After uploading two of the most depressing British films I can imagine, I decided a nice counter-balance would be in order: a couple of bonus reviews of just about two of the damn cheeriest films in existence. It’s been my pleasure.
Update 2018: As is the case with so many of these roughly college-written reviews, I don’t exactly agree with this anymore, especially in my expression of my ideas, and often in terms of my ability to perceive the film’s ideas in the first place. I’ll let this review stand as is, but at this point in my life, I’d be inclined to argue that the film isn’t really taking pop to task as artificial, proposing a leaden pop and reality dichotomy, but rather using pop dialectically, to discover other avenues to truth – the truths of experimentation, adventure, silliness, spontaneity, artifice – that lie not necessarily outside but at least beyond observational documentary reality as it is conventionally understood.
It’s a rare and beautiful thing that something that should in any sane universe be nothing more than a phoned-in cash-grab is in fact one of the great pieces of pop-anarchism ever essayed on film. A Hard Day’s Night, the film accompanying the album of the same name (the Beatles’ first all-time classic album) in 1964, played a big part in asserting the band’s dominance in the Western world. And, intentionally (wonderfully) it has no real narrative. There’s something in here about the boys and how they get caught up in protecting an old man from his own tomfoolery while they are dealing with preparations for a TV show they are to appear on. But this is merely a clothesline for not only a series of great jokes and gags and the film’s central tension between its technique and its content, but for one of the most thoroughly deconstructive pop manifestos ever committed to celluloid. Continue reading