Show Notes
On we go from Shea Stadium to Sgt Pepper. We see how George Harrison, Ringo Starr and Neil Aspinall remember the incident in Manila differently to Paul McCartney, and we put forward the idea that these episodes contain the Beatles' two imperial phases. We ask why George in the 1990s is still annoyed with Paul for making himself LSD spokesman in 1967, and we look in detail at Paul's chipped tooth: did it change everything?
The Beatles Anthology DVD boxset is available to buy. Maybe this is Meryl Streep at Shea Stadium, maybe it isn't. Why not spend your valuable time arguing with strangers on the internet in an attempt to resolve the matter? https://youtu.be/x6aNSHLg18Y Read more about the idea of a band's imperial phase: https://en.wikipedia.org/wiki/Imperial_phase Of course, only an idiot would confidently claim George won Best Rock Video at the 1988 MTV Music Video Awards for Got My Mind Set On You, not least because that award didn't exist until 1989. He was nominated for both Best Male Video and Best Special Effects in a Video for that song but he won nothing, despite When We Was Fab also picking up several nominations. https://en.wikipedia.org/wiki/List_of_awards_and_nominations_received_by_George_Harrison#MTV_Music_Video_Awards The producer at the A Day in the Life session who announced "I just can't believe it ... I give up", was Ron Richards, producer of the Hollies, according to Mark Lewisohn's The Complete Beatles Recording Sessions. John Bishop is a Liverpudlian comedian and presenter: https://en.wikipedia.org/wiki/John_Bishop We tried and failed to find a clip of the question he asked Paul that annoyed him at the Eight Days a Week premiere, but if you ever meet Paul, don't call the Beatles "an overnight success".
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: Twitter https://twitter.com/beatlesfilmpod Facebook https://www.facebook.com/groups/304654901827622/ Instagram https://instagram.com/beatlesfilmspod YouTube https://www.youtube.com/@BeatlesFilmsPodcast Go to https://www.beatlesfilmspod.com/podcast-episodes for full notes on each episode, with links to watch the films where available. Hosted on Acast. See acast.com/privacy for more information.
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.