A Hard Day’s Night

Meg Gibson & Bryce Barrand

4-8-04

TMA 292

“A Hard Day’s Night”

Arguably, the  Beatles are the greatest band ever. Everybody loved their ‘new’ sound and  energy.  When the Beatles stepped on the  silver screen in their first movie, “A Hard Day’s Night” they won the hearts of  everyone.  In fact, 23 years after its  release, Beatles Monthly Book conducted a poll declaring “A Hard Day’s Night” the most beloved Beatles film  with twice as many votes as “Help”, the runner-up. Directed  by Richard Lester, “A Hard Day’s Night” reflects their musical attitude of  breaking new ground and pushing boundaries.   Lester revolutionized the pop musical by borrowing styles from resources  previously untapped by any other in its genre.

The opening of  Hard Day’s Night feels like any low-budget film of the time—gritty black and  white, handheld action shots in the street and at a train station and minimal  production value. All of these elements come from the movements that preceded  “A Hard Day’s Night”—French New Wave, Free Cinema, and documentary. It is this  mixture of wave and documentary with the cheeky attitudes and the  sometimes-surreal events that make “A Hard Day’s Night” such a breakthrough .

            French  New Wave left its fingerprints everywhere. It was founded by young French journalists  and critics—really the first generation of film “students”—who wanted to make  films on their own terms and based on their own theories. This attitude quickly  spread, literally sending waves through Europe.  French New Wave elements appear in the narrative structure and cinematography  of “A Hard Day’s Night.”

As far as narrative structure is concerned, there  really isn’t any. The film has no plot in the traditional sense of the word; it  is simply following the Beatles around during a “typical” day. The reason this  works out so well is that audiences do not watch the film to get from point A  to point B as they expect with a typical narrative film. “A Hard Day’s Night”  is a sort of educational film, an introduction and overview of the Beatles  behind closed doors. Even with this there are meanderings. It is not just a  straightforward, actual documentary. Writer Alun Owen spent time with the  Beatles while they were touring in France, studying them individually  to create the caricatures in the movie2.  There are many moments in the film that feel like mindless wandering—just  letting the Beatles be themselves. However, even these were carefully scripted  and the Beatles’ ad-libbing was removed.   Victor Spinetti, one of the cast, recalled that ‘there was a hell of a  lot, but they were all cut out.  We kept  to the script.  They [the Beatles]  didn’t’ ..  These not-really-doing-anything-scenes recall  the laidback attitude of Godard’s “Breathless,” where he spent long periods  doing seemingly unnecessary, side-note scenes, such as when Laszlo and  Patricia, two of the main characters, are hanging out in a bedroom. There are  many such scenes in “Hard Day’s Night,” such as the scene in the hotel  bathroom. John takes a bath while George shaves Shakes’ mirrored reflection. They  are not really doing anything here, but as New Wave pointed out, so what? it’s  a movie. Enjoy it or leave it.

            The  cinematography of “A Hard Day’s Night” shows influence from French New Wave,  documentary and Britain’s  own Free Cinema. “A Hard Day’s Night” uses black and white film as these  independent filmmakers did, partly as a stylistic choice on Lester’s part and  partially due to cost . Black  and white brings with it a certain set of expectations ingrained by its use in  previous movements. The connotations of black and white film being a medium of  cinéma vérité and the independently made wave films became even more potent  when coupled with the composition of the shots . The  beginning of “A Hard Day’s Night” blurs the line between fact and fiction—while  this scene may be somewhat planned, particularly the clever sight gag ways that  the Beatles elude their frantic fans, it is not unlike what the Beatles  experienced in everyday life2. The  cinematography became an essential part of this blurring as it was influenced  by the real life settings and as it drew from the styles of the time. Many of  the shots are very tight, adding an insider feeling. This same technique was  used in French New Wave films such as Breathless and 400 Blows. Tight shots  tend to create an intimacy between the audience and subject, forcing them to  share space for a time. In this case not only is the audience in their faces,  they are on a train with them, unable to escape. Similar tight shots are used  in the hotel, the dressing room, the club, and at the press conference. Thus  the audience is flung into the masses standing beside, in front of, and behind  the Beatles, getting to know them in different places (though they act the same  everywhere).

Another technique  embraced by French New Wave for its personal, spontaneous feel is the handheld  shot. A great example of hand-held shots is during the “Can’t Buy Me Love”  sequence when they dance around and even with the camera. Here its use adds to  the free-spirituality of the moment as the Beatles mess around, jumping,  running, flailing and falling often at high or low speed. As in “400 Blows,”  handheld draws the audience into the lives of the characters. It also adds a  feeling of liberation which became the norm in the new wave movements—a freedom  from the rules of their fathers’ society. 

The minimal  lighting also recalls the low-budget wave and documentary productions. On the  train director of photography Gilbert Taylor made the most of the only light he  was able to sneak aboard—a 5k. They were able to make great use of the natural  lighting in all the street settings and play more with the theatre setting, but  in the tradition of wave and documentary alike there is no glamour or other  effects made with the lighting5.

            Aside  from emulating the wave movements in shooting on location for cheaper cost, the  location shots further blurred the line by adding an element of realism to the  piece. “Hard Day’s Night” doesn’t remove the Beatles from the everyday world—it  captures their interactions with it. The choice for location shooting also adds  to the documentary feel of the piece. Suddenly the audience stops to say, “Is  that clean old man really Paul’s grandfather?” “Hard Day’s Night” makes such  good use of the elements of documentary and reveals just enough truth that the  audience can choose to believe it all. There are many scenes that feel very  real due to their set-up and subject matter. One is the first time the band  plays “If I Fell” in the studio. As opposed to the somewhat surreal train performance  of “I Should Have Known Better” where cuts blur the line between diegetic and  non-diegetic music, “If I Fell” shows the Beatles take up their instruments to  play, the crew still setting up the stage around them.

            Another  influence that ought to be talked about is Lester’s interest in sketch/surreal  comedy. Perhaps it was his background, combined with a similar history of Alun  Owen, triple-teamed with the goofy cheekiness of the Beatles themselves that  led to the addition of unrealistic sight gags to “A Hard Day’s Night” . In this  way Lester took what the filmmakers behind Free Cinema believed, that there  ought to be “an expressive and personal use of the [film] medium.”6  He  may have borrowed elements from other film styles, but his choice of combining  them and then adding scenes such as the Beatles running outside the train  taunting the proper middle-aged man with “Hey mister, can we have our ball  back?” or John disappearing down the drain of the bathtub. These become even  more unexpected in the shadow of the film’s influences; it is Lester’s mark to  mix the genres in this way.

         While  there were pop musicals before 1964, Richard Lester’s collaboration with the  Beatles on “A Hard Day’s Night” Definitely pushed the envelope.  Ironically, Lester did not intend for his  movie to have such an effect.  In his own  words: “I don’t think anyone ever sits down and says, ‘I’m going to do  something which will change the face of musical history, and will be known in  ten years’ time as MTV.’”   Not only did “A Hard  Day’s Night” become successful because it pushed the rules of the genre, it was  embraced by all.  In the words of film  critic Roger Ebert: “The ’60s’ had not yet really emerged from the embers of  the 1950s. Perhaps this was the movie that sounded the first note of the new  decade–the opening chord on George Harrison’s new 12-string guitar.”  

         The  first big difference between “A Hard Day’s Night” and the other pop musicals  that preceded it was that the movie/music were not performance based.  Much like the early musicals were afraid of  having their actors burst into song and dance without reasonable cause, the pop  musicals of the fifties and early sixties aimed at ‘real’ dietetic music, with  an artist or group of artists lip-synching to their songs. Mostly for Elvis, it  was he and his guitar.  “A Hard Day’s  Night” breaks this convention in the opening scene.  As the Beatles run toward the camera  alongside the train from a swarm of crazed, female fans, we hear “A Hard Day’s  Night” while they are clearly not holding any instruments or banging on any  drums.  The director used the music to  non-diegetically convey emotion.  In  Lester’s words, it was to ‘establish the principle that there would not be just  realism’ .  This is most  pronounced in the ‘Can’t Buy Me Love’ scene.   They ‘break free’ of the snooty stage manager and go wild in field.  The movie also ‘breaks free’ of being tied to  realism as they run around sometimes in slow-motion and fast-motion, held down  by no cinematic rules.

         Not  all of the music in “A Hard Day’s Night” is non-diegetic.  There are about half of the numbers which are  played as performance based songs. However, even the performance-based music is  approached uniquely.  In the performance  based Top of the Pops (1964) and Top Beat (1964) television  programs, the cinematic coverage of the bands playing was approached very  formally, using mostly static front and side shots.  Lester, on the other hand, shot the band  playing from all over the place, using fluid shots from above, behind, the  side, even through a TV screen. Perhaps he was most famous for his abnormally  quick-paced editing, jumping from the band to screaming, sobbing, swooning  girls, all of which also made it into the film ANYTHING  ELSE TO SAY HERE ABOUT WHAT HE WAS MOST FAMOUS FOR?.  

         While  the non-diegetic music may have seemed non-realistic, “A Hard Day’s Night” did  make its characters, the Beatles, more real.   This was also a new thing for the pop musical.  In the Elvis movies he had played fake  characters with different names and imaginary story lines. After watching “A  Hard Day’s Night” the audience felt like they knew John, Paul, Ringo and George  as if they were ‘boys next door.’  Alun  Owen was keenly focused on making sure that the Beatles were not a ‘four-headed  monster’ whose purpose was to entertain; he was determined to give the  audience a personal knowledge of each Beatle.   For this reason, each Beatle was given his own scene, (except Paul,  who’s scene was cut) to ensure this distinction.  This separation also came out quite naturally  in some places.  For example, while at  the dance club, each Beatle acts quite diversely from the others.  John spends his time at the table focusing  his attention on one girl; George dances casually for a while then hangs out at  the table also; Paul tries to spread his attention between a few girls and his  comrades.  Ringo, completely entranced by  the music, proves the most entertaining, jumping around, punching and wiggling.  Roger Ebert said it well in You can’t do  that: The Making of A hard Day’s Night: ‘After that movie was released  everybody knew the names of all four Beatles … everybody.”

         Alun  Owen also made this screenplay true to their personalities by allotting them  witty lines.  In fact, as Richard Buskin  noted, this component was vital in taking hold of the American market. When the  Beatles arrived at the Kennedy   Airport, the press  unloaded a series of unrehearsed questions, which earned clever responses. Thus  the Beatles ‘managed to win over the hearts of the US press and public’ before even touching their guitars.  It is possible that the press conference  scene in “A Hard Day’s Night” was intended to model this event.  In this, one of the few unscripted scenes,  the Beatles’ wittiness surfaces.  For  example a reporter asks George “Do you think these haircuts have come to  stay?”  He responds: “Well, this one has,  you know, it’s stuck on good and proper now.”

         While  the Beatles were kept as separate individuals, the filmmakers knew how much  power the band gained from its love-sick teenage-girl audience, so they kept  the Beatles from having a serious romantic interest in the movie. Elvis would  undoubtedly get involved with a member of the opposite sex in his movies; this  became yet another difference in “A Hard Day’s Night.”  By keeping the Beatles single, yet flirty  with all the girls around them, the dreamy-eyed girls at home listening to the  records, watching them on TV, on stage, or in concert could imagine being sung  to or hit on by a Beatle.  Just picture  yourself a 16-year-old girl, head over heels for Paul, and then he comes up to  you on the train with his dashing black hat as he pretends to be shy, but you  know that he just wants to sit down and pay you attention.  This wielded a huge power from the  Beatles.  Pairing the Beatles off might  have hampered this. 

         Was  “A Hard Day’s Night” simply a marketing ploy, made as a vehicle to advertise a  custom-written soundtrack and make the most of what many thought would be a  flash-in-the-pan pop group? Perhaps it was serendipity that brought all the  elements together, but what resulted was quite a different film than anyone  expected to see, or even be a part of making. Through drawing on the movements  that went before and pulling out the individual personalities of each of the  Beatles, “A Hard Day’s Night” succeeded in not only helping to launch the  talented musicians to heretic heights of fame, but reshaping the expectation  for films about rock stars. Suddenly it was more than okay to have pop music as  part of a soundtrack, or even central to a movie’s release. Beyond that, “A  Hard Day’s Night” is a smart film that shows respect to the preceding movements  it calls upon and set a new standard for musical films to follow in the future.

‘Poll Results’, Beatles Monthly Book,  no. 134, June 1987, pp 19-21
The Ultimate Film Guides: A Hard Day’s  Night note by Lorraine Rolston and Andy Murray, Longman/York Press, 2002, p  49
2  Ultimate  Film Guides p 17
   Victor Spinetti, interview by Bob Neaverson  on April 29th 1996
2 Ultimate Film Guides
4 Extending the Boundaries: Cinema Vérité and  the New Documentary, Charles Musser published in The Oxford History of World Cinema, Oxford University Press, 1997,  p 527.
5 Gilbert  Taylor interview, A Hard Day’s Night DVD  2-disc set.
Ephraim Katz, The Film Encyclopedia, HarperPerennial  first edition, 1994.
Bob Neaverson The Beatles Movies p.  19
Roger  Ebert, Chicago  Sun-Times
Richard Lester, interview by Robert Neaverson
Walker, 1986,  p. 239
You can’t do that: The Making of A hard  Day’s Night (VCI, 1994)
Buskin, 1994, p. 12

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