn’t really make up their minds until they were standing down in the little cubby hole of a room about to go on the roof—they were great.”
It’s an arresting scene, especially after 50 or so minutes of meandering rehearsals, rough and ready run-throughs of half-formed originals, and 1950s cover songs. It’s also undeniable evidence of how remarkable the Beatles were as a live band, despite the January chill and the ramshackle, makeshift setup.
“Always, the Beatles were going to go to Turkey somewhere, or up Everest, or in a desert, or Hawaii. And then, suddenly, ‘Let’s just walk across the road,’” Starr says with a laugh of the way they ended up playing on the roof of their London HQ, which is broken up by police officers responding to noise complaints from other tenants in the bustling business district. “With this one, it was just, ‘Let’s do it on the roof.’ And that’s what we did. And it was great. I mean, the police played a huge part. Not that they did anything. But they were moaning at us. And they look really silly in the film now.”
The documentary’s re-release is just the latest in a spate of recent Beatles treasures. The Let It Be album, too, was recently given a full-scale restoration, courtesy of Giles Martin, and there was also a coffee table book full of photos by Ethan Russell and Linda McCartney showing the band at work during the making of Let It Be, and featuring transcripts of the hundreds of hours of audio captured by Lindsay-Hogg’s crew. Still, while Jackson’s Get Back is crucial to understanding the nuances of what was going on between John, Paul, George, and Ringo, it’s Lindsay-Hogg’s Let It Be that, after nearly half a century out of print, is finally taking its place as the centerpiece of these many releases.
“If we hadn’t met Peter Jackson, and if he and his team hadn’t developed the amazing technology they developed to restore the picture and sound of the original film we shot, I’m not sure how we would talk about Let It Be,” Lindsay-Hogg says, underscoring that, now, almost everyone who sees his 1970 film will be almost an expert on the period, and will be able to understand it better, free from the drama surrounding the band’s split at the time of its release. “Now, we talk about it in the context of Get Back. Peter said to me, ‘What I’m doing is making a documentary about making a documentary.’ And that’s what Peter did. So he did a lot of the legwork for the rest of us.”
Starr echoes that sentiment, saying Get Back finally set the record straight. Sure, it was the beginning of the end of our love affair with the greatest rock ‘n’ roll group ever, but it also showed the intimacy and comradery that made everything the Beatles accomplished possible. Seen alongside Let It Be, he says, Get Back gives a more complete picture of the iconic band.
“Now it’s got a start, a middle, and a finish. The start is very slow, and then we get into creating, and then we’re at it and then we’re out,” says Starr. “I love it. But I’m in it, of course, so six hours is never long enough.”
“I’d seen that cut that Apple had done about 25 years ago, and it was really shitty,” Lindsay-Hogg adds. “It was dark and boring and the sound was bad. And I was depressed about it. So the fact that it looks and sounds so great has a lot to do with Peter. It’s really helped Let It Be to have Get Back.”
Of course, the Beatles were in tatters by the time Let It Be was initially released. Still, Lindsay-Hogg was surprised by the eventual reaction to the film, recalling, “It really wasn’t a bad experience making Let It Be. But partly because of the way the band were treating each other in the press at the time, I think people saw it as very negative.”
And so, more than 55 years since the original filming began, and over 40 years since even the sub-par home video releases went out of print (“They were just awful,” Lindsay-Hogg says), Let It Be is finally back, for all the world to see.
“No, I’m happy with the balance,” Lindsay-Hogg replies when I ask if he’s now tempted to smooth out any of the film’s rough edges, or even revisit it for a director’s cut. “What I thought was right at the time is Let It Be. And I think the proportions are just about right. Besides, it wouldn’t be very smart to revisit the decisions of a 29-year-old, 55 years later.”
|
||
correct_starring_00056
|
FactBench
|
1
| 10
|
https://www.forbes.com/sites/hughmcintyre/2023/11/28/paul-mccartney-elton-john-and-garth-brooks-are-starring-in-a-movie-together/
|
en
|
Paul McCartney, Elton John And Garth Brooks Are Starring In A Movie Together
|
[
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[] |
[] |
[
"Paul McCartney",
"Rob Reiner",
"Elton John",
"Garth Brooks",
"This Is Spinal Tap",
"Spinal Tap",
"Spinal Tap sequel",
"Spinal Tap 2024",
"Spinal Tap new movie",
"Paul McCartney movie"
] | null |
[
"Hugh McIntyre"
] |
2023-11-28T00:00:00
|
Paul McCartney, Elton John and Garth Brooks are all set to be featured in the upcoming sequel to This Is Spinal Tap, which will film in 2024.
|
en
|
Forbes
|
https://www.forbes.com/sites/hughmcintyre/2023/11/28/paul-mccartney-elton-john-and-garth-brooks-are-starring-in-a-movie-together/
|
What do Paul McCartney, Elton John, and Garth Brooks have in common? A lot, it turns out. They've all topped the charts, sold out stadiums, and won Grammys. Now, they're all set to appear in the same project together.
The trio of stars will reportedly all be featured in the upcoming This Is Spinal Tap sequel, which so far doesn’t have a publicly-shared title. The good news was shared by Rob Reiner, who directed the first movie and is returning for the second.
Reiner stated during a recent interview on the Leicester Square Theatre Podcast (via Virgin Radio UK). He stated that for the upcoming film, “Paul McCartney is joining us, and Elton John.” Reiner further intrigued listeners by concluding, “And a few other surprises...,” before admitting, “Garth Brooks.”
The director is not only going to sit behind the camera, he’s going to be in front of it once again, as was the case with the original This Is Spinal Tap. He is set to be joined by actors Christopher Guest, Michael McKean, and Harry Shearer, who all made the original movie a must-see.
This Is Spinal Tap was an early, pioneering mockumentary film that profiled a fake band known as Spinal Tap. In the years since it was first released in 1984, the spoof has become a cult classic. It has even earned praise from many in the film and music industries for its hilarious portrayal of the business.
“We’re going to start shooting at the end of February,” Reiner stated during the podcast chat, giving the first solid piece of information regarding how the movie is progressing in a while. With filming scheduled to begin in early 2024, there’s no telling when the This Is Spinal Tap sequel will arrive. With three of the most successful musicians of all time already on board to be a part of the project, it seems this latest entry in the series could become the biggest yet.
|
|||||
correct_starring_00056
|
FactBench
|
2
| 12
|
http://johnandcynthialennon.blogspot.com/2019/04/a-hard-days-night_13.html
|
en
|
John and Cyn: A Hard Day's Night
|
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[] |
[] |
[
""
] | null |
[] | null |
Cynthia on the streets of London, Spring of 1964 Photographed by Astrid Kirchherr The first film John was in. It started to film in t...
|
en
|
http://johnandcynthialennon.blogspot.com/favicon.ico
|
http://johnandcynthialennon.blogspot.com/2019/04/a-hard-days-night_13.html
| ||||||
correct_starring_00056
|
FactBench
|
1
| 84
|
https://www.tiktok.com/%40paulmccartney/video/7252377766870437162
|
en
|
Make Your Day
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[] |
[] |
[] |
[
""
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[] | null |
en
| null | ||||||||
correct_starring_00056
|
FactBench
|
0
| 31
|
https://ultimateclassicrock.com/beatles-hard-days-night-filming/
|
en
|
When the Beatles Began Filming ‘A Hard Day’s Night’
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[
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2016-03-02T13:25:19+00:00
|
The Beatles started shooting 'Hard Day's Night,' their first movie, on March 2, 1964.
|
en
|
Ultimate Classic Rock
|
https://ultimateclassicrock.com/beatles-hard-days-night-filming/
|
The Beatles had barely any time to reflect on their history-making first journey to America before moving on to the next project. Shooting began on their first movie, A Hard Day’s Night, on March 2, 1964 about a week after returning to England.
Filming got underway at London’s Marleybone Station (not Paddington, as often reported) with the opening sequence, where the boys avoid packs of screaming girls as the title song plays. Unlike most movies, A Hard Day’s Night was more or less shot in order, and the next few days were spent on a train going back and forth to Minehead, Somerset in southwestern England. It was during these early days that George Harrison met Pattie Boyd, whom he would marry two years later.
From almost the moment they broke in England, the Beatles were receiving offers to appear in films. But the scripts they were getting sent were usually no good and/or they weren’t given the opportunity to sing their own songs. They were familiar with all the Elvis Presley and Cliff Richard movies, and wanted something more with a bit more quality than had previously been on display -- with one notable exception.
“We’d loved The Girl Can’t Help It, and we knew that you could make a rock n’ roll film,” Paul McCartney said in Anthology. “We’d seen these little American productions and, although they were low budget and not very good, they did have music and we always went to see them.”
Eventually, they chose Dick Lester, an American who had moved to England in the '50s, to direct the movie. They had been fans of his 11-minute short, The Running, Jumping & Standing Still Film, which starred Peter Sellers and Spike Milligan of the Goons, whom they adored. Lester brought in Alun Owen, a playwright from Liverpool who naturally understood the Liverpudlian idioms and accent, to write the script.
Owen, who was nominated for an Academy Award for his screenplay, traveled with the Beatles on tour, getting a knack for their sense of humor and -- more importantly, given that they weren’t actors -- their individual personalities. What he also noticed was that they had already become trapped by stardom, unable to go anywhere without being mobbed by girls. Up against an establishment that treated them with disdain and condescension, the Beatles dealt with it through mockery.
“Alun picked up lots of little things about us,” McCartney later noted about Owen. “Little jokes, the sarcasm, the humor, John [Lennon]’s wit, Ringo [Starr]’s laconic manner, each of our different ways. The film manages to capture our characters quite well, because Alun was careful to try only to put words into our mouths that he might have heard us speak.”
After their breakup, Lennon would dismiss much of the Beatles’ early work, including A Hard Day’s Night, as mere frivolity, he still acknowledged in 1970 that the script “was a good projection of one facade of us -- on tour, in London and in Dublin. It was of us in that situation together, having to perform before people. We were like that. Alun Owen saw the press conference, so he recreated it in the movie -- pretty well.”
But as the film was in production, there was still one important detail missing: the title. In You Can't Do That! The Making of 'A Hard Day's Night,’ producer Walter Shenson said that he was having a conversation with Lennon about Starr’s unique command of the English language. Lennon said that Ringo would make up phrases that caused you to think about their meaning, like “a hard day’s night.”
Shenson immediately knew he had the title for the movie and commanded Lennon to write a song with that name for the opening, even if they didn’t really know what it meant. The song was written later that night and recorded in nine takes on April 16, 1964, only eight days before filming was completed.
Beatles Albums Ranked
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correct_starring_00056
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FactBench
|
1
| 92
|
https://www.disneyplus.com/movies/the-beatles-let-it-be/71Oc25GCtPny
|
en
|
Watch The Beatles: Let It Be
|
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Available for the first time in over 50 years, the original 1970 film about The Beatles.
|
en
|
https://static-assets.bamgrid.com/product/disneyplus/favicons/favicon-aurora.9c40657cf520f9cfcf49dbb4f316aa7c.ico
|
https://www.disneyplus.com/movies/the-beatles-let-it-be/71Oc25GCtPny
|
Available for the first time in over 50 years is Director Michael Lindsay-Hogg’s original 1970 film about The Beatles. First released in May 1970 amidst the swirl of The Beatles’ breakup, “Let It Be” now takes its rightful place in the band’s history.
Available for the first time in over 50 years, “Let It Be” is Director Michael Lindsay-Hogg’s original 1970 film about The Beatles. First released in May 1970 amidst the swirl of The Beatles’ breakup, “Let It Be” now takes its rightful place in the band’s history. Once viewed through a darker lens, the film is now brought to light through its restoration and the context of revelations brought forth in Peter Jackson’s multiple Emmy Award®-winning docuseries, “The Beatles: Get Back.” Released on Disney+ in 2021, the docuseries showcases the iconic foursome’s warmth and camaraderie, capturing a pivotal moment in music history.
|