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Looking at music; where it came from and where it’s going always reminds me of the journey traveled by the Beatles and the documentary by Ron Howard (Frost/Nixon, Rush).
In one strand of Beatles lore, they say it was Ringo Starr who came up with the phrase ‘eight days a week’: as an offhand joke about a working schedule so frantic it seemed to crush time. And while you watch this celebratory documentary from Ron Howard (Frost/Nixon, Rush), you feel pop history whistling past at a high 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 squeezed into as many years, captured in two hours of movie.
“We were force-grown, like rhubarb,” John Lennon observes. It’s a line that chimes with every step Howard shows us the band taking – all the way to the recording of their 1967 album Sgt. Pepper’s Lonely Hearts Club Band.
Howard has assembled the film from archive concert footage and interviews – some of it amazingly restored – plus new conversations with both Ringo and Paul McCartney, and a line-up of variable informative celebrity talking heads.
Beetles Influence
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. The actress reminisces about a 1965 concert at the Hollywood Bowl. Over the top of contemporary news footage that grainily but 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 – but 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 – itself defines the era with a spiky precision.
Civil Rights Movement
The mid-century Civil Rights Movement becomes part of the story. As the 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 I wish Howard had allowed through a few more stations.
Likewise, 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, an enormous influence on the band’s growing lyrical eccentricity 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.
Vitally, though, 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 segueing into its better-known version.
Plus 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 resuscitation. What The Beatles did with the new lease of life that record gave them isn’t a matter for this film. But if Howard decides to address it in another, it would be very welcome.
This documentary was beautifully made and gives true insight to the life the Beatles led. I would recommend it to any music lover!
Courtesy: http://www.telegraph.co.uk/films/2016/09/12/in-the-beatles-eight-days-a-week-ron-howard-shows-pop-history-at/