Show Notes
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.
A Hard Day's Night is often on BBC iPlayer, although not at the moment, and available to rent on a few streaming services. https://www.justwatch.com/uk/movie/a-hard-days-night There's also a good quality copy on YouTube at the moment, which might of course be taken down soon. Do yourself a favour and buy the Blu-ray anyway. Get Samira Ahmed's excellent book about the film, from the BFI Modern Classics series: https://www.bloomsbury.com/uk/hard-days-night-9781839029394/ The 1905 film The Life of Charles Peace: https://www.youtube.com/watch?v=JCNuY7SH6YY Buster Keaton's Cops: https://youtu.be/_JdW1vJbKCY The film's car thief John Bluthal as the Leaning Tower of Pisa replica salesman in Superman III: https://youtu.be/Vvz6MTymE-U The Young Ones episode "Boring" has the discriminatory language we refer to cut out on BBC iPlayer but you can find the original scene if you're interested enough to Google it. This does have an Abbey Road visual gag for good measure though: https://www.bbc.co.uk/iplayer/episode/p00bfqm6/the-young-ones-series-1-3-boring
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
(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.
Come 'ead, then. We start by looking at roughly the first 16 minutes of the Beatles' 1964 film debut. Expect a detailed breakdown of their first dialogue scene in the train carriage ("Who's that little old man?"), and how it establishes straight away through absurdist techniques that these characters don't inhabit a strict reality, giving Richard Lester licence to do more or less what he wants from now on. We unpack the generational and class dynamics at play in the scene with the train commuter ("I bet you're sorry you won!") and discuss, in frankly more detail than anyone wants, whether or not the film is a musical.