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It was Ringo Starr who came up with the phrase ‘eight days a week, according to one strand of Beatles lore’: an impromtu joke about a working time table so berserk it seemed to suppress time. And as you watch this celebratory, peppy documentary that is from Ron Howard (Rush, Frost/Nixon), which focal point is on the band’s unrighteously frantic touring interval, you sense pop’s former times blasting by at speed.
This is a still from Ron Howard’s Beatles Documentary (Eight Days a Week)
Howard’s film persues the band starting with Ringo’s arrival in 1962 and ending with their final paid live concert in 1966. 4 lifespans of live performance all packed into just as many years, shaved down in turn to 2 hrs of movie.
“We were coerce-grown, like asparagus,” John Lennon expressing a lot in few words remarks in one of many well-chosen fragments. It’s a figuration that rings with every move Howard shows us the band has taking – all the way up to the tape recording of their modification of the 1967 album Sgt. Pepper’s Lonely Hearts Club Band. The film uncontroversially positions as the direct result of – and necessary push-back against – the punishing but exhilarating show-business whirl that led up to it.
A few seem like they’re there to give Howard’s largely US-centric film a more distinctive British flavour: it’s sweet that Richard Curtis feels his rom-com scripts owe a debt to the Beatles’ madcap early media personas, for instance, though it’s not clear why anyone watching this should be over the moon to hear it.
Beetles Influence
But 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. Which the actress reminisces about a 1965 concert at the Hollywood Bowl. Over the top of contemporary news footage that unmistakably but grainly 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 cheeky press conference prelude , 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. For example, because 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 you 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 McCartney and Lennon’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’d be very welcome.