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.
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