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In one strand of Beatles lore, it was Ringo Starr who came up with the phrase ‘eight days a week’: an offhand joke about a working schedule so frantic it seemed to crush time. While you watch this peppy, celebratory documentary from Ron Howard (Frost/Nixon, Rush), which focuses on the band’s notoriously hectic touring period, you feel pop history whistling past at speed.
A still from Ron Howard’s Beatles Documentary Eight Days a Week
Howard’s film follows the band from Ringo’s arrival in 1962 to their final paid live concert in 1966. Four lifetimes of live performance crammed into as many years. They are whittled down in turn to two hours of movie.
“We were force-grown, like rhubarb,” John Lennon laconically observes in one of many well-chosen snippets. It’s a line that chimes with every step Howard shows us the band taking, all the way to the recording of their transformative 1967 album Sgt. Pepper’s Lonely Hearts Club Band. The film prolonged public dispute as the direct result of – and necessary push-back against – the exhilarating but punishing show-business whirl that led up to it.
A few seem like they’re there to give Howard’s largely US-centric film a more distinctive British flavour. It’s sweet that Richard Curtis feels his rom-com scripts owe a debt to the Beatles’ madcap early media personas. For instance, though it’s not clear why anyone watching this should be over the moon to hear it.
Beetles Influence
Because others capture the breadth of the band’s influence without pulling focus from the phenomenon itself. Not least of all a brief word from Sigourney Weaver. Where the actress reminisces about a 1965 concert at the Hollywood Bowl. Over the top of contemporary news footage that unmistakably places her delighted 12-year-old self at the scene.
Other than obligatory signposts to epoch-defining events like the Kennedy assassination, there’s little historical context. That’s because Howard understands the band is the historical context.
The phenomenon of their live appearances, not just the concerts themselves, but the cheeky press conference preludes, and the hysterical, garment-rending fallout, defines the era with a spiky precision.
Civil Rights Movement
The mid-century Civil Rights Movement became part of the story. Because the band’s manager, Brian Epstein, included a line in their touring contracts. It specified the band would not play to segregated crowds.
Whoopi Goldberg, who was at the famous 1965 Shea Stadium gig, says she “never thought of them as white guys,” and describes them as “colorless”. One of a few trains of thought you wish Howard had allowed through a few more stations.
However the film shrewdly draws a line between the Beatles’ mischievous sense of humor. Their long-time producer George Martin’s earlier life recording alternative comedy. (Martin had worked with the Goons. While having an enormous influence on the band’s growing lyrical oddity in that period. As well as their off-the-cuff ribbing of strait-laced reporters.) But like many other ideas here, it’s tantalizingly flicked through, then shelved a little too early.
Because the songs themselves get their due. Some appear in pleasingly unfamiliar forms. The film’s title track first turns up with Lennon and McCartney’s experimental oohed introduction, before preceding into its better-known version.
Therefore there’s the straightforward pleasure of hearing the tracks play through a cinema sound system. When Sgt. Pepper’s opening chords slam into your chest, the album really feels like an act of reactivation.
What The Beatles did with the new lease on life that the record gave them isn’t a matter for this film. therefore if Howard decides to address it in another, it’d be very welcome.
Courtesy: http://www.telegraph.co.uk/films/2016/09/12/in-the-beatles-eight-days-a-week-ron-howard-shows-pop-history-at/
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