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The Beatles: Eight Days a Week – The Touring Years

Directed by Ron Howard. UK. 2016. NR. 129 minutes. Abramorama. Digital.
Sun., September 25, 2016 thru Thu., September 29, 2016
September 25, 2016
4:30 pm
September 28, 2016
2:00 pm
September 29, 2016
7:30 pm

“…Its a long, jangling, melodious soak, rich with backstage incident and wall-to-wall hits, and it gives us a front-row seat at the most important pop explosion of the 20th century while showing how that explosion changed the four men at its center. We just wanted to play; playing was the important thing, says John Lennon in an archival interview at the films start. Eight Days a Week reminds us that global adoration i.e., us made touring impossible and forced the Beatles into the studio full time, where they created both their best and most self-indulgent work, the two sometimes indistinguishable.

Because its Ron Howard directing and not some pisher, we have Paul McCartney and Ringo Starr pulling up easy chairs and telling the camera how it happened, and the late Lennon and George Harrison are present in older interviews as well. Making Eight Days a Week clearly involved tactful negotiations among various parties and estates and historical agendas, so what you don’t get from the movie is dirt. Its rock n roll without the sex and hardly any drugs. But its also true that only four men ever knew what it was like to be a Beatle, and this may be the closest well get to hearing from all of them at once.

Howard skips the early days and starts with the initial chart detonations in England in early 1963, looping back to remind us that the Beatles had been gigging for years and only seemed to have arrived fully formed, able to synthesize at will multiple aspects of rock and pop. From there, the movie moves forward on a timeline that will be familiar to anyone who knows the history: The landing at New York’s John F. Kennedy International Airport, the press conferences, the Ed Sullivan appearances, the two movies, and so on, into the middle 1960s.

What makes Eight Days a Week such a blast is the focus on live performance, including TV broadcasts and touring footage many of us have never seen before. The movie captures, or freshly recaptures, the cultural madness surrounding the Beatles in those early days how they suddenly mattered more than anything in the culture had ever mattered, and on a global scale. Howard puts us back at the center of the noise, and the sheer intensity of the release is stunning all over again.

Psychologically, that release meant a generation was free from parental notions of who to be and how to behave. Eight Days a Week features some truly odd talking heads, but the oddest and most affecting may be Whoopi Goldberg, who talks of hearing the Beatles as a child during the era of the Kennedy assassination and the civil rights struggle. The whole world lit up, she recalls. I felt I could be friends with them, and I’m black. . . . The idea was that everybody was welcome.

In one wonderfully disorienting moment, actress Sigourney Weaver remembers seeing the group perform at the Hollywood Bowl in August 1964. “I felt as much as a girl can feel,” she says and there in the archival crowd footage we glimpse the 14-year-old Weaver herself, eyes shining with joy.

The physical side of the release, of course, was the screaming. Eight Days a Week reminds us with gale force what 20,000 teenage girls sound like when they’re having an out-of-body experience. This and the general dehumanization of world touring is what soured the Beatles on live performance: They simply could not hear themselves. Ringo talks of playing drums during the Shea Stadium concert of Aug. 15, 1965, and only being able to keep time by following the waggling of Lennon’s behind.

(And yet: After the end credits, Eight Days a Week tacks on a 30-minute cut of the 50-minute Shea concert with the screams mixed down and the sound cleaned up, and it sounds fantastic. The band is tight as hell, the harmonies are sharp and in tune, and Lennon howls the early hits as if they were talismans from his youth. There were no stage monitors and the sound system was the stadiums tinny PA speakers, yet the group plays without a hint of uncertainty. That’s how good they were.)

By the following year, darkness was descending. The 1966 tours were dogged by aggressive journalists and protests over Lennon’s “We’re more popular than Jesus” comment. There were record burnings and death threats; youth culture was growing out in different directions. The group wanted to make music it couldn’t play live, like Lennon’s mind-bending Tomorrow Never Knows, the capstone of what may be their finest album, Revolver, and still one of the goddamnedest things I’ve ever heard.

The final show, on Aug. 29, 1966, in San Francisco’s Candlestick Park, was a bust; less than two-thirds of the tickets were sold (a fact the film doesn’t tell us), and the group was taken back to their hotel in a meat wagon. George spoke for all of them that night when he said Enough.

Eight Days a Week is brilliantly edited (by Paul Crowder), and at this point it leads us up to the edge of Sgt. Pepper I got the idea for us all to be someone else, McCartney recalls of the groups general exhaustion and then jumps ahead three full years to the next and final Beatles concert, on the roof of the Apple offices in London, in January 1969.

Its a diplomatic but moving transition, banishing a period of increasingly bad vibes in the culture and among the Beatles while bringing John and Paul together one last time to sing I’ve Got a Feeling. A cutaway to the streets lets us glimpse a band far above the heads of the crowd, happy and unreachable. Howard’s movie reminds us that it was us who put them there.” (Ty Burr, The Boston Globe)

Access more reviews at Metacritic.com.

1964…The Tribute (“the best Beatles tribute on Earth” according to Rolling Stone) is playing at the Colonial on Oct 14!