Show Notes
Ian Hart's third outing as John Lennon was 2013's Snodgrass, adapted by David Quantick from Ian R MacLeod's short story. Aired as part of the Sky Arts Playhouse series, it deals with a Lennon who left The Beatles in 1962 following his refusal to record How Do You Do It. With John now 50, bitter but insisting he did the right thing, it asks: where does creativity go when it has no outlet? We discuss this and its alternative timeline of a Beatles who went on to be nearly as big as The Hollies. Then we're joined by David Quantick to talk about how the project came to be and his attempts to make a feature-length version, the process of trying to capture Lennonian wit in dialogue, and his views on the Sam Mendes biopics and Paul McCartney's latest output, The Boys of Dungeon Lane.
You can watch Snodgrass, albeit not in great quality, on YouTube: https://www.youtube.com/watch?v=Ek89aSrwMN0 What is probably a better quality version is on Vimeo, but you need an age-verified account because it's supposedly "mature content": https://vimeo.com/240214664 David's website, including links to buy his books, is at https://davidquantick.com Martin Carr's solo work is released under his own name: https://open.spotify.com/artist/3b02YDnufwl9CPIblMomrD and under the name bravecaptain: https://open.spotify.com/artist/4IpVpd0lNWwyReKr5MkloY Beatles Forever by ELO (we apologise in advance): https://www.youtube.com/watch?v=W4g3JgwYFio David's mention of a film called The Ballad of John and Yoko starring "a McGann" is a reference to John and Yoko: A Love Story, which is on our list.
Meet the Beatles Films Podcast
The Beatles Films Podcast is hosted by Matt Looker and Ed Williamson. We're both film writers and Beatles fans. Between us we've written for TheShiznit.co.uk, Total Film, Den of Geek and Virgin Media.
But tomorrow may rain, so you'll follow us on:
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More from The Beatles Films Podcast
More chasing and more studied pointlessness as we head into the film's final scenes. We look at the Buster Keaton influence on the escalating police chase scenes, and ask whether Ringo is actually back where he belongs when he rejoins the group, given that there's been no narrative resolution of his earlier discontent. We look at the filming and editing techniques of the concert scene, and have a look at John's final words for Grandfather.
(Ringo's Theme.) We get on to Ringo Starr's real introduction to the world as an actor, when everyone thought "Hey, he's not bad at this, is he?" In particular he does a great job with Wilfred Brambell in the canteen, convincing us he's slowly becoming persuaded to leave the group. We spend some time parading with Ringo, looking at his interactions with the boy and in the pub.
Part 4 takes in three of the film's key solo spots: John Lennon's scene with Anna Quayle, George Harrison in the teen TV show office, and Paul McCartney fronting the Beatles' performance of And I Love Her.
From the hotel to the TV studio. We see the Beatles at a press event, which revisits one of the film's themes: that Beatlemania persists with or without the Beatles themselves. We get into more class dynamics between Ringo Starr and the sound engineer ("Aren't you being rather arbitrary?") and John Lennon's delivery of If I Fell gets us into discussing whether he could sing love songs straightforwardly without undercutting them with a joke, something which Paul McCartney didn't struggle with.
Part 2 covers roughly the next 12 minutes of Richard Lester's film. We look at the absurdist downplayed reaction to finding an intruder in your hotel room cupboard, and the generational disconnect in how comfortable the Beatles seem in the nightclub, vs how grandfather can only fit in at the casino by pretending to be someone else. Plus! The class dynamics in Ringo Starr's jump-dancing with a posh fellow clubgoer, and some more magic realism in John Lennon's bathtub scene.