Change Your Image
Lisa2600
Reviews
Give My Regards to Broad Street (1984)
Vivid portrait of the danger of ingesting too much of the dreaded weed
While watching this movie, I couldn't help but wonder just how much pot Macca was smoking at the time. How else could one explain the otherwise inexplicable '80s Eurotrash kitsch of "Silly Love Songs," or the "Eleanor Rigby" sequence?
Although ostensibly directed by Peter Webb, rumor has it that Paul actually took full control of the film early on, and the lack of directorial experience shows (rather painfully). Paul is credited with writing the script (such as it is), which seems to have been composed on a napkin or on the back of an envelope.
The "plot," or rather "dramatic scenario," (if it can even be dignified as such) seems to be something of an echo from the equally flimsy premise of "A Hard Day's Night," in that the protagonist(s) (Paul or The Beatles) are shown romping around a TV or film studio of some sort, constantly passing by costumed actors and extras, the whole thing serving as merely an excuse to perform their songs. I suppose one could claim that the setting in both films could be interpreted as a commentary on the "artifice" and theatricality of showbiz, or some other such pretentious mush. But where "A Hard Day's Night" overcame its lack of plot and low budget with the raw enthusiasm, charm, and sly humor of the Beatles in 1964, the 1984 Paul possesses none of these qualities, instead content to waltz around gaudily decorated, overblown sets in a kind of dope-fueled haze. Paul, and everybody else in the film, including Tracey Ullman, Ringo, Paul's wife Linda, Ringo's wife Barbara Bach, and Beatles producer George Martin seem bored silly, as if they can't wait for the shoot to be over. The film is supposed to be a "dream within a dream," and they certainly act as if they're sleepwalking through it!
Ah, well--at least you can get a nice hit of trashy, kitschy '80s nostalgia from it.
The Compleat Beatles (1982)
Good companion to The Beatles Anthology
This documentary, along with "The Beatles Anthology," both offer a history of the band. Both come to their subjects in different ways, and where "Anthology" is somewhat insular, being concerned only with the Beatles and their inner circle's thoughts and experiences, "Compleat" is told from a more detached and disinterested point of view. There are little details here and there that add a bit of a different perspective, such as Allan Williams, the Beatles' first manager, recalling them being described as "that bum group The Beatles" before their first trip to Hamburg, Bill Harry's recollection of John, far from rebelling against Brian Epstein's makeover of the Beatles from leather jackets to suits, going around asking for all the old pictures of them back, "because Brian wouldn't allow that sort of image with his boys," George Martin mentioning that Pete Best was the best-looking of the Beatles, footage of police trying to calm down a frenzied concert crowd that goes a long way toward showing the dark side of all the fan adoration, a detractor from Minneapolis deploring their conduct in that town, notably the "parties" in their hotel rooms (a subject passed over without mention in Anthology), and so on. There are a few sequences that aren't in the Anthology, notably a performance of "If I Needed Someone" in Japan, as well as interviews of George Martin (different from the ones in Anthology) and Billy Preston discussing their work with them. It's a good supplement to Anthology, but it stands up quite well on its own, despite a few factual inaccuracies. And the ending credits sequence, cut to "Blackbird," is bittersweet.