Show Notes
They couldn't let it lie, could they? Well, fair enough: The Beatles Anthology felt like a sleeping giant for Apple: gathering dust on a lot of fortysomethings' DVD shelves when it could be out there, brand spanking new and showing a whole new generation how great these guys were.
And of course these episodes have been altered: we talk about what's new, and what's been removed and why. Plus there's the subject of the AI upscaling of some of the early performance footage: what effect does it have and what are the implications?
The 2025 Beatles Anthology is available to watch on Disney+: https://www.disneyplus.com/en-gb/browse/entity-cab32c53-c3f8-4879-86f5-c8e4a1657338 You can find our five-part deep dive into the original Beatles Anthology earlier in this feed The 1929 short film The Singing Brakeman, starring Jimmie Rodgers: https://youtu.be/JvA9fWnEXw0 The episode of the Producing The Beatles podcast about Now and Then: https://www.producingthebeatles.com/new-episodes/2023/11/14/016-now-and-then-56hkt 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.