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The Beatle Effect

In one strand of Beatles lore, it was Ringo Starr who came up with the phrase ‘eight days a week’: an offhand joke about a working schedule that seemed to crush time. And while you watch this  celebratory documentary from Ron Howard (Frost/Nixon, Rush), which focuses on the band’s  hectic touring period, you feel pop history whistling past at speed.


A still from Ron Howard’s Beatles Documentary Eight Days a Week

Howard’s film follows the band from Ringo’s arrival in 1962 to their final paid live concert in 1966: four lifetimes of live performance crammed into as many years, whittled down to two hours of movie.

“We were force-grown, like rhubarb,” John Lennon laconically observes in one of many  snippets.  It’s a line that chimes with every step Howard shows us the band taking. It takes us all the way to the recording of their  1967 album Sgt. Pepper’s Lonely Hearts Club Band.  The film positions it as the direct result of  and necessary push-back against  the exhilarating but punishing show-business whirl that led up to it.

That’s Howard’s film in a snapshot. Its conclusions rarely make your head spin, but it meticulously shows its working out. (If it was an exam paper, it’d be impossible to dock it any marks.) Working with teams of researchers and interviewers, Howard has assembled the film from archive concert footage and interviews. Some of it is gleamingly restored. Some of it new conversations with both Ringo and Paul McCartney, and a line-up of variably informative celebrity talking heads.

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  It’s not clear,though why anyone watching this should be over the moon to hear it.


Teenage Beatles fans scream and shout behind a metal barrier as the band arrive at San Francisco  airport to begin their 25-date American tour on 18th August 1964 CREDIT:ROLLS PRESS/POPPERFOTO/GETTY IMAGES

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, in which the actress reminisces about a 1965 concert at the Hollywood Bowl over the top of contemporary news footage that grainily but unmistakably 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. That’s because Howard understands the band are the historical context.

The phenomenon of their live appearances defines the era with a spiky precision.  Not just the concerts themselves, but also the cheeky press-conference preludes, and the hysterical, garment-rending fallout add to this.

On the road with The Beatles in Ron Howard's enw film

On the road with The Beatles in Ron Howard’s enw film

The mid-century Civil Rights Movement becomes part of the story. For example, the band’s manager Brian Epstein included a line in their touring contracts specifying the band would not play to segregated crowds.

Whoopi Goldberg, was at the famous 1965 Shea Stadium gig. She says she “never thought of them as white guys.” She describes them as “colorless.”This is one of a few trains of thought you wish Howard had allowed to run through a few more stations.

The film shrewdly draws a line between the Beatles’ mischievous sense of humor and their producer George Martin’s earlier  recordings of alternative comedy. (Martin had worked with the Goons. This was an enormous influence on the band’s growing lyrical eccentricity in that period. It also affected their off-the-cuff ribbing of strait-laced reporters. But like many other ideas here, it’s flicked through, then shelved a little too early.

Eight Days a Week


Vitally, though, the songs themselves get their due. Some appear in pleasingly unfamiliar forms. The film’s title track first turns up with Lennon and McCartney’s experimental  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.