Director: Richard Lester/Starring: John Lennon, Paul McCartney, George Harrison, Ringo Starr, Wilfrid Brambell, Victor Spinetti, Norman Rossington and John Junkin
If you're like me, though you've seen one of your favorite films countless times, you often wish you could experience it again as you did the first time. I feel that way about a A Hard Day's Night. Though I've seen it a few dozen times, on video, DVD and on the big screen, I'm never surprised at how well its exuberance, its anarchic kineticism and infectious wit dodge time's unforgiving judgements.
It probably goes without saying that United Artists' interest in this film was strictly as a cash-cow to exploit what it must have thought was merely a fad. That it got something enduring and classic can be credited not only to the Beatle's genius but to that of director Richard Lester.
Having seen Lester's funny, offbeat short films, the Beatles thought the director the most obvious choice to capture the band's irreverent humor, which he did most expertly. In addition, Lester also documented the phenomenon of Beatlemania and its impact on the world's youth.
It is also fortunate for us that he chose to film in black and white; which gives the film a look of newsreel realism--a quality that has most likely contributed to its timelessness.
The film isn't anchored to plot considerations, as screenwriter Alun Owen dispensed with a linear narrative in favor of a more naturalistic approach; drawing from the Beatles' real-life experiences, which lend verisimilitude to the story. If the action can be said to be impelled by any motivation, it is a train-ride to a television studio to perform before an audience. The film relies solely on the antics of the band and its two managers, Norm (Norman Rossington) and Shake (John Junkin) who are caught up in the hilarity. Wilfrid Brambell, who plays Paul's grandfather, is the perfect comedic foil to the band; sowing discord and mischief in every situation.
The song sequences are beautifully filmed, allowing the Beatles' music to provide momentary relief from the story's feverish pace. Of course the Can't Buy Me Love sequence has come to represent the chaotic spirit of Beatlemania and the film's euphoric power. At the screening I attended recently, the band's burst through the studio doors and frantic sprint down the fire escape steps drew riotous applause. The reaction is a testament to the scene's (and the film's) ability to excite and titilate.
Every random encounter with studio personnel is an opportunity for the band to crack wise and showcase the Beatles' instinctual, comedic abilities. Interaction with the T.V. director, amusingly played by Victor Spinetti, pays humorous dividends. George happening upon a marketing office and a focus group campaign, John and a case of mistaken identity, and Ringo's AWOL all give the film an extemporaneous flavor. We can't be separated from the members for a second, feeling we might miss out on the fun of every situation.
As the film ends with the band being whisked away for their next adventure, I still experience that terrible feeling of being left behind. The overwhelming urge to follow the band and the feeling of wanting more are still palpable. I suppose I will always feel that way when I see the movie.
A Hard Day's Night, like the Beatles' music, will most likely never get creaky and irrelevent. The film's intoxicating restlessness; its images and irrepressible energy are not only its attributes but its trademarks and its comforting to know they are still intact. In his review from the mid-90s', Roger Ebert had this to say about the film: After more than three decades, it has not aged and is not dated; it stands outside its time, its genre and even rock. It is one of the great life-affirming landmarks of the movies. Almost two decades after his review, I can say his words still apply. They still may in another two. It's almost assured.
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