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Home , George Harrison, Magical Mystery Tour, Only a Northern Song, Ringo Starr, Roy Carr, The Beatles

Rebecca Winkler

The change of ` public image reflected in their feature films.

DIPLOMA THESIS

submitted in fulfilment of the requirements for the degree of

Magistra der Philosophie

Programme: Teacher Training Programme Subject: English Subject: History, Social Studies and Political Education

Alpen-Adria-Universität Klagenfurt

Evaluator Univ.-Prof. Dr. Jörg Helbig, M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik

Klagenfurt, April 2018

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Affidavit

I hereby declare in lieu of an oath that

- the submitted academic thesis is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the thesis, including any significant advice from supervisors, - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical references (e.g. in footnotes), - to date, I have not submitted this thesis to an examining authority either in Austria or abroad and that - when passing on copies of the academic thesis (e.g. in bound, printed or digital form), ensure that each copy is fully consistent with the submitted digital version.

I understand that the digital version of the academic thesis submitted will be used for the purpose of conducting a plagiarism assessment.

I aware that a declaration contrary to the facts will have legal consequences.

Rebecca Winkler e.h. 9570 Ossiach, 8th of April, 2018

(Signature)* (Place, date)

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Abstract

The main focus of this diploma thesis is the Beatles` changing images reflected in their five feature films. Hence, it will be examined why the Beatles were not only influential in the music but also in the film industry. They were intent on appearing as authentic, approachable people and presented the public an ever-changing image of themselves. Therefore, I try to show how their films enabled them to emphasise their changing images in a clever way in order to become one of the most successful bands in the history of music. A major aim of their films was to hide their real personalities in order to maintain the mystery of the Beatles. As a result, they were often staged to appear as genuine as possible without revealing too much of themselves. This is why I examine how the films utilise their general looks, the staging of their music, and each Beatle’s personal development to protect the famous Beatles’ myth in this thesis. First of all, I illustrate how the Beatles` general looks in their films are strongly connected to the change of their images. Their influence on fashion was tremendous and they used clothes to express their personal development. Also, how the Beatles were staged during music performances in their films usually emphasises their changing images, ranging from plain performances encouraging the bands` unity to experimental music videos showing the spirit of the . Last but not least, I will consider each Beatle`s individual image change throughout their film career which is strongly connected to their real- life experiences. My analysis will lead to the Beatles` subsequent willingness to reveal their real by partially breaking the famous myth of the Beatles in the last feature film of their career. Therefore, this examination of their five feature films in respect to their changing images and personas shows the slow and partial decay of the well-kept Beatles` myth.

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Acknowledgements

First of all, I want to thank my supervisor Professor Dr. Jörg Helbig M.A. for his patience in giving me feedback on the structure for the thesis, citation rules, and also for his advice on compiling the index. I cannot thank him enough for giving me the opportunity to write about the Beatles` feature films, lending me books, and for taking time to listen to all my questions. It really was a great pleasure to be his student and to learn so much from him.

In addition, I thank Anthony Hall M.A. for his feedback on the second chapter. Also, I appreciate the help of my parents, sister, boyfriend and friends. My gratitude for their support and feedback during this writing process is endless.

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Table Of Contents

Abstract ...... 3

Acknowledgements...... 4 1.0 Introduction ...... 8 1.1 The perception of the Beatles` films in public in connection with their changing images as well as critiques ...... 11

2.0 The change of the Beatles` image in respect of their general looks in their films .. 17 2.1 The Beatles` importance for fashion in the ...... 17

2.2 A HARD DAY`S NIGHT ...... 20 2.2.1 The use of clothing to establish a proper and clean image ...... 20 2.2.2 The use of appearances to establish a playful image ...... 22

2.3 HELP! ...... 23 2.3.1 Contradiction between ordinary and conceited boys ...... 23 2.3.2 The significance of clothing for the most recognisable in the world at that time ...... 24

2.4 TOUR ...... 26 2.4.1 The Beatles as freedom-loving ...... 26 2.4.2 The Beatles as hippies inspired by drug consumption ...... 28

2.5 SUBMARINE ...... 29 2.5.1 The Beatles as freedom-loving hippies ...... 29 2.5.2 The Beatles as hippies inspired by drug consumption ...... 30

2.6 ...... 31 2.6.1 The Beatles` most authentic image ever being shown in a film ...... 31

3.0 The Beatles` music in their films in connection with their constantly changing image ...... 34 3.1 The Beatles` influence on music in the 1960s ...... 34

3.2 A HARD DAY`S NIGHT ...... 36 3.2.1 The Beatles` image as flirtatious men ...... 36 3.2.2 The Beatles` image as ordinary men ...... 37 3.2.3 The Beatles` image as the most popular band in the world ...... 38 3.2.4 The Beatles image as playful and rebellious boys ...... 38

3.3 HELP! ...... 39 3.3.1 The Beatles` image as ordinary men ...... 39 3.3.2 The Beatles` playful and rebellious image ...... 39 3.3.3 The Beatles` womaniser image changes partially ...... 40

3.4 ...... 41 3.4.1 The Beatles` drug-inspired hippie image gets introduced by colourful staging of their .... 41 3.4.2 The Beatles` new image that music unites people and spreads instead of being womanisers ...... 42 3.4.3 The Beatles` image of addressing indirectly social problems for the first time in a film in a playful way ...... 43

3.5 YELLOW SUBMARINE ...... 44 3.5.1 The Beatles` image of being completely apolitical musicians who make no mention of social criticism is over ...... 44 3.5.2 The Beatles` hippie image gets supported by colourful staging of their songs in the new style of ...... 45 3.5.3 The Beatles` image as peacemakers ...... 46 3.5.4 The Beatles` image as drug-inspired musicians ...... 47

3.6 LET IT BE ...... 48 3.6.1 The Beatles` image of being distracted by ...... 48 3.6.2 The Beatles` image of being bored musicians ...... 48 3.6.3 The Beatles` image of having a strong group consensus is no longer present ...... 49 3.6.4 The Beatles` image as family persons ...... 49 3.6.5 The Beatles` image of never ending popularity in the public comparable to gods ...... 50

4.0 The perfect portrayal of each Beatle`s image in their films with the rare exception of their last film LET IT BE...... 52 4.1 Each Beatle`s individual image changes in their films in connection with reality ...... 52

4.2 A HARD DAY`S NIGHT ...... 54 4.2.1 Paul McCartney`s image as the mature leader ...... 54 4.2.2 `s image as the sarcastic and rebellious Beatle ...... 54 4.2.3 `s image as the outsider of ...... 55 4.2.4 `s image as the introvert Beatle...... 55

4.3 HELP! ...... 56 4.3.1 Paul McCartney`s image as the narcissist of the Beatles ...... 56 4.3.2 `s image as the egoistical Beatle ...... 57

4.3.3 Ringo Starr`s image as the most relatable Beatle ...... 57 4.3.4 George Harrison`s image as the quiet and mysterious Beatle ...... 58

4.4 MAGICAL MYSTERY TOUR ...... 58 4.4.1 Paul McCartney`s image as the new and strong manager of the band in the film as well as in reality ...... 59 4.4.2 John Lennon`s image as a father ...... 59 4.4.3 Ringo Starr`s image as the funny and humble Beatle ...... 60 4.4.4 George Harrison`s new image as the spiritual Beatle ...... 60

4.5 YELLOW SUBMARINE ...... 61 4.5.1 Paul McCartney`s image as the stylish Beatle ...... 61 4.5.2 John Lennon`s image as the drug addict ...... 62 4.5.3 Ringo Starr`s image as the dumb Beatle ...... 62

4.5.4 George Harrison`s developing image as the spiritual Beatle in comparison to MAGICAL MYSTERY TOUR ...... 63

4.6 LET IT BE ...... 64 4.6.1 Paul McCartney`s image as the patronising leader as well as regretful Beatle ...... 64 4.6.2 John Lennon`s image as the loved- solo artist and annoyed Beatle ...... 65 4.6.3 Ringo Starr`s image as the withdrawn and alienated Beatle ...... 66 4.6.4 George Harrison`s image as the frustrated Beatle ...... 66

5.0 Conclusion ...... 68 Filmography...... 71

Bibliography ...... 71

1.0 Introduction

The main focus of this thesis is the Beatles’ five focus films and the changing images of the band which the films portray. The five films, created over almost a decade at the height of the band’s fame, are A HARD DAY`S NIGHT (1964), HELP! (1965), MAGICAL MYSTERY

TOUR (1967), YELLOW SUBMARINE (1968), and LET IT BE (1970). The films offer an interesting look into how each Beatle’s individual personality or character was portrayed, and how this developed throughout their career. This thesis demonstrates the inauthenticity of the personalities which were shown to the public: how the fake identities presented in these films protected their real identities and personal lives from their fans. Only their last film, LET IT

BE, gives the audience the chance to look behind the scenes and the famous myth that surrounded the Beatles. The purpose of this diploma thesis is to analyse the way in which these feature films played a role in the development of the Beatles’ public image.

In the subchapter of this introduction, which is called “1.1 The perception of the Beatles` films in public in connection with their changing images as well as critiques”, the public’s reception of the films as well as the changing public image of the band will be discussed. The main chapters are divided into the Beatles` five films and have different focuses for each one of them. To sum up, the main part of this thesis consists of three chapters in which the developing public portrayal of the Beatles will be analysed, with reference to their general looks, music, and their role within the band as individuals.

In the first chapter of the main part, “2.0 The change of the Beatles` image in respect of their general looks in their films”, the Beatles` general looks are the centre of attention. Outer appearances play a significant role in the way in which musicians and actors are perceived in public. In the first part of this chapter, the Beatles` influence on fashion in the 1960s will be shown by briefly discussing their main choices for various outfits and hairstyles. All these clothing and styling decisions are seen in each film. This is why greater attention will be brought to how the Beatles made use of fashion and general looks in the analysis of this chapter. Choosing a certain dress code usually reveals the wearer`s intentions and depends on different things. It is normally a way of expressing emotions or even individual beliefs. As a result, clothes can be used to create a certain image of an artist. In conclusion, this chapter demonstrates how the Beatles used their fashion sense to emphasise their multiple image changes.

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However, the second chapter of the main part “3.0 The Beatles` music in their films in connection with their constantly changing image” is about music and shows the ways in which the changing image of the Beatles portrayed in their films develops alongside the style of the music, and the way the band presents themselves in music videos and in live performances. Usually, songs convey certain messages, often ranging from certain beliefs to different kinds of criticism. In the first part of this chapter, their huge influence on the music industry in the 1960s due to the creation of a unique sound and innovative ideas serves as the main topic. lyrics, written by the Beatles, are difficult to interpret, so it`s important to observe the way they perform the songs in the films. For this reason, the emphasis in the analysis of this chapter is on the Beatles` performances and music videos in order to show how the visual presentations of their songs furthered their image changes. It is the only way to show some hints of their attitudes towards certain social problems or cultural movements such as the hippie movement. In conclusion, this chapter focuses on the Beatles` behaviour during music videos in their films.

In the last chapter of the main part of this thesis, which is called “4.0 The perfect portrayal of each Beatle`s image in their films with the rare exception of their last film Let It Be”, the focus will be on each individual Beatle and in which ways their different images were perceived in public by analysing specific character traits in their films. The first part of this chapter draws attention to how their developing public image in their films was partially connected with their real lives. In the analysis, it will be shown how each Beatle`s ‘perfect’ image crumbles slowly throughout their career and how the films depict these changes. Usually, the director and the producer of a film create a certain image of an actor. As a result, many actors are often stereotyped and have to play the same certain roles again and again such as the villain or the typical blonde bombshell. Therefore, it will be examined which distinctive characteristics are prominent for each Beatle and how every band member plays a certain role in their films that align with their public images. During their career, these two- dimensional portrayals were used as a way for the public to connect with an idealized, simplified version of each band member, while concealing their real personalities. Last but not least, the analysis will demonstrate why and how some band members of the Beatles seem predominantly authentic in their last film LET IT BE. Thus, the main focus of the final chapter is on the image changes of each individual Beatle by reflecting the different ways of how they were presented in their films.

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The Beatles` five feature films, as previously mentioned, are used as primary sources and function as the core of this thesis. The DVD releases of each film are used for this thesis, except in the case of LET IT BE, which is not available on DVD. In this case, an online version of the film has been used. Mainly, books focusing on the Beatles’ works and films are used as secondary sources for this thesis. Among these books is Jörg Helbig`s encyclopaedia, called I Saw a Film Today, Oh Boy: Enzyklopädie der Beatles Filme (2016), which was extremely useful for the first subchapter in terms of film critiques as well as a remarkable overview of their different images throughout their film career. `s book, Beatles at the Movies (1996) as well as Bob Neaverson`s, The Beatles` Movies (1997), are used in all three chapters because of their great focus on the Beatles` films in connection with their various image changes. Paolo Hewitt`s book, Fab Gear: The Beatles and Fashion (2011), serves predominantly as the main source for the first chapter about fashion. Furthermore, Ian MacDonald`s book, Revolution in the Head: The Beatles` Records and the Sixties (2008), is used as one of the main sources for the second chapter about music. Stephanie Anne Piotrowski`s dissertation, “All I`ve got to do is ”: Issues of Image and Performance in the Beatles` Films (2008), is influential in the final chapter, which focuses on the development of each Beatle’s individual image. Unfortunately, all the other film projects by and about the Beatles will be left out because they are beyond the scope of the five feature films in this thesis.

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1.1 The perception of the Beatles` films in public in connection with their changing images as well as critiques The image of the Beatles changed many times throughout their career and film reviews are indicators of how they were perceived in the public. Films support certain images of the stars because they are presented in a certain way. The Beatles were famous for their clean, cheeky, and rebellious image in their early years. This perfect illusion is supported in their first film A HARD DAY`S NIGHT, which was directed by and released in 1964. The script writer tried to capture their famous humour, which helped to present them as authentically as possible. Also, the aim was for the audience to see them as genuine and approachable human beings. In Britain, the film was shown “in 500 cinemas across the country” (Norman 1982, 231). Hysterical fans were at their concerts and in the cinemas (231). Film reviews for A HARD DAY’S NIGHT have been mainly positive, with reviewers commenting on the winningly cheeky presentation of the band. It is the most discussed and best documented Beatles` film (Helbig 2016, 120). It was shot like a documentary which gives it a unique and quality. The following quotation from the well-known film critic Roger Ebert sums up his main point of view about the film:

After more than three decades, it has not aged and is not dated; it stands outside its time, its genre and even rock. It is one of the great life-affirming landmarks of the movie (Ebert1996).

It is definitely a piece of art and receives the credit which it deserves because his opinion is shared by the majority of film critics over 50 years: namely, that A HARD DAY`S

NIGHT is a milestone in the development of music films. The film critic, Robert Ebert, is quite eager to “placing it in the top five musicals of all time” (Neaverson 1997, 15). Moreover, the English film critic Mark Kermode pointed out that “Richard Lester's epochal pop movie still looks as sprightly and mischievous today as it did when the Beatles first conquered cinemas back in 1964“ (2014). This positive critique clearly indicates that this film is timeless and is a piece of art for a whole epoch and it gives a lot of credit to the director Richard Lester. Furthermore, another famous film critic, Robbie Collin, said in The Telegraph that “[t]he Beatles' first film feels fresher and cheekier than ever“ (2014). He is clearly suggesting that the film’s portrayal of the Beatles as fun, cheeky, and careless boys is even more resonant today than it was in 1964. To recapitulate, the Beatles were the epitome of a new kind of adolescence then and are timeless.

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The second film, HELP!, is considered the weaker film in comparison to A HARD

DAY`S NIGHT, though it was directed by Richard Lester as well. The script and plot are often seen as confusing in comparison to their first film. Their acting performance and questionable ideology were not praised (Helbig 2016, 124). While shooting HELP!, they were constantly high and smoked marijuana. Richard Lester said about their condition that “[i]t was a happy high” (Norman 1982, 236). John Lennon even pointed out that the Beatles “felt like extras in their own film” and had no influence on it (James 2016, 162). They publicly complained that they were only able to bare the tediousness on set by consuming marijuana, which made it known as the pot-film of the Beatles (Helbig 2016, 126). Therefore, they clearly were no longer the innocent boys how the public used to see them. The author of many books about

British films, Stephen Glynn, claimed HELP! as a film about the loss of innocence (2011, 34).

By the time HELP! was released, the Beatles were well established and the mania, often called “”, was in full , which meant the band was under far more scrutiny than ever before (Neaverson in Helbig 2016, 124). Keeping a clean public image was vital in

HELP!, and playing up to the fictional versions of them presented on film helped to keep things simpler. In their first film, they seemed to show their real personalities, which was only made to emphasise their clean image (Helbig 2016, 124). In conclusion, their constant drug abuse showed its negative side effect and their perfect innocent image crumbled.

Public opinions about their image in HELP! and positive aspects about the film itself were quite mixed. Contrary to their first film, the general attitude amongst reviewers about their second film was very subdued (Helbig 2008, 126). According to Devin McKinney, the Beatles are secondary to the plot because they “are found to be less important than `Beatles`” (2003, 76). This critique shows how their image as individuals is not seen at all in this film and they rather are presented like puppets who follow the plot. The Beatles were not authentic anymore and more like supporting actors in their own film. Nevertheless, Jörg Helbig points out that the film had excellent technical features and he refers to , the famous film director, who places HELP! even before A HARD DAY`S NIGHT in respect of its technical progress. He praises the cut, colour, and camera movement (2016, 126). Stephen Glynn even claimed that the revolutionary montage of the “Ticket To Ride”–sequence is outstanding because it was cut during postproduction to the rhythm of the music (2011, 28). The Beatles themselves had mixed feelings about HELP!. John Lennon thought the film was not valuable at all (Harry in Helbig 2016, 126). Paul McCartney expressed himself more diplomatically by referring to Help! that it “isn`t such a bad film” (Carr 1996, 70). To sum up, the reviews were

12 quite mixed from judging a lack of authenticity by the band to highlighting outstanding technical features.

In 1967, the Beatle`s third film called MAGICAL MYSTERY TOUR was released with the purpose of showing psychedelic influences that changed their image from being innocent boys to more experimental, critical men. This is the first Beatles` film which was under their artistic control. The Beatles themselves functioned as producers, directors, actors, and developed the idea of this film. Old conventions for classic film making were abandoned. They clearly became more independent and grown-up men with the aim of presenting new spiritual influences in this film. The film is packed with psychedelic influences such as LSD, intensive colours, and blurred visions. All these features are prominent for the hippie movement, which is also known as the in the 1960s (Helbig 2016, 191-192). There are no meaningful explanations given in this film, which is known for being influenced by the avant-garde experimental films and surrealism. The narrative context of the film is usually described as weak, as it is sometimes unconnected and free of any meaning (Neaverson 1997, 55). Sometimes, the Beatles criticise symbols of authority and patriotism by mocking the church, police, and military. Censorship of the media and sexual oppression are also mentioned in the film as a visible critique by the band (Helbig 2016, 192). In conclusion,

MAGICAL MYSTERY TOUR reflects their new image change and allows their artistic autonomy to shine through.

The majority of film critics were quite negative about their new direction in MAGICAL

MYSTERY TOUR. Many of them described it as “a home film of little merit” (Carr 1996, 119). Numerous newspaper articles spoke about it as the first artistic flop by the Beatles. Even British viewers complained about this film over the telephone at the BBC, the British Broadcasting Corporation (Helbig 2016, 193). Paul McCartney tried to defend their new film by explaining that they were prisoners of their success and wanted to be more creative. He also said that they intended to produce “a fantasy film without a real plot” and “thought the title was explanation enough” (Carr 1996, 120). Basically, the film was an opportunity for the band to exercise their new independence and be open to new artistic experiences. The negative criticism changed into positive critiques over the years. The Beatles showed a provocative anti-establishment attitude, and this backlash against the “perfect” and carefully controlled image of their early days is now recognised as a way for the band to reclaim their own name (Helbig 2016, 194). Also, MAGICAL MYSTERY TOUR advertises the counterculture 13 and represents a major turning point in the Beatles` lives because it emphasises their changing image as well as reflects their gained autonomy to say no against the mainstream- entertainment (Piotrowski 2008, 147). To recapitulate, the Beatles` third film breaks with all the rules which were so well-established in their earlier career.

However, in 1968, they released their fourth film called YELLOW SUBMARINE which was directed by . Suddenly, the Beatles addressed social problems and showed their interest in the legalisation of drugs, which resulted in a very serious image. First of all, they did not appear as real people but as animated cartoon figures. It was the first time that they made an animated film in the style of the Disney Studios. This new animated style influenced the animated scenes from the famous films. New animation techniques and different drawing styles were used to create visual eclecticism. Many hidden clues are given for drug consumption. Therefore, YELLOW SUBMARINE can be seen like

MAGICAL MYSTERY TOUR because both films seem like a journey influenced by drug experiences. Psychedelic influences can be seen by introducing psychedelic songs, for instance, “ In The Sky With Diamonds”. Suggestive and colourful pictures function as equivalents for psychedelic sensory impressions. This can be observed in the representations of the songs “Lucy In The Sky With Diamonds” and “”. Moreover, in this film, society is being criticised for state-owned reprisals, police violence, war politics, anti-drug laws and too much consumerism. This can be observed when the Blue Meanie- army, a fictional and furious army terrorising the fictional land of Pepperland, attacks the cheerful hippie and turns them into a faceless, stiff society (Helbig 2016, 296-298). To sum up, their new image shown in this film differs from their clean image of pure innocence by dropping hints of drug consumption and being critical about society.

Their fourth film, YELLOW SUBMARINE, was quite successful in the cinemas even though it had many restrictions due to ideological reservations because of hidden hints of drug consumption. It grossed $8 million worldwide with an original budget of about $1 million. Nevertheless, the majority of critiques were positive and to some extent even enthusiastic about this film. Thus, YELLOW SUBMARINE was celebrated as their big return to the British and American press after tremendous criticism for MAGICAL MYSTERY TOUR. In retrospect, the Beatles were quickly satisfied with the outcome of YELLOW SUBMARINE even though they were not excited about this film project in the beginning (Helbig 2016, 299-300). Stephen

Glynn refers to the famous film critic Alexander Walker, who said that YELLOW SUBMARINE

14 captured the spirit of the time (2008, 150). It is widely known that the Beatles had zero involvement with input in this film, it’s not even their voices, so the way they’re portrayed was completely out of their hands (Helbig 2016, 299). To recapitulate, the Beatles captured the spirit of the hippie era quite well by using special animation techniques to create this colourful and entertaining film.

In 1970, the Beatle`s last film LET IT BE, directed by Michael Lindsay-Hogg, was released and shows the band very authentically. The film is divided into three segments, Twickenham Film Studios, Apple Studios in and a concert on the roof of the Apple- building (Helbig 2016, 171-172). This film, out of all five, is the only one which can be said to give a truly authentic portrayal of the band, as it dispenses with the scripts and public images of the previous four films. It is a documentary film with inside material behind the scenes. In the foreground are their last rehearsals, also known as -sessions, in . It was the first time that the general public gained direct insights to their daily procedures at the studio while making an . The director Michael Lindsay-Hogg tried to capture the authenticity of their work by shooting the documentary from the perspective of an invisible eyewitness. The minimalistic style reminds one of direct cinema. In this way, the director gives the audience the impression of being directly included and supports their image of constant approachability. This intimate look makes it possible to observe them during rehearsals, relaxing, reading, and philosophising. Their fans had never been as close to their as in this film. Various reactions of random pedestrians were filmed and incorporated. It also shows the most individual close-ups of each band member which were usually presented as a single unit in all the other four films (170-171). Therefore, LET IT BE shows them as individual human beings, catches their personalities, and allows viewers to see disagreements within the band due to this rare insight look.

Most critiques of LET IT BE contain contemptuous remarks. Boringness and the decay of the band are quite visible throughout the film, which is also a reason why many scenes have been cut out according to the director Michael Lindsay-Hogg (Carr 1996, 161). Bob

Neaverson even remarked that LET IT BE has been the most unrecognised film of the Beatles by film historians and critics since its release (1997, 101). The surrounding circumstances of the film`s release must be considered while talking about the negative reviews about it. Their image as a constant unit broke one month after the films` release when Paul McCartney officially left the band. The Get Back-Sessions became the symbol for the end of an era 15

(Helbig 2016, 174). Furthermore, the reluctance of the band members towards the film can be seen as John Lennon described the making of LET IT BE as being only “sidemen for Paul” (Carr 1996, 175). Paul McCartney thought that the film was “the documentary of a break-up” (161). The Beatles themselves pretty much knew it was over by the time of filming, and didn’t care much about their public image. Furthermore, the neglect of this film can be seen by its lack of publications. It is the Beatles` only film which has never been released on DVD or Blu-. The reasons for the non-publication are still not totally clear, but it is known for sure that the remaining Beatles, Paul McCartney and Ringo Starr, have no interest in the distribution of their last film (Helbig 2016, 174). Even though LET IT BE was distributed only for a short time, it had a major influence on their common image as a constant unit because the film reflects them falling apart and documents the end of the Beatles.

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2.0 The change of the Beatles` image in respect of their general looks in their films

2.1 The Beatles` importance for fashion in the 1960s The Beatles` clothing and general looks changed drastically from 1964 to 1970. In their early years the band was influenced by the style of the Teddy boys from 1962 to1966, the well-dressed musicians were known for their Beatle boots and proper haircuts. They wore their hair long with fringes. Today, their unique hairstyling is still known as the “mushroom” or “moptop” haircut and is usually associated . While their manager was still alive, he strongly influenced the band`s music, films, and clothing decisions. His death in 1967 was a turning point for them. The writer Michael R. Frontani remarks that Epstein made the Beatles “more presentable” in their early years in order to create commercial interest for the band (2007, 3). Therefore, Epstein`s death changed their lives significantly as they became more independent all of a sudden. It was a rebellious time, which resulted in the hippie movement, where young people wore colourful bell-bottom trousers and t-shirts with peace signs. A cultural movement of freedom, hope, new hairstyles, and clothing evolved. All different kinds of and became popular amongst the youth. Thus, the Beatles affected a whole generation not only with their music, but also in terms of general looks.

The Beatles were not only a pop band, but also symbolised change. Through their looks they were able to make image changes in the public. In 1956, the style became popular in Liverpool, which influenced the Beatles. Some characteristics of this style were the Edwardian coats with added velvet collars, coloured , and shirts with bootlace ties (Hewitt 2011, 10). Black velvet collars were sometimes used for their early stage suits. The tight, so called “drainpipe trousers” (10), were worn by the Beatles for many years. The Beatles wore all kind of clothes, from leatherwear to jeans, during the time they lived in in early 1960 (9). In 1964, the newspapers in Britain mentioned them on a daily basis in their articles, comparable to “cartoon characters” (Norman 1982, 228). Having a signature look was indispensable for them, as it was strongly connected with the image of the Beatles. Their general looks were usually very similar to one another, they were up to date with whatever was considered hip, for instance, the hippie style, and made it fashionable. Moreover, they made polo-neck sweaters popular, and introduced a new shoe. The Beatle boot looked like a Chelsea boot but with an added Cuban heel. They usually tried to keep up 17 with the people of their time, creating new styles by constantly reinventing themselves. Their music and their clothing were progressive and fresh (Hewitt 2011, 9). To sum up, the Beatles were definitely multifaceted artists and had the ability to look comfortable in their clothes in all phases of their lives.

It was Brian Epstein, their manager since 1961, who gave them their signature look by outfitting them with classic clothes. As soon as he started to manage them, they were neatly dressed and looked like decent young men (Hewitt 2011, 45). As their manager, he wanted them to have their own unique style and had no interest in copying other bands, which was an important decision because they always preferred to be the opposite of the norm. In 1964, they usually opted for mohair suits with trousers that were tailored in the beloved drainpipe style of their youth. They were not pleased about their new style, although clothes were a sign of unity for them, like a uniform (47-48). In 1964, their first film, A HARD DAY`S NIGHT, was released, which reflected their public image as “unaffected working-class boys” becoming successful “in a middle-class world through a combination of hard work and ability, whilst retaining the `ordinariness` of their roots” (Neaverson 1997, 23). They chose their clothes based on the objective to create a bond with their fans, succeeding to appear like “four ordinary boys” (22). In 1963, their tailor called Dougie Millings, created suits for the Beatles that were unique and stood for simplicity (Hewitt 2011, 53). Then Dougie Millings designed collarless jackets for the band, inspired by the famous French designer Pierre Cardin, and fit to the androgynous zeitgeist. Fashion became more of a feminine thing for everyone and a classless style became popular (57). In 1965, military-style jackets with little gillie collar became fashionable, which they wore sometimes in their second film, HELP! (71). Again, this is proof for their progressive style and their interest in constantly reinventing themselves.

On the 29th of August in 1966, the Beatles gave their last ever concert because the band was tired of touring and constantly performing for an audience. It was not only the last time the band appeared in their stage suits and Beatle boots, but also a meaningful concert, held in a city that was about to be well-known for the emerging hippie movement. A new sense of music and fashion became popular, which they again adjusted to (Hewitt 2011, 71). Their drug abuse – they smoked marijuana and took LSD – had a huge influence on their music and clothes (115). They were no longer a “Four-Headed Monster” as they were called until then because of their similar clothing style (115). Now they chose outfits that were no longer identical, for instance, different suits and shirts. From 1966 to 1967, they were also influenced by the Edwardian look and by dandyism, which are both very

18 classic and neutral-coloured styles. The goal of wearing such clothes was to maintain a low profile. The Beatles` third film, MAGICAL MYSTERY TOUR, in 1967, was a milestone in terms of genuine production because they were the ones in power and had full control over almost every decision (Neaverson 1997, 9). This changed their style of clothing completely because now they were able to make independent decisions.

The Beatles introduced a new type of the dandy style by choosing bright, striking colours. The album “Sgt. Pepper`s Lonely Hearts Club Band”, released in 1967, was included in their fourth film, YELLOW SUBMARINE, in 1968, which perfectly captured their new attitude, music, and general looks (Hewitt 2011, 116). It was a homage to different styles of music, ranging from psychedelic to Indian music elements (127). The was groundbreaking in itself because the Beatles wore suits in bright colours and . More and more people on the streets were inspired by the moustaches they sported on this album cover and wore them too (120). It was a sign of freedom that they were able to choose their appearance freely and that these were inspired by the hippie movement. Also, the cover featured famous people of different skin colours and ethnicities. But most importantly, the transformation in the band`s clothing style, from opting for black suits to wearing colourful uniforms, was shown on this cover. So, the Beatles` entire image was again reinvented by toying with different clothing styles.

The Beatles split into two groups, George Harrison and Ringo liked the Dandy look, - meaning-, they wore ruffled shirts and sharp suits with special collars or cuffs, whereas the Edwardian style with its colourful jackets and stripy ties was preferred by Paul McCartney and John Lennon (Hewitt 2011, 120). This was the first time when individualism was expressed through the band`s own clothing decisions. They started to wear fur coats and grew their hair long. John Lennon frequently wore striped college scarves, which were a sign of the Edwardian look. The uniformity of wearing the same clothes was no longer important (Hewitt 2011, 123). The Beatles were the personification of the Hippie movement, inspired by new music directions, drugs, and changing looks. They were able to express their personalities with their individual clothing choices instead of looking like quadruplets (Hewitt 2011, 127). In 1968, they were inspired by Indian clothing because they had visited India for inspirational reasons (152). This was a very spiritual time at which John Lennon also met the New York artist Yoko Ono, his future second wife.

The Beatles` haircut was a main feature of their signature look and changed many times during their career. In their early years, some advertisements only showed their haircuts 19 instead of their faces. Manufacturers even produced Beatle wigs for fans to resemble their idols. The Time magazine also compared the Beatles` early haircuts to mushrooms (167-169). They chose a new revolutionary haircut in 1967, which was above the shoulders and against the British norm. Again, it made their hair a heated topic. At that time, due to regulations for British soldiers, nobody had the grit to wear hair like this. The Beatles` constant image changes helped to build the foundation for a new generation of teenagers that suddenly looked different. Nowadays, it is common for men to wear the hair long, but in the 1960s, it was a sign of unemployment and not desirable at all. It was a popular haircut amongst young rebellious boys who imitated the Beatles to look like their idols (161). Therefore, haircuts made them instantly recognisable. It didn`t matter if it was the typical moptop haircut or the long-haired hippie style. They always tried to be different as they never wanted to be like anyone else. It is an inspirational and motivating message at the same time. To sum up, they paved the way for young people to express themselves, be spontaneous, and free from restrictions.

The Beatles underwent many image changes throughout their career, which are reflected in the choice of clothing and hairstyle in their five main films. They perfectly represent the Beatles` changing looks in connection with their varying images and different experimental phases. In the first two films, A HARD DAY`S NIGHT and HELP, the Beatles have nearly identical haircuts and looked similar in general, but in YELLOW SUBMARINE and

MAGICAL MYSTERY TOUR their looks were inspired by the emerging hippie movement. In

1970, LET IT BE was released. Seen from a fashion perspective, this last film differed from the others. The Beatles no longer wore matching outfits. Their individual clothing preferences are probably more visible than before because of the lack of pressure. To sum up, the band`s changing looks, from different stage outfits to varying haircuts, can be observed in their films of which significant scenes will be analysed in the following part.

2.2 A HARD DAY`S NIGHT

2.2.1 The use of clothing to establish a proper and clean image The Beatles` similar looks can be observed in the scene inside the train wagon after they have run away from their fans. As the four of them sit down, their similar style is clearly evident while they talk about Paul McCartney`s bogus grandfather. All of them wear black

20 suits with black ties and white shirts, flaunting identical moptop haircuts. Only George Harrison wears a grey , setting him apart from the other four Beatles in terms of colour (Lester 1964, 00:02:51-00:03:14). In this scene, clothes emphasise their image as well-dressed and well-behaved boys from next door. In their early years, wearing proper suits was the Beatle`s signature look. Their choice of identical clothing and haircuts supports their image as a unit. The Beatle`s similar looks even earned them a famous nickname by , the lead of , who called them the “Four-Headed Monster” (Hewitt 2011, 151). The famous film critic Roger Ebert describes their style in this film as having a great influence on people`s appearance:

The film was so influential in its androgynous imagery that untold thousands of young men walked into the theatre with short haircuts, and their hair started growing during the movie and didn't get cut again until the (Ebert 1996).

Therefore, it can be said that the Beatles` looks influenced teenagers who started to dress and look like their idols in 1964. Films have always had a huge audience and by the time A HARD

DAY`S NIGHT was released, the Beatles were already one of the most influential bands worldwide.

In the hotel room scene, the Beatles` style of clothing becomes more casual as they rest after the train ride. Paul wears a black vest with a white, long-sleeved shirt and black trousers, Ringo Starr a sleeveless black v-neck pullover with a similar shirt and pinstriped black trousers, John Lennon a black suit with a tie and a white shirt underneath, and George Harrison just a white, long-sleeved shirt with a black tie and grey trousers (00:16:32- 00:16:45). They created the notion that appearance is important for how the public perceives them (Riley 2002, 26). The fact that they replace their formal clothes with more casual outfits is supposed to show their approachability. Thus, outfit changes enhance their approachable image. They were the musicians on stage, but ordinary boys with casual clothes in their daily lives.

In the film`s last scene, they run to the helicopter, all four of them wearing grey suits with velvet collars. Paul McCartney`s fictitious grandfather holds autograph cards of them in his hands with a picture of them in their signature suit look. The helicopter takes off with them (1:21:23-1:21:35). This scene proves why they were called the “Four-Headed Monster” because they represented a unit by wearing identical suits and the same haircut (Hewitt 2011, 151). Similar looks underlined their feeling of togetherness and furthered their clean image.

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2.2.2 The use of appearances to establish a playful image Not only unique haircuts helped to establish the Beatle`s clean and boyish image, but also their clean-shaven faces. In one scene, George Harrison explains how to shave properly using soap, while John Lennon sings and plays in the bathtub (00:25:20-00:26:20). Their shaved faces enhance their youthful, boyish look. They clearly do not look like grown-up men considering their playful appearance.

In the press room scene, their looks figure more prominently than their music. As Ringo Starr answers to a reporter, all four wear suits, John Lennon adding a baker boy hat, also referred to as the Beatle hat, to his outfit. George Harrison answers a reporter`s question about military service, that for him the only two things missing are the two years service and the haircut. A female reporter asks Ringo Starr how long he expects his haircut to be considered fashionable and he answers that it will last as long as it does not rain. George Harrison describes their haircut as apish (00:27:40-00-00:29:44). This scene emphasises their youthful and humorous image further. states that the myth behind the band was that they represented the “four happy-go-lucky moptops to whom life meant fun and then some” (2002, 16). Therefore, their answers about the band`s choice of clothing are meant to be funny and cannot be taken seriously in this scene. Basically, the public perceived them as boys with funny looking haircuts at that time, which supported their humorous image.

In another scene, the Beatles are in a dressing room after the concert at the TV show. John Lennon plays with a fake claiming to be Santa Claus and Ringo Starr sits below a hair dryer with a ridiculous long-haired wig. The band recites an invented poem (00:49:00- 00:50:20). In this scene, the Beatles appear like young, childish boys dressing up which promotes their image as careless teenagers and buffoons. Again, clothes function as facilitators of this image.

There is a scene in which Ringo Starr and Paul McCartney`s grandfather sit in a café and have a conversation about Ringo Starr`s minor role in the band. Then Ringo Starr gets angry about his outsider role in the band and decides to explore the city on his own, but gets recognised by fans as a Beatle. Therefore, he purchases a long coat and a baker boy hat in a little boutique in order to hide his highly recognisable Beatles` styling. With this new styling he is able to talk to a little boy and walk through the city without being recognised (00:57:46- 01:00:00). In this scene, Ringo Starr plays a lot with their high recognisability in the public. Everyone is able to spot them due to their significant looks. The change of looks helps him to stay unrecognised, but also shows Ringo Starr`s playful image as going unnoticed by the 22 public enables him to do things he could not otherwise, for instance, he aims a dart at someone`s sandwich.

2.3 HELP!

2.3.1 Contradiction between ordinary and conceited boys There is a scene in this film in which the Beatles enter their terraced houses in London and some old ladies talk about their natural and down-to-earth image that did not change despite their huge success. They wear identical black suits with black ties, white shirts and black Beatle boots. Only John Lennon wears a black velvet jacket and a brown polo-neck sweater. Ringo Starr wears a variety of different rings, but a special ring with a red stone standing out and is in the foreground (Lester 1965, 00:04:47-00:05:00). This scene acts as a reminder for the Beatles` classic styling in their first film, where suits also underline their neat image of well-behaved and well-dressed young men. This is a contradiction in itself because this film is known as the Beatles` marijuana film (Helbig 2016, 126). The film was supposed to give fans that they came to know the Beatles` in private when in fact they act like clowns, creating an imagination of themselves that seems authentic (Norman 1982, 240). Nevertheless, the film depicts them as well-behaved boys and never shows their drug abuse. A piece of cloth can be used as a statement in itself and the Beatles certainly knew how to draw attention with unique and exceptional fashion choices. This artificial image becomes apparent in this scene. They enter a luxurious flat in tailored suits and Ringo Starr wears expensive rings. All this luxury does not fit their image of ordinary boys anymore, even though this is what they are supposed to appear like in this film. The director plays with these contradictions by using their clothes and the scenery.

In another scene the Beatles slide down a snowy mountain on toboggans, try to ski, play on a piano, walk on a train, and picnic in the Alps. Black capes function as winter clothing for only three of them as Paul McCartney opts for a black fur jacket. They all wear black hats. George Harrison wears a cylinder, John Lennon and Ringo Starr a baker boy hat, and Paul McCartney a woollen cap. He is the only one who is sometimes filmed bareheaded. The Beatles` hats are in the foreground and their song “Ticket To Ride” plays in the background to underline the setting (00:38:00-00:41:00). In this scene, they again show their image as young, careless men just having fun. Outstanding clothes emphasise their creativity,

23 by choosing various hats, capes, and fur jackets. Almost none of these clothes correspond to the winter clothing of average people at that time due to their expensiveness. From a fashion perspective, this counteracts the approachability of their image. Also, in this film their clothing is classic and mostly black, which is a neutral colour. To sum up, this scene shows their humorous side, but they do not appear like ordinary boys anymore due to their expensive clothing.

In one scene, the Beatles play different instruments in a traditional music group at an award ceremony for skiers in the Alps. Not only do they all wear military jackets in blue and red, but also traditional hats with feathers (00:45:40- 00:45:48). In this scene, the uniforms again symbolise their unit as a band. Paul McCartney is missing in this scene, but it is not said where he is. The author Paolo Hewitt points out that the Beatles` military-style jackets with little gillie collars became fashionable at that time (2011, 71). The military styles of their uniforms enhance their image of being open-minded in terms of traditional clothes. The uniforms look almost identical considering colour and design. Only their hats differ slightly. Again, their eagerness to try new things helps them to appear like normal boys because traditional clothes emphasise their image of going back to the roots.

2.3.2 The significance of clothing for the most recognisable band in the world at that time

The film, HELP!, starts with a scene of a pharaoh talking to his slaves in search for a ring to sacrifice a human and suddenly a of their song HELP! is being displayed on a TV screen. The Beatles are the main protagonists of this music video, all dressed in black. Again, their identically clean-shaven faces, Beatle haircuts, and bright smiles are noticeable similarities (00:01:08-00:03:24). The Beatles` outfits were highly recognisable because they were the most frequently photographed musicians in the 1960s and perfect looks were their key to success. A fun fact told by the authors Peter Brown and is that nothing was left a coincidence, dental work was important and their teeth were regularly fixed to maintain a perfect smile (2002, 158). The director Richard Lester clearly shows that general looks are the means to display perfection. Not only did film outfits provide the band with a high recognition value, but they support their band as a whole and help to showcase their flawless image.

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In one scene, the Beatles ended up in a Pub after fleeing from pursuers. They drink a beer while talking about Ringo Starr`s finger and how he gets them in trouble until he falls into a trap. George Harrison helps Ringo Starr to pick up his beer, which functions like a lever and Ringo Starr falls into the cellar. They all wear matching grey suits, white shirts, and black ties. George Harrison and John Lennon are the only ones wearing a blue and red shirt underneath their suit jackets. John Lennon does not wear a tie, which makes him stand out a bit from the rest of the band (1:04:45- 01:05:49). In this scene, their signature look of wearing identical suits is obvious. Still, the Beatles have more in common with quadruplets than with individual human beings where their choice of clothes is concerned.

The location changes in another scene and the Beatles are seen performing their song “” at a beach on the Bahamas. They are on a holiday, which is enhanced by their casual clothes. Paul McCartney wears a black tie, George Harrison a jeans shirt, Ringo Starr a chequered shirt in light blue, and John Lennon a purple shirt. It is the first time that they wear blue jeans and only Ringo Starr stands out with his white jeans (01:11:32- 01:13:23). In this scene, their shirts and jeans match again, but the choice of different colours displays more individuality. Still, it is a staged scene with outfits that are supposed to evoke a holiday feeling which makes them like relatable boys. With this scene, their laid-back image as fashionable boys and free spirits is emphasised by their normal clothing, making it easy for teenagers to emulate them. This casual style of clothing furthers their approachability for the younger generation.

In one scene, the Beatles are at the airport and fly to the Bahamas to escape from being chased by strangers who want to rob Ringo Starr. This is the scene where they dress up in ridiculous costumes to hide their characteristic Beatle looks, all of them wearing fake beards and moustaches. John Lennon wears his signature round Lennon glasses and Paul McCartney, too, wears glasses. All of them are dressed in coats in different colours. Paul McCartney and George Harrison showcase a grey and red scarf while George Harrison rolls John Lennon around in a wheel chair. The Beatles are unrecognisable in this scene (01:08:59-01:09:20). They seem to be able to express themselves and their playful personality for the first time in the film by dressing up. Considering that clothes made them highly recognisable in the public, this is actually contradictory. Paolo Hewitt points out that the band often had to conceal themselves in reality as well “in order to hide from hysterical fans” (2011, 115). Therefore, the director hints at their highly recognisable clothing and their approachable image. That is

25 why playing hide and seek, in connection with disguises, are present in all films, apart from

LET IT BE: they wanted to live an ordinary life.

There are two short scenes on the Bahamas which are part of the main commissioner`s plan to keep Ringo Starr safe. They all dress up as Ringo Starr to mislead the chasers. Paul McCartney dresses up as Ringo Starr at the beach and gets unmasked (01:21:51-01:21:55). Also, John Lennon is disguised as Ringo Starr during the football practice of a team, but is identified as well. The plan fails and Ringo Starr gets detected (01:22:14-01:22:48). It is the second time in this film that the Beatles try to hide their distinct features, especially Ringo Starr`s, who is the centre of attention. It is certainly a hide-and-seek game using disguises to escape from their chasers in the film who can be compared to their fans in real life.

2.4 MAGICAL MYSTERY TOUR

In MAGICAL MYSTERY TOUR and YELLOW SUBMARINE the Beatles stand for freedom- loving and drug-inspired hippies, which are often represented through their clothes.

2.4.1 The Beatles as freedom-loving hippies In the first scene of the film, Ringo Starr goes into a newspaper shop and buys a ticket for a magical mystery tour from John Lennon, who is disguised with a fake and a hat. Ringo Starr wears a black pinstriped suit and a real moustache, but John Lennon wears casual clothes by opting for red trousers and a grey pullover (The Beatles 1967, 00:01:15- 00:01:33). Again, the contrast between their clothes is significant because, while John Lennon dresses up to be unrecognisable, Ringo Starr wears the signature Beatle look by choosing a suit. Dressing up is a way to disguise oneself and the Beatles certainly play with their image because their real personalities have to stay hidden from the public to fulfil certain expectations. This film somehow enables them to break with old norms in terms of plain and single-coloured signature looks in their first two films.

In another scene, they sit in the magical mystery tour bus. Ringo Starr sits next to an old woman. He wears trousers with braces, a white shirt, and a black tie. Paul McCartney sits next to a young woman and is dressed in a colourful, woollen vest with a white shirt underneath. George Harrison sits next to a man and wears a brown hat with big black glasses.

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Paul McCartney puts on a grey hat later in that scene. The song “ On The Hill” starts to play and the scenery changes and Paul McCartney suddenly stands on a rock alone dressed in a long black coat. He jumps and dances on the hill and on the fields. The song stops and they are sitting in a colourfully painted bus. John Lennon suddenly sits next to George Harrison, wearing a black cylinder with feathers, yellow braces, a big black tie, round glasses, and a white shirt. All Beatles wear longer hair, except for Paul McCartney. Ringo Starr and George Harrison wear moustaches, but the other two Beatles are clean-shaven (00:05:15- 00:10:05). The transitions in this scene are missing, which is the reason why it has no chronology. Their new sense of fashion is clearly visible to the viewers. Michael R. Frontani notes that they were no longer the clean-shaven boys in tailored suits, but rather wore moustaches and hippie-inspired fashion (2007, 133). However, this statement is only true for two of them, George Harrison and Ringo Starr. Suddenly, they express their individuality by wearing unique clothes in bright colours, which is a sign for their personal freedom and psychedelic mood in this film. Despite the fact that two Beatles are still clean-shaven, Ringo Starr and George Harrison express their manhood and newly gained freedom by sporting moustaches. Their long hair gives them a feminine look, matching the hairstyles characteristic for the hippie movement.

One scene expresses the psychedelic mood, when out of a sudden a blurry vision starts. A multiplied George Harrison sits on the ground wearing an orange suit and a green shirt. At the same time the song “” is played with blurry lights and smoke. In a different sequence, George Harrison is suddenly dressed in a long oriental jacket in different shades of blue with matching trousers. Paul McCartney wears all black and John Lennon an extravagant sunflower necklace, purple trousers, a black hat, and a black jacket with gold embroideries. Ringo Starr wears a long, oriental, silver-grey ornamented jacket with matching trousers. He exchanges these clothes for a beige fur jacket with a colourful shirt in different shades of blue underneath (00:36:56-00:40:43). In this scene, they definitely show their interest in experimenting with new things by choosing extremely extravagant outfits. Restrictions in terms of outfit decisions inhibited them in their previous films, but in

MAGICAL MYSTERY TOUR they did not want to feel like puppets in their own film anymore and functioned as producers, directors, and actors (Helbig 2011, 191). As a matter of fact, they were now able to express themselves freely with their clothes. Freedom is the key word for these innovative clothing styles. A firework of colourful outfits is shown in this scene, which functions as an indicator for their willingness and need to express themselves without any norms. Gavrik Losey, a famous producer at that time, said too that the film only makes 27 sense when it is seen in colour (Neaverson 1997, 74-75). Therefore, the significance of colour is a main characteristic of this film. Colours are also utilised to enhance the musicians’ newly acquired, free-spirited image.

In another scene, the Beatles perform their song “” in front of an audience in a small concert hall. They descend the stairs leading to a platform where they dance simultaneously. All of them wear white shirts, shoes, and tailcoats. Red roses serve as a buttonhole for each Beatle, only Paul McCartney wears a black one. Women in military outfits walk across the stage and pass a bouquet of flowers to Paul McCartney (00:48:20-00:50:42). White is the colour of hope, freedom, and peace. Thus, their clothes symbolise a new beginning for the band. They also show that the Beatles are still a unit. However, all the other colourful outfits in the film are representations of their urge for individualism and freedom, which contributed to their new, free-spirited hippie image.

2.4.2 The Beatles as hippies inspired by drug consumption In another scene, the enchanted character of the film becomes visible. All four Beatles make experiments in a laboratory wearing red magicians’ outfits. Their capes and magicians’ hats are adorned by embroidered ornaments and floral patterns. Paul McCartney wears a colourful jacket underneath his magician’s coat, Ringo Starr sports a flowery collar and George Harrison an equally flowery cloth around his neck (00:20:12-00:21:09). Bright colours are the key in this scene, especially red and yellow are very prominent. The magical is enhanced by using these colours for their costumes. Magical elements and flashy colours are features of a psychedelic trip, which this magical mystery tour definitely is.

MAGICAL MYSTERY TOUR as well as YELLOW SUBMARINE are known as LSD films (Helbig 2016, 126). Their new hippie image is not sufficiently expressed by wearing plain clothes and neutral colours any longer. As a result, the Beatles chose floral patterns and bright colours, which are symbols of the hippie movement, instead of opting for a classic style.

In one scene, the Beatles perform their song “” on a field. Once more, they are all wearing colourful outfits. A variety of floral and embroidered patterns adorn their long jackets. John Lennon even wears flowery necklaces. In the middle of the song their outfits change and they are suddenly dressed in white fur coats, wearing different animal masks: that of a dog, a walrus, a parrot, and a hippopotamus. In some sequences, they also wear white swimming caps which make them look like eggs (00:25:08-00:29:46). The

28 masks make it impossible to differentiate the four Beatles, which shows their uniformity but also serves as an introduction to their experimental phase. Finally, they are able to do whatever they want and choose ridiculous clothing. Their new image is not only more mature, but also an indication for the public to think of them as individuals.

2.5 YELLOW SUBMARINE

2.5.1 The Beatles as freedom-loving hippies This film is different from the others because the Beatles only appear as comic figures. Clothes serve as supporting aids for their new hippie image. Again, colours play a central role as the film itself and the clothes the Beatles wear are very colourful. In one scene, Ringo Starr talks about Liverpool and stands in front of a wall with the name of the city on it. Next to him are cardboard boxes on the floor. He wears grey bell-bottom trousers with red and yellow stripes on the side, a red and purple striped shirt, a colourful tie, and black Beatle boots. A yellow submarine follows him as he walks along a street, passing a policeman and telling him that he is followed by a submarine, who does not believe him. Therefore, he walks to his house and suddenly the driver of the submarine knocks at his door and asks for his help because of the Blue Meanies, an evil, bizarre army in the fictional world of Pepperland (Dunning 1968, 00:13:17-00:16:09). The drainpipe trousers of their early films are no longer fashionable and bell-bottom trousers are quite popular during the hippie movement. Ringo Starr`s hippie styling is very salient. The image of the unostentatiously dressed boys does not exist anymore. Instead, funky and colourful clothes mark the transition of the well-behaved boys into free spirits, who like to experiment.

In another scene, John Lennon, George Harrison, and the driver of the submarine are at Ringo Starr`s house looking for Paul McCartney. After opening a few doors they find him. Paul McCartney is also dressed like the others in colourful clothes, but he has no beard like the other three. Black Beatle boots are the only thing they have in common in terms of their looks. John Lennon wears his characteristic round glasses (00:21:16-00:22:07). Again, the beards stand for their manhood. Like MAGICAL MYSTERY TOUR, this film represents the Beatles’ new spiritual image, which is why the band flaunts colourful outfits with Indian patterns. As Philipp Norman indicates, they were spiritually inspired by a called , who had a major influence on their spiritual journey and whom the

29 band visited several times (1982, 295-296). They still appear as a unit in terms of their clothing. However, they also express their individuality with a few personal fashion preferences. Therefore, their new image is more confident and they make independent decisions concerning their styling in this film.

In one scene, the Beatles are in Pepperland and arrive at a fortress-like, one-room building belonging to the Blue Meanies. It is located on the top of a hill where clothes, furniture, and many other things are stored. In the previous scene, they had to run up that hill and hide from the Blue Meanies to get to this building. The Beatles find colourful, military uniforms and funky hats with feathers in this room. They also discover fake beards in various colours which they put on in order to disguise themselves. They stumble over many instruments, making a lot of noise and causing a bagpipe to roll down the hill which makes the Blue Meanies fall asleep (01:01:51-01:03:02). Again, clothes and beards serve as a disguise in order to hide their famous looks in the film. Even though the Beatles were world- famous, they somehow managed to hide as much as possible of themselves behind their public image and clothes. This fact fits in with Paolo Hewitt’s claim that “[f]rom a very early age Paul McCartney loved disguising himself” (2011, 115). The Beatles` new outfits became so popular that their colourful hippie styling was soon as famous as the classic dandy style of their early years. Therefore, their new image always changed in connection with their outfits. Dressing up helped them express themselves more freely and to develop without any restrictions. Instead of being dressed in monochrome suits, they wear multi-coloured suits now.

2.5.2 The Beatles as hippies inspired by drug consumption In one scene, their song “Lucy In The Sky With Diamonds” is played. Marble heads with colourful and constantly changing images instead of their are shown. White horses and women in multi-coloured dresses can be seen dancing in this scene. John Lennon has a psychedelic trip as he is in a delirium and his clothes change from brown to orange and blue. He is definitely the main character of this scene while their song “Lucy In The Sky With Diamonds” is played. At the end of this scene, the images on the marble heads vanish and John Lennon somehow is catapulted out of the head and the other Beatles` appear (00:47:46- 00:51:14). This scene was frequently criticised as it bears resemblances to an LSD trip, also called “a psychedelic `trip`” (Neaverson 1997, 89). Everyone dances around deliriously. John Lennon was known to take a lot of LSD, so it is quite interesting that he is featured most 30 prominently in interpretation. Moreover, John Lennon`s outfits in this scene constantly change their colours and the whole atmosphere is dream-like. Taking drugs is sometimes described as a colourful and beautiful experience. Thus, the colourful and glittery clothes are fitting for this beautiful trip and make it seem like a fairy tale.

In one of the last scenes, the Beatles appear as real people. They are no longer comic figures and talk about the film by showing prominent objects of certain scenes like a hole in the pocket, a telescope or an engine. Then they start to sing the song “”. They all wear identical grey shirts and the same middle-length haircuts. Only John Lennon wears his round glasses. All of them are clean-shaven, except for Ringo Starr (01:26:54- 01:28:39). In this scene, the Beatles again try to accentuate their togetherness, apart from a few signs of individualism like John Lennon`s glasses. They still seem to be a unit as a band without any major egocentric behaviour. Aside from the fact that this simple scene reminds the viewer of their unified style in their early years, YELLOW SUBMARINE introduces the opposite, as does their third film. All in all, their drug-inspired and free-spirited image can be observed throughout the film because their flowery, colourful clothes remind the viewers of love, freedom, and peace.

2.6 LET IT BE

2.6.1 The Beatles` most authentic image ever being shown in a film

LET IT BE, often called GET BACK (Neaverson 1997, 101), is the Beatles` last documentary style film. In the first scene at , Paul McCartney plays a melody on the piano and Ringo Starr sits next to him. They wear shoulder-length hair. George Harrison wears a longer version of the typical mushroom-haircut as he enters the room and smiles into the camera. Black is the main characteristic of their clothing in this scene. It is the first time that Paul McCartney wears a full-beard, Ringo Starr a moustache and George Harrison is clean-shaven (Lindsay-Hogg 1970, 00:01:08-00:01:52). This documentary is completely different from the other four films because the director was hired to capture their sessions authentically by showing them during their work. This approach makes them appear natural. Complete rehearsals were filmed and a lot was included, for instance, singing, talking, telling jokes, and rapping (Neaverson 1997, 103). Even though they are wearing clothes in the same colours in this scene, their different general looks tell the audience a lot

31 about the casual environment the film was created in and makes the band look authentic. The rehearsals were filmed in studios, like the Twickenham film studios and the music studios in London. The Beatles’ daily routine of recording new songs is shown instead of creating a staged film in terms of clothes, music, and themselves.

In one scene, the Beatles are at the Abbey Road music studios and rehearse the song “Don`t Let Me Down”, John Lennon sings, and his second wife Yoko Ono stands next to him. He wears his signature round glasses, a black vest with a purple shirt underneath, and shoulder-length hair. Ringo Starr plays the drums and wears a beige turtle-neck pullover. Paul McCartney is dressed in an orange and George Harrison in a yellow turtle-neck pullover. The rehearsal stops and they discuss what needs to be changed about the song (00:01:54- 00:03:11). It is a sign of more openness in the public that John Lennon presents his woman to their fans, something the audience did not get to see in the previous films. Girlfriends had a decorative effect in the films, but never stood in the centre of attention. Including their girlfriends makes the film much more intimate. Considering their diverse clothes, they no longer present themselves as being identical, because each developed his own style. John Lennon wears his signature round glasses and has the longest hair of them all, which makes him look like the personification of a typical hippie. The others seem to have settled for a more classical style, even though they wear long hair too. They are all dressed in shirts or pullovers in unique colours, which do not match those of their band members anymore. Individualism seems to be more present than ever, which is not surprising considering that they already began to make their own projects at that time. The image of well-behaved boys is gone because the Beatles now represent grown-up men with own, strong opinions and this is reflected in their choice of individual clothing.

In another scene, the Beatles perform the song “For Your Blue” at the Abbey Road music studios. George Harrison sings and wears a blue jeans jacket. John Lennon and Yoko Ono, on the other hand are both dressed in white. Paul McCartney wears a blue classic shirt and Ringo Starr a beige vest with a blue shirt. John Lennon and Ringo Starr have shoulder- length hair, whereas Paul McCartney and George Harrison have middle-length hair (00:23:45- 00:25:41). In this scene, John Lennon and Yoko Ono wear matching clothes which represents the fact that they belong together now. The author Paolo Hewitt points out that in public John Lennon mainly opted for white since he left his first wife for Yoko Ono (2011, 156). Again, the image of a peaceful and free-spirited human is conveyed by the clothing’s neutral colours. With Yoko Ono as a partner, John Lennon’s appearance changed

32 drastically. He began to wear a full-beard and very long hair. This can be interpreted as a sign of rebellion because he had a sudden urge for more freedom and wanted to express himself in more diverse ways. George Harrison had the same feelings about expressing himself more individually because he no longer wanted to be a Beatle (184). Therefore, hair and beards were means to symbolise their longing to present themselves as individuals rather than members of the band. Each Beatle wears clothes of his own choice, indicating independence and emphasising their authenticity.

In one scene, the Beatles still rehearse at the Abbey Road music studios and play the song “Two Of Us”. Paul McCartney and Ringo Starr wear black suits with ties in different colours and George Harrison is dressed in a red long-sleeved shirt and a black vest without a tie. John Lennon’s style is casual because he wears blue jeans jacket and no tie (00:47:09- 00:50:38). Their new individuality is expressed by the fact that they dress up like they want to and do not abide a certain dress code anymore. The Beatles` clothing ranges from classic suits to comfy pullovers or vests in a variety of colours. In this last documentary, they convey a confident and independent image. Thus, they seem not to rely on each other anymore in terms of clothes and are presented as casually dressed musicians.

The Beatles perform their song “Get Back” on the roof of the in this legendary scene. on the roof and pedestrians are filmed as well, which creates a concert-like atmosphere. Yoko Ono is shown as a listener of their performance too. Ringo Starr wears a red rain jacket with a black polo-neck pullover. Paul McCartney is dressed in a black suit, a white shirt, and black trousers. George Harrison wears a black fur jacket and bright green trousers. John Lennon opts for a brown fur jacket with a black turtle-neck pullover and black trousers. They all wear straight cut trousers instead of bell-bottom trousers (00:58:54-01:02:33). The keyword for their new dress code is individualism, which emphasises that they were going separate ways. Bob Neaverson pointed out that these GET

BACK-sessions were surrounded by an atmosphere of departure because they all were already planning solo projects (1997, 108-109). To sum up, new and different clothes support the unique identity of each Beatle itself, which was not the case in the other four films and helps to create a unique image for each band member instead of them being presented as almost identical.

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3.0 The Beatles` music in their films in connection with their constantly changing image

3.1 The Beatles` influence on music in the 1960s The Beatles and their music have been a phenomenon in the music industry and critics would consider it as timeless art. There are only a few musicians whose reputation might be considered immortal and had a significant impact on whole generations in terms of their music. It can be said for sure that the Beatles are among them. These four ordinary and talented men from Liverpool were able to fascinate millions of people not only in the past, but still today. Usually, anything that was connected with the Beatles would make money. In particular, their feature films were enormously lucrative. They always had a matching soundtrack album and the sales of these often covered the production costs (Gross 1990, 11). Thus, their film soundtracks were extremely popular as well as their music albums. One fact says it all: the Beatles were so outstanding that four of their music albums are ranked in the top ten of the magazine`s list for the greatest music albums of all time (Blashill et. al. 2012). Although they were only together as a band for approximately 13 years, they achieved a milestone in the last 60 years that nobody else has.

In 1963, rockstars like were no longer the focus of attention but rather four charismatic boys who changed a whole generation by introducing a fresh and new called . Their significant and new sound was called “Merseybeat sound”, which derived from their home town Liverpool, located in the metropolitan county called

Merseyside (Glynn 2005, 8). This sound can mainly be heard in their films A HARD DAY`S

NIGHT and HELP!.

When George Harrison started to include the in his melodies and compositions in 1966, the sound of the Beatles changed quite recognisably. The new spiritual sound characterised their two albums “” as well as “Revolver” and Indian mystic music influences became the Beatle`s new interest (Norman 1982, 268-269). One year later, the hippie movement was more present than ever. Therefore, pop music reflected the new mood of rebellion amongst the youth and conveyed their powerful message to the public. Young people were eager to express their discontent with the prevailing, political conditions of the time, in line with the rejection of war, racism, and general injustice. A common pacifist feeling was the new mantra of people around the world, and particularly of Americans and 34 artists like , , and the Beatles (274). Their songs were the hymns of the hippie movement, which introduced peaceful messages. They used music as a tool to unite people and to inspire the world for freedom in terms of multiculturalism, peace, and love. All this can be seen on the Beatles` amazing album cover “Sgt. Pepper's Lonely Hearts Club Band”. These spiritual and hippie influences on their music are mainly seen in the two films MAGICAL MYSTERY TOUR and YELLOW SUBMARINE.

In 1969, the Beatles as a group came back to their musical roots by producing their last album and documentary which were both called LET IT BE. However, the general atmosphere was quite negative as Philipp Norman says, “Let It Be was their sad fading” (1982, 392). From this point on, the old memory of them as a single unit, faded. Consequently, anybody watching their last film can listen to four bored Beatles who show the world melancholic performances of their last songs (392). The song “Two Of Us” seems like a last homage to their whole career, whereas “The Long And Winding Road” is self- explanatory, where Paul McCartney is presented with ”his make-believe beard, his make- believe hobo suit, his great, round regretful eyes” (392). Music was the Beatles` way of expressing their last and Paul McCartney showed his regret that it was the end of their band. After all, he was the one who brought them together to work on this project. As a result, it is quite understandable that he did not seem too pleased about the other Beatles` bored attitude, because he was the only one with sincere intentions to rekindle their interest in this project. After all this turmoil, the Beatles finally decided to go separate ways in 1970. It was the end of an era of a unique band, whose music is so timeless that it has influenced innumerable musicians since.

Unusually for pop musicians, the Beatles left a legacy of five feature films for the soundtracks of which they composed new songs. The films, A HARD DAY`S NIGHT and HELP!, were a business preposition to continue their success, which involved the Beatles portraying different images. For instance, their playful, rebellious, natural, and flirtatious image is emphasised in their first two films. In contrast to these youthful images of growing up, in

MAGICAL MYSTERY TOUR and YELLOW SUBMARINE they embrace their psychedelic hippie image, in which they are the personification of drug addicts, peacemakers who spread love, and socially as well as politically critical musicians. In comparison to their last film LET IT

BE, all these films seem completely unauthentic. In this final film, the audience sees Paul McCartney`s role as the leader of the band or the relationship between Yoko Ono and John Lennon in a different light. Consequently, this documentary film is still the most intimate look

35 behind the darkest times of their last joint music project by showing family or disagreements during these rehearsals. In conclusion, the Beatles underwent many image changes and the staging of their songs illustrates all the various ways in which they presented themselves differently in order to get their messages across and reach as many people as possible.

3.2 A HARD DAY`S NIGHT

3.2.1 The Beatles` image as flirtatious men

In the first two films, A HARD DAY`S NIGHT and HELP!, women are depicted as enamoured maniacs, which underlines the Beatles` image of constant availability for female fans. In their later films, MAGICAL MYSTERY TOUR, YELLOW SUBMARINE, and LET IT BE, however, women as hysterical fans disappear which results in a more serious image for the band as the audience no longer sees them acting like permanent flirters.

In the first scene of A HARD DAY`S NIGHT, the identically named song is played, and the band members are being presented as flirtatious men. Predominantly, female fans run after them with loud and hysterical screams (Lester 1964, 00:00:01-00:02:21). In this scene, the audience sees all the band members smiling while they are followed by women and they seem to enjoy it. Not only the Beatles thought that possible love interests in the film were silly but also a friend`s daughter of the producer Walter Shenson made him aware that female fans did not want the Beatles to be involved with other girls onscreen. In her opinion, this would ruin the imagination of young teenage girls to date them maybe one day (Morton 2011, 39). Ironically, all of them had girlfriends in real life. Stephen Glynn mentioned that John Lennon was already married at that time and had a son but this was not mentioned in the film. He also said that in public, they should seem like available boys in order to encourage the

“Beatlemania” (2005, 22). Thus, A HARD DAY`S NIGHT portrays the Beatles as flirtatious men to maintain their female fans instead of destroying their dreams.

In one scene, the Beatles play cards and perform their song “I Should Have Known Better” in a train carriage, sitting next to Paul McCartney`s fake grandfather. A few young female train passengers are watching them standing outside the carriage and , George Harrison`s wife to be, sits among the Beatles in the carriage while listening to their music during their seemingly spontaneous performance (00:12:00-00:14:50). In this scene, the young women are not included in the card game. They rather come across like a staged, small, 36 and private audience. There are no interactions with the band members and the female fans smile at them happily. Hence, their image as flirtatious men becomes very obvious in this scene because the female train passengers stare at the Beatles adoringly, as if they have never seen anything more attractive in their life. Bob Neaverson mentions that one of the passengers in the compartment is the actress Patti Boyd, who got to know George Harrison on the set of this film and became his wife in 1966 (1997, 28). She behaves more like a than a possible love interest. In fact, the audience sees not a single sign of intimacy between them and their loving admirers, since that could have revealed them to be more than just listeners, and therefore have risked their image as available men enjoying the company of their female fans.

In another scene, the atmosphere at a concert is shown and only female fans hysterically cheer on the Beatles while they perform their songs “Tell Me Why”, ””, “I Should Have Known Better”, and “” (01:11:46-01:20:50). The mainly female composition of the audience clearly underlines their image of being predominately admired among women. Stephen Glynn claims that this scene shows a sort of boy-girl relationship, which is indirectly represented by the ecstatic fans and the Beatles themselves as the objects of desire (2013, 92). The film`s audience barely sees a male fan in the audience at their concert even though their actual concerts were attended by both genders. In this scene, a fictional reality is staged, purely to support the womanising aspect of their image.

3.2.2 The Beatles` image as ordinary men In one scene, the Beatles go out and have fun at a club like ordinary men while the song “” is played as background music (00:18:48-00:19:28). This constructed scene makes them appear as natural as possible. Not only do they seem to enjoy their image as flirtatious men in this scene but also as carefree men. It is the first time that they are seen dancing with girls, chatting with random people, and smoking. They are part of the crowd while dancing and socialising. This normal behaviour emphasises their approachability. There is no separation between them and the ordinary club visitors of whom one is even shoeless. In comparison to the loose environment they are in, the older generation sits in the casino without any sign of fun. This contrast between young and old people is commonly referred to at that time as the well-known problem of the generation gap. Definitely, the Beatles represent the younger generation by showing their free attitudes towards enjoying the relaxed atmosphere at this party like everybody else (Powell 2009, 88).

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To sum up, this scene portrays them being as natural as possible by presenting the Beatles as ordinary young men, who enjoy intermingling with all sorts of people while partying.

3.2.3 The Beatles` image as the most popular band in the world

For instance, in the first scene of A HARD DAY`S NIGHT, the Beatles run away and try to hide from hysterical fans while the song “A Hard Day`s Night” is played until they get on the train (00:00:01-00:02:21). The director definitely plays with their image of extreme popularity. Craig McLean wrote in that “[t]hey were the most photographed band in the world” at that time (2015). Every show wanted them as guests and all magazines wanted to print their faces on their front pages. In respect of the title of the song, it reflects their constant working schedule due to their extreme popularity at that time. In addition, Paul McCartney reflected that the film showed one aspect of their tour life well, namely always being on the run, which meant that they were in different hotels all the time as well as performing for people (Carr 1996, 52). There was literally almost no time off from work to sleep, which is why their lifestyle was not portrayed as a “pleasurable existence” (Glynn 2013, 88). This is one of the scenes where the audience is shown the impression that hysterical fans were the norm, following them everywhere and leaving them no time to rest, not even in their leisure time. To recapitulate, the director shows not only the positive sides of their fame but also its negative consequences.

3.2.4 The Beatles image as playful and rebellious boys In one scene, the Beatles use the fire escape and run down some stairs to a large field, where they run around, lie on the ground, and simulate a race. During this scene the song “Can`t Buy Me Love” is played (00:35:37-00:37:40). The Beatles run around like little boys in this scene and seem to enjoy making nonsense instead of rehearsing for a performance. Their image for being cheerful young men becomes evident here, since they would rather play games outdoors and lie down on the ground like defiant children. In general, the whole atmosphere of this song`s representation can be compared with an amusement park. The Beatles do not care about anything, ignore instructions, and do whatever they want to. All this gives them a playful as well as a rebellious image.

In another scene, they try to get Ringo Starr out of jail. They fool and run away from them while their song “Can`t Buy Me Love” is played a second time (01:08:31-01: 38

10:38). This scene shows their rebellious image quite clearly. According to Paul McCartney in reality they were not rebels at all, ”but the image was like... these guys are wacky and probably crazy and probably drink a lot or something. Actually, we were fairly average, witty lads [...], but nothing more than that” (Carr 1996, 51). However, in this scene the Beatles come across as the opposite in public. Instead of talking to the police, the Beatles trick them in order to break Ringo Starr out of jail. The cops chase them around until they get to the television theatre. Thus, the Beatles are shown to be impolite boys who do not listen to the police. They prefer doing whatever they like and live up to their image as rebellious young men. To recapitulate, the Beatles are still successful, despite being portrayed as rebels.

3.3 HELP!

3.3.1 The Beatles` image as ordinary men In one scene, they are inside their luxurious terraced house and seem like ordinary young men while they are performing their song “You`ve Got To Hide Your Love Away”. John Lennon is sitting casually on a chair, George Harrison is sitting on a sofa, Paul McCartney is standing in the room, and Ringo Starr is playing a tambourine on a bed (Lester 1965, 00:27:52-00:29:58). This staging reflects their image in the press as four ordinary “lads”, who were unchanged by fame and made it in the industry, even though they came from a working-class background (Neaverson 2006, 23). Their image as natural and unspoilt men in public is the complete opposite of their living situation in the luxurious terraced house in this scene. The director, Richard Lester, plays with this contradiction because they seem approachable while they casually sing the song “You`ve Got To Hide Your Love Away”, but they have all sorts of gadgets in this “communal room”, such as “automatic machines and John Lennon`s sunken bed” (Carr 1996, 67). Therefore, the presentation of their song is a contradiction in itself because they seem like ordinary boys from next door while singing this song in a luxurious terraced house as a setting.

3.3.2 The Beatles` playful and rebellious image

The Beatles are presented by the director as playful men not only in A HARD DAY`S

NIGHT, but also in HELP!. In one scene, they fool around in a ski resort in the Alps with the song “Ticket To Ride” as background music (00:37:55-00:41:00). This song is presented like 39 a music video, which is why it was easy to stage them in a certain way. The film audience does not perceive as serious and grown-up men, because the Beatles rather play around with cheerful faces as they try out new winter sports. Clearly, the director wants to give viewers the impression that the Beatles are like boys who enjoy skiing, sledging, and playing in the snow. In one shot, John Lennon even lies on the piano and plays it in this ridiculous position. Thus, the director emphasises their young and playful image.

In another scene, the rebellious side of the Beatles is made apparent because they are in the middle of a brawl between police officers and the followers of the Goddess Kaili at the beach on the Bahamas while the song “Help!” is being played as background music (01:27:04-01:29:21). In this scene, the Beatles act like rebels who are always right in the middle of trouble. John Lennon was inspired to write this song by his own exhausting life style and recalled this time as “a cry for help from the depths of what he referred to as his `fat Elvis` period” (MacDonald 2008, 153). Considering with which mindset this song was written, the scene shows nothing about his inner struggles but rather shows their rebellious attitudes more playfully. They seem to enjoy the tumultuous brawl at the beach because they have smiles on their faces. For instance, John Lennon even dances with a police officer and directs the fighters like a school crossing patrol. As a result, this portrayal of the Beatles gives them not only a rebellious image but also presents them as playful boys.

3.3.3 The Beatles` womaniser image changes partially

In the Beatles` second film, HELP!, female characters still appear from time to time but there is not such a heavy emphasis on staging the band as hormone-driven men as in A HARD

DAY`S NIGHT. Women only appear in one scene, namely during the song “Another Girl”, which the Beatles perform on the Bahamas at the beach (01:11:21-01:13:25). This scene can be compared to the James Bond films, where girls are usually presented in a subordinate position in regard to men (Glynn 2013, 101). Paul McCartney even carries one girl around and uses her arm as a substitution for a to play on. Girls are shown like puppets in this representation of the song without any personality. However, they no longer act like hysterical teenagers who cheer on their idols with loud screams. The girls are dressed in bikinis, which has the effect that they are presented quite sexually and seem like hypothetical love interests. Still, real intimacy in terms of kissing between the Beatles and the girls is not shown. Thus, the Beatles are presented as approachable boys who are interested in having fun without getting too attached to only one woman. To sum up, women still seem like replaceable and 40 decorative love affairs without any personality in this film which emphasises the Beatles` womaniser image as sexists even if their fans no longer act as hysterically.

3.4 MAGICAL MYSTERY TOUR The Magical Mystery Tour is comparable to a coach trip of which the final destination of this journey is unclear.

3.4.1 The Beatles` drug-inspired hippie image gets introduced by colourful staging of their songs In the first scene of the film, the song “Magical Mystery Tour” is played and colours introduce their new hippie image (The Beatles 1967, 00:00:01-00:02:32). This period was definitely a more relaxed phase in their lives, which was shown in “an intrinsic lack of tension which was bound to colour the resulting material” (MacDonald 2008, 253). In this scene, the film title appears in bold and rainbow-coloured letters with a rainbow and stars. Then, a colourful bus with the title of the song in multi-coloured letters printed onto it is seen driving on a random street. The Beatles wear funky clothes and everything is presented in a more colourful way in comparison to their two early films. A change of image is indicated by using colours for the staging of their songs now, which emphasises the new hippie generation and their new chosen hippie image.

In one scene, the Beatles` song “Flying” is played and they look out of the window on the right side of the Magical Mystery Tour bus and the view is magnificent. The colours of the whole landscape change constantly from green to blue, yellow, red, and pink (00:17:56- 00:20:01). The complete scene seems surreal because it really looks like a psychedelic “LSD- Trip” (Helbig 2016, 192) by flying over different landscapes coloured in the brightest colours one could imagine. During the hippie era, making psychedelic experiences became very popular amongst many young people. Thus, the Beatles addressed mostly the younger generation who were influenced by this new movement. Usually, psychedelic trips are connected with drug abuse that cause hallucinations and could be seen in terms of varying neon colours for the landscapes. The Beatles` colourful, flower power image can be seen in their positive attitude towards psychedelic adventures by representing their song “Flying” with a variety of flashy colours, which makes it seem like a beautiful experience.

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In another scene, the song “Blue Jay Way” is presented on a projection screen for the participants of the Mystery Tour. The auditorium sees the Beatles in foggy, surreal environments and random children are running around with painted clown faces (00:36:55- 00:40:42). A hallucinatory vision starts in which multiple George Harrison`s sit on the ground of a street in a foggy and colourless environment. It looks like a drug trip. Additionally, Stephanie Anne Piotrowski claims that this scene shows George Harrison dressed in an orange suit as a sign of and with dark circles underneath the eyes roaming in the streets to find LSD. The song is sung without any expressions or emotions because the lyrics are spoken monotonously (2008, 16-162). Therefore, the whole scene definitely seems distorted. No real plot can be seen, and the colour of his suit emphasises his spirituality. It looks like George Harrison is in a hallucinatory state chanting these words like a poem, which seems to be caused by the consumption of psychedelic drugs. The other Beatles are seen playing with a ball or a rocking horse, and children are running around with painted faces like clowns. All this makes no sense at all, which is why Paul McCartney said that it was their intention to make a fantasy film that has no “real plot” (Carr 1996, 120). Thus, the presentation of the song emphasises the Beatles` dazed state, due to consuming too much LSD, and can be seen as a hallucination in a colourless environment.

3.4.2 The Beatles` new image that music unites people and spreads love instead of being womanisers In the first scene of the film, a multicultural audience of both genders and all age groups is sometimes shown, sitting on stairs and greeting the Beatles back while the song “Magical Mystery Tour” is played as background music (00:00:01-00:02:32). This scene is significant because it is the first time in a Beatles` film that the audience does not consist predominately of screaming girls as fans. Both genders are presented as their fans in short shots, thereby undermining their old image as womanisers and of only being popular with women. Thus, they were able to address everyone now in this film. The Beatles themselves show the variety of their fans, which is not the case in the first two films and gives them an even more versatile image than being mainly womanisers. Hence, this composition of the audience, which greets them during the song, shows that their music is able to unite any and everybody.

In one scene, the Beatles perform their song “Your Mother Should Know” trying to unify people by showing the important role of female Royal Air Force cadets, who stand for 42 equality (00:48:20-00:50:43). In this scene, the Beatles go down the staircase and appear as a unit while they perform these two songs. However, they are not the only ones who present one force. In the presentation of the song “Your Mother Should Know”, cadets of the Women`s Royal Air Force march through the ball room. There is no political message visible but women are presented as equally important to men now instead of hysterical fans. Indeed, they were allowed to have a professional career in the Royal Air Force at that point. Britain had passed:

the Army and Air Force (Women`s Service) Act in 1948 [which] created the opportunity for a permanent peacetime role for women in the Armed Forces, in recognition of their invaluable wartime contribution (Royal Air Force Museum n. d.).

The Beatles seem to support this law by presenting the cadets as strong women, who march independently through the ball room without looking at the famous band members with adoration. Thus, the Beatles show their interest in the value of women`s rights who, through this Act of Parliament, achieved equality to some extent. To sum up, the Beatles are no longer presented as sexists but rather as unifiers who raise awareness for more equality among women and men.

The same image of the Beatles who unite people and spread love can be seen in the last scene of the film in respect to the dancing couples and audience during their performance of the songs “Your Mother Should Know” and “Magical Mystery Tour” (00:48:20-00:51:35). The audience in the film consists of dancing couples who dance around the band. Thus, in this film, they address a broader public in comparison to their first two films. It is no longer only female characters that have minor roles because now they spread love with people acting like couples. At the end of this scene, the Beatles switch to their magician outfits and the song “Magical Mystery Tour” is played again. Also, the dancers, children, and other random persons join up with the Beatles to all form the audience and dance happily together towards the camera. To recapitulate, the Beatles spread love and equality to unify people in the representations of both songs in this scene by showing dancing couples and they are dancing with people of all age groups or sexes together.

3.4.3 The Beatles` image of addressing indirectly social problems for the first time in a film in a playful way The image of being more outspoken about society can be seen in the representation of the song “I Am The Walrus” because the Beatles ridicule the police and even dictators in this 43 scene (00:25:08-00:29:45). In the Beatles` first two films, they never express concerns in terms of social criticism because they were the rebellious and playful musicians, who seemed not to be interested in such problems but rather in doing nonsense. Suddenly, a change happened in terms of their outspokenness. The song “I Am The Walrus” mirrors John Lennon`s “anti-institutional rant – a damn-you- tirade that blasts education, art, culture, law, order, class, religion and even sense itself” (MacDonald 2008, 267). This is why the policemen sway to and fro on a wall and walk hand in hand with the egg men in this scene. Thus, it somehow presents the police as ridiculous marionettes of the state and mocks the typical order. They seem to have no authority and cannot be taken seriously. In respect of the historical and cultural background at that time, one of the eggmen even has the same prominent moustache as Adolf Hitler. The Beatles were bold enough to mock dictators like him. Although, Adolf Hitler died when the Beatles were not even in primary school, the Nazi regime was still a delicate and largely unspoken topic in Europe. To sum up, it was the first time that the Beatles dared to express indirectly social criticism in their films.

3.5 YELLOW SUBMARINE

3.5.1 The Beatles` image of being completely apolitical musicians who make no mention of social criticism is over

The Beatles had no influence on YELLOW SUBMARINE and the way they were portrayed was completely made up (Helbig 2016, 299). It is a fact that the Beatles were mostly non- political artists who were barely interested in changing the world to make it more peaceful or open-minded. The films, A HARD DAY`S NIGHT and HELP!, depict no political or social problems. Indicators of social criticism are briefly shown in MAGICAL MYSTERY TOUR, where more equality for women is considered or the political system is ridiculed. In YELLOW

SUBMARINE, they seem to spread love as they did in MAGICAL MYSTERY TOUR and also give peaceful messages, trying to free the villagers of Pepperland from the dictatorship of the Blue Meanies who look like uniformed creatures.

In one scene, the song “” is played where social criticism can be seen in terms of the isolation suffered by ordinary people, making them into (Dunning 1968, 00:11:06-00:13:16). All human beings in this representation seem quite isolated and a gloomy atmosphere surrounds them. The town is shown as bleak and dreary in which

44 unhappy, faceless grimaces are portrayed like pictures. The lyrics refer to “all the lonely people”, and the presentation depicts it perfectly. This scene creates an image of depression and loneliness in some people`s minds when observing it critically. Even though “society has passed by” all these people, it still dictates them to appear regularly (Piotrowski 2008, 190). For instance, a man is playing with his dog without anyone else, another man is walking alone on a pavement, a person of whom the film audience only sees a hand is stroking a cat, and some other men dressed in black are standing with umbrellas on a pavement without talking to each other. All these “lonely people” are often ignored by society and die without any companionship. Overall, the Beatles are socially critical about the consequences of being left out by society in this song. To sum up, hardly any other of the Beatles` songs in their films are as bleak and critical as in the visual presentation of “Eleanor Rigby”, which emphasises their new image of raising awareness for social problems and showing as famous musicians some sense of responsibility for them.

3.5.2 The Beatles` hippie image gets supported by colourful staging of their songs in the new style of pop art

The Beatles` hippie image already appeared in their third film MAGICAL MYSTERY

TOUR being presented by colourful music videos and their spectacular, flashy style of dressing. In fact, the Beatles are comic figures in YELLOW SUBMARINE and often appear only as pictures. In their fourth film, they also got inspired by famous artists like Andy Warhol, who used bright colours for his paintings. Such flashy colours are usually a sign for psychedelic influences.

In one scene, the song “Only A Northern Song” is played and the Beatles` faces appear on square boxes in 3D, which are made in a colourful pop art style comparable to the famous paintings of Andy Warhol (00:31:18-00:33:57). This scene shows the new wave of art and hippie culture perfectly. Andy Warhol`s paintings are outstanding due to their multi- coloured techniques. Therefore, the director George Dunning presents their music in connection with the flourishing mid-sixties pop art and psychedelic influences (Carr 1996, 141). The song carries the “universal message of ” and drawings of every Beatle are painted on each box in a variety of different colours (Piotrowski 2008, 194). It seems that the Beatles tried to get their message of diversity across by using colourful boxes to present their open-mindedness and new ideals. In conclusion, this staging of the song suits their image

45 change by using the art of an extremely well-known artist at that time as an inspiration for the presentation of their psychedelic mood as hippies.

3.5.3 The Beatles` image as peacemakers

The Beatles` image as peacemakers is presented in YELLOW SUBMARINE in comparison to their first three films, where they barely seem to be concerned about world peace.

In one scene, the Beatles` seem to emphasise that gestures of altruism are important for peace, which can be seen during the presentation of the song “” (01:12:09-01:14:42). An enormous and aggressive blue glove of the Blue Meanies tries to attack the Beatles. The word “love” written in capital letters puts the big glove out of action in this scene. Also, villagers of Pepperland are seen holding up capital letters of the word “love”, which is a friendly protest to force back the Blue Meanies. Primarily, Roy Carr implies that the director shows their “all-you-need-is-love philosophy” as well as creates peace without engaging in violent acts to destroy enemies (1996, 145). A handshake is seen as a sign of peace, reunion, and agreement between two people. To sum up, the director portrays the Beatles in a way to encourage brotherly love and demonstrate that it can help to overcome difficulties.

Not only are they known to show indications of simple altruism in their music videos but they also show that music itself creates a feeling of peaceful togetherness among people.

This can be seen in a scene of YELLOW SUBMARINE while their song “Sgt. Pepper`s Lonely Hearts Club Band” is presented (01:06:36-01:08:30). The song seems to make the Blue Meanies confused and some of them even enjoy it by being a part of the audience listening to their performance. Suddenly, the people in this scene become alive due to the Beatles` music. The people`s appearances change from plain into bright-coloured clothes and they seem to have fun instead of being sad. No longer are they suppressed by the dictatorship of the Blue Meanies. They are free now and live together in peace with each other. The director emphasises that music connects people by creating a sense of togetherness. As a matter of fact, the director gives a rather simple solution for war problems which is music. For example, those performing at the famous hippie festival called in 1969, tried to convey peaceful messages as well. Nevertheless, there is too much pressure for musicians like the Beatles in the public because many people expect them to raise awareness like politicians,

46 which is not possible. To sum up, in the director`s portrayal of the Beatles, they spread peaceful messages cleverly with songs while creating joy with their music.

In one scene, the song “It`s All Too Much” is staged with a happy crowd of Blue Meanies and villagers of Pepperland (01:24:42-01:26:52). One of the last scenes of the film gives a clear message of happiness by encouraging a sense of community with music (Piotrowski 2008, 202). The Blue Meanies and the villagers of Pepperland live happily together now. For instance, they dance and laugh together in this scene instead of fighting each other, which definitely creates a feeling of living together in peace and love. Again, handshakes as signs of peace and altruism appear regularly in the representation of this song. Also, capital letters of the word “Yes” and “Love” are seen, which can be interpreted as a motivational message for the world to say yes to a life of love, peace, and freedom. Despite the usual tendency towards belligerence in the world, the Beatles seem to introduce an alternative and peaceful lifestyle in the staging of this song.

3.5.4 The Beatles` image as drug-inspired musicians In one scene, their song “Lucy In The Sky With Diamonds” is staged inside a marble head and their image of being inspired by excessive drug abuse is more present than in any other representation of their songs (00:48:08-00:51:07). John Lennon is the only Beatle that is shown in this scene which makes sense considering his affinity for psychedelic drugs such as LSD. Many song critics even claim that the title of the song can be read like a synonym for this type of drug. Nevertheless, John Lennon assured the public that the main inspiration for this song was simply a pastel drawing of his son Julian (MacDonald 2008, 240). Clearly, there is not just one truth but film critics mention some interesting points about this music video. They often draw a certain connection to John Lennon`s drug abuse at that time. As a result, the presentation of the song can be definitely seen as an homage to drug abuse. It is comparable to a colourful dream or hallucination in which he dances around. John Lennon`s dancing can be compared to a state of trance because the choreography does not seem to be rehearsed. The scene offers all sorts of vivid hints to a psychedelic trip, for instance, women dancing in multi-coloured dresses, a woman flying or riding on a horse, rainbows, and stars. All in all, the staging of this song seems more like a surreal drug experience than just like a casual dream inspired by a child`s drawing.

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3.6 LET IT BE Paul McCartney summarises his mixed feelings about this film with this appropriate remark: “Let It Be is actually a very good film – but, it`s a psychodrama. It`s the story of four guys breaking up...it`s a horror story for me” (Carr 1996, 161). The Beatles` films presented the band as a powerful force who stand for togetherness and unity. LET IT BE is a documentary film in which their waning interests in producing new songs as a band can be observed. It is apparent that they seemed to have a greater interest in their own development as individuals and cared more for their own solo projects at this point.

3.6.1 The Beatles` image of being distracted by Yoko Ono Especially in one scene, the Beatles do not appear as a single unit anymore due to the presentation of John Lennon with his second wife, Yoko Ono, who are in the foreground as a couple during the rehearsals of “Don`t Let Me Down” at Twickenham Studios (Lindsay-Hogg 1970, 00:01:54-00:02:54). This scene is significant because women were never included in the musical process of rehearsing new songs and the film audience never got to see the Beatles` wives in their previous films. Creating new music was normally a well-kept privilege of the band members themselves. What is new, on the other hand, is that Yoko Ono`s in all rehearsals is extremely remarkable. The other Beatles seem distracted by the couple. Paul McCartney described the effect of Yoko Ono on John Lennon as being so considerable that he had a bigger interest in her than in the band (Carr 1996, 173). As a matter of fact, John Lennon and Yoko Ono not only wear similar clothing but they also share the same taste in music. John Lennon clearly signals that he makes his own decisions by including her in the process of creating new music. Both play instruments and sing together in the rehearsal of this song, which makes them stand out as a couple during the music- making. John Lennon no longer appears to play a major part in the band as he seems completely enchanted by Yoko Ono`s music ideas and not to care about the other band member`s music inputs. Thus, the other Beatles seem to be distracted by John Lennon`s relationship with Yoko Ono.

3.6.2 The Beatles` image of being bored musicians The Beatles always seemed happy and eager about their work in all their films but in

LET IT BE, Ringo Starr and John Lennon have bored faces while they are rehearsing their song

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“Two Of Us” at Twickenham Studios (00:06:28-00:08:01). Apart from Paul McCartney, who seems to be the most enthusiastic during this rehearsal, John Lennon and Ringo Starr look bored and barely smile. The Beatles no longer seem to be a happy and fun band who enjoy working together. Consequently, the director Michael Lindsay-Hogg emphasised that some shot material captured their ennui during that time but he wasn`t allowed to show it completely because the Beatles were also the producers and wanted to hide it from the public (Carr 1996, 161). A certain melancholy overshadows the rehearsal of this song which is somehow like a memory of their good old days, especially of the bond between John Lennon and Paul McCartney. All over the world, they were seen as a dream team, composing catchy melodies with brilliant song texts. To sum up, the rehearsal of this song reflects perfectly the atmosphere of patiently endured boredom and apathy during their last sessions.

3.6.3 The Beatles` image of having a strong group consensus is no longer present The Beatles change drastically in this film and do not agree on each music decision anymore, which can be heard in a scene that depicts a heated discussion between Paul McCartney and George Harrison rehearsing the song “Two Of Us” again (00:14:50- 00:16:40). Paul McCartney criticises George Harrison, who plays his riffs wrong, in a patronising and arrogant way. In contrast, Ringo Star and John Lennon are very calm and do not intervene. Paul McCartney also explains the situation as “we were all very fraught with each other and just about everything else. We were probably all on the verge of nervous breakdowns” (Carr 1996, 173). Of course, George Harrison seems apathetic and angry in this scene. He is treated like a child in this conversation and not like an extremely good guitarist. As a result, he is so annoyed that he even suggests during the disagreement that he plays whatever Paul McCartney wants him to or nothing at all. To recapitulate, with their evolving solo projects it is no wonder that they seem resentful and not keen on working together anymore in these final rehearsals.

3.6.4 The Beatles` image as family persons

In comparison to the other four films, LET IT BE presents them the most authentically. Family is the key for showing authenticity and can be observed in one scene before they rehearse the song “You`ve Really Got A Hold On Me”, when Paul McCartney`s enters the music studio together with his step-daughter Heather and wife Linda (00:32:18-00:35:55).

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During the scene Paul McCartney carries his step-daughter Heather around with him, which leads to the humanisation of “the Beatles` myth” (Piotrowski 2008, 225). He lets her make noises into the microphone and has fun fooling around with the little girl. Ringo Starr lets her play with his drums as well. This scene is of immense importance because children are usually the biggest well-kept secret of almost any musician. The fact that the Beatles gave permission to film their real children in the documentary film was a huge gesture of intimacy. Fans really get the chance to take a look behind the scenes and see them in their most private moments. They are not staged like playful boys anymore and it becomes very clear that they are grown-up men with families now, which is definitely emphasised in this rehearsal. To sum up, the Beatles are portrayed as fathers who show an image of more authenticity and maturity in comparison to their other films.

In another scene, the Beatles give their last performance ever including the song “Get Back” on the rooftop of the Abbey Road Studios. They hear a woman, who is Ringo Starr`s wife Maureen Starkey, cheering (01:16:47-01:20:00). Paul McCartney only thanks Ringo Starr`s wife by saying “into the microphone, `Thanks, Mo`” after he hears Maureen Starkey`s loud cheer at the end of their performance (Piotrowski 2008, 249). With this public thanking, she gets revealed as Ringo Starr`s wife. It is the only way that she gets noticed amongst the audience because she is not in the foreground like Yoko Ono and simply a part of people gathered on the rooftop, cheering for them. Thus, Linda McCartney and Maureen Starkey are the passive visitors because they both appear only once in the whole film in comparison to John Lennon` wife. They bring their children to the studio as Linda did or cheer for the band on the rooftop like Maureen. In conclusion, it is the only time that also Ringo Starr`s wife can be heard and seen in the film but it clearly proves they have roles as loving husbands and family men.

3.6.5 The Beatles` image of never ending popularity in the public comparable to gods In one of the last scenes on the rooftop of the Abbey Road Studios, passers-by are interviewed during their performance of the song “I`ve Got A Feeling”, which emphasises their popularity as idols (01:05:53-01:09:50). The general atmosphere is quite positive on the streets. One man acknowledges their music as enjoyable but thinks it is quite an “imposition of them to disrupt the business in that area” due to their loud performance. Female listeners describe them as “fantastic” or “fabulous”. Another passer-by is filmed who says about the Beatles: “You can`t beat them, they are stars on their own. Lovely lads, good quality, and they 50 sing well.” This statement summarises the love of the public, who still sees them as four nice “lads”, and emphasises their status as unique creators of brilliant songs. Their popularity among the people on the streets is immense due to the fact that this performance takes place during working hours and they rather seem to listen to the Beatles instead of actually being at their offices. Even the policemen, who are there to stop their little concert, do not really try to interrupt it. Consequently, not only was the Beatles` extreme popularity seen by screaming fans in their first feature film A HARD DAY`S NIGHT, but also by interviewing passers-by paying their respect to them as brilliant musicians, during this last public performance of the film LET IT BE, high on the rooftop of the Abbey Road Studios.

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4.0 The perfect portrayal of each Beatle`s image in their films with the rare

exception of their last film LET IT BE.

4.1 Each Beatle`s individual image changes in their films in connection with reality In the early stages of their career, the Beatles were always presented as a single unit. Each one of them had a different image in public, which was usually adapted in their feature films. Bob Neaverson emphasises that each Beatle`s particular character traits were used to address different target groups of their fans (1997, 24). Also, it was important that they were seen as “eligible bachelors” and their first film should protect “the myth” of the Beatles (25). Thus, the division into different characters was important to attract the attention of as many fans as possible. According to John Lennon, the Beatles followed the instructions during the making of the film A HARD DAY`S NIGHT in 1964, for instance, “Say something witty John, wear something wacky Paul, George you be strong and silent and Ringo – just be Ringo” (Carr 1996, 53). They did not know at the time that these assigned roles would become almost permanent in their careers. Their respective images remained almost unchanged in their second film HELP!. John Lennon famously complained that the film “was just bullshit because it really had nothing to do with the Beatles” (Miles in Neaverson 1997, 48). This shows that the characters they were playing on screen were just that: characters, and ones that they would continue to play for many years.

Stephanie Anne Piotrowski claims that the Beatles` image and their output became much more authentic in comparison to the previous years in 1966. In the same year, the

Beatles stopped their big music tours. Their films MAGICAL MYSTERY TOUR and YELLOW

SUBMARINE replaced their live performances and were used to keep in contact with their fans. With the help of their films, they started to address mixed audiences and the Beatles adjusted to the popular counterculture which created their new image. Finally, they were able to express their artistic ambitions which they never showed in their early career because the Beatles` well-behaved image had to be maintained before 1966. All this can be observed in terms of their new outspokenness about critical and personal views (2008, 13). For example, “speaking for the legalization of hallucinatory drug use, and speaking out against the establishment and social oppression” (13). As a matter of fact, this transition to a new hippie

52 image was inspired by the counterculture and somehow allowed each Beatle as an individual to show more of their own personality and ambitions.

The Beatles’ last film, LET IT BE, is a portrait of the rapid fragmentation of a previously cohesive unit. Each Beatle’s individual ambitions begin to come through, shattering the images they had been projecting to the public up to this point. Clearly, the Beatles fall apart and seem to be very annoyed to work together. The audience sees a patronising as well as a regretful Paul McCartney who nevertheless struggles to be the strong leader in difficult times. John Lennon has a new obsession with Yoko Ono and solo projects and seems to have no interest in being only a Beatle. The introvert George Harrison is no longer silent, but speaks up for his own ideas and does not want to be restricted by the band. Last but not least, Ringo Starr does not represent the light-hearted Beatle with a broad grin anymore and he seems very serious in most scenes and the most alienated member of the band, who barely takes part in any discussion. In conclusion, each Beatle appears in a completely different light in comparison to every other feature film they did before.

In this chapter, each Beatle`s individual change of image will be shown in connection with their five feature films. The first two films, A HARD DAY`S NIGHT and HELP!, are almost entirely fiction. Nevertheless, they depict the band very naturally to create the famous myth of the Beatles. Paul McCartney is convinced that the reason for the unprecedented “success of A Hard Day’s Night” is the clever blend of fact and fiction: the way hints of their real personalities were allowed the bleed through (Carr in Glynn 2005, 18). It was not as authentic as LET IT BE, but cleverly made to give the illusion of authenticity. In 1966, the Beatles changed their whole image and had to become much more mature after their manager Brian Epstein`s death. It is the first time ever that the Beatles addressed social problems and raised awareness for their own beliefs as well as concerns. The films, MAGICAL MYSTERY TOUR and

YELLOW SUBMARINE, signify their personal development to become more autonomous and to be finally perceived as individuals by their fans. Last but not least, LET IT BE is without doubt the most authentic film ever in their entire career in which the well-protected Beatles` myth finally crumbles and gives the audience the unique opportunity to take a glimpse behind their perfect facade.

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4.2 A HARD DAY`S NIGHT The Beatles` first film presents each Beatle half-realistically which seems genuine for the audience. Each Beatle presents a certain type of man, which makes it possible to attract different fans in their audience. In fact, little insight into their real personalities is given and it only slightly reflects their own character traits. Most of the film is completely unauthentic.

4.2.1 Paul McCartney`s image as the mature leader In one scene, the Beatles are at a club and the song “” is played in the background and Paul McCartney sits on a sofa having a conversation with a woman, but he is socialising instead of partying (Lester 1964, 00:21:11-00:22:46). In a second scene, the audience sees a mature Paul McCartney, who picks up his grandfather at the casino (00:24:28- 00:24:57). He seems much more mature in comparison to Ringo Starr and George Harrison, who are on the dance floor and enjoying themselves. John Lennon also has a conversation with some strangers at a table but also behaves rather like a grown up. Paul McCartney and John Lennon are written to draw in the older women while Ringo Starr and George Harrison are portrayed with a boyish charm. In the second example, it is quite mature of Paul McCartney to look after his grandfather because it should be the other way around. Also, the other Beatles follow him obediently to the casino. Tim Riley mentions that this scene proves Paul McCartney`s role as “the group`s center” (2002, 24). Paul McCartney even introduces himself as the grandfather to a croupier instead of saying that he is the grandson. This shows his confusion about the typical roles of old and young, which was the norm in society at that time and might be a hint to the generation gap. Throughout the film, Paul McCartney plays the role of the friendly, helpful and respectable lad: the sort of boy you’d bring home to meet your parents. This sort of boyish charm was a huge part of the band’s appeal and in his role as the de-facto “leader” of the Beatles, who kept all the others in line, he was the figurehead of it. To sum up, Paul McCartney is like the mature leader of the band who behaves properly.

4.2.2 John Lennon`s image as the sarcastic and rebellious Beatle In one scene, they have finished the performance at the theatre and John Lennon makes fun of the fake tour manager, who complains that the final run through is important. John Lennon replies by snorting like a pig and disregarding his instructions completely (00:53:14-00:53:27). While the other Beatles follow the instructions of their manager, John

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Lennon is the one with the sharpest wit and worst attitude, always happy to mock or rile the manager. According to Tim Riley, John Lennon was always known to be not interested in behaving properly and sticking to formalities (2002, 24). In this scene, he walks out the theatre with one of the female dancers, who he seems to fancy. This gives him a flirtatious as well as rebellious image because he prefers the company of girls instead of listening to rules. Also, John Lennon behaves and answers questions sarcastically with a lot of cleverness throughout the film. Which is why Bob Neaverson points out, this is not a coincidence as “Lennon and Harrison`s intelligence and cynical sarcasm appealed mainly to the older, predominantly male fan” (1997, 24). In this scene, John Lennon also snorts as an answer to their tour manager, who asks him to stay at the theatre. This behaviour is meant to be sarcastic as well as an insult to the fake tour manager. Definitely, he behaves like a rebel in comparison to the other Beatles, who follow obediently the instructions of their manager. For instance, Ringo Starr takes care of Paul McCartney`s grandfather. Thus, John Lennon is definitely being presented as the least obedient of them all, whose main interest is in causing mayhem.

4.2.3 Ringo Starr`s image as the outsider of the band In the cafe scene, Paul McCartney`s fake grandfather sits with Ringo Starr at a table, where he makes him aware of his minor role in the band (00:53:45-00:56:14). Usually, the director presents him as “just” the who is of no importance for the band and rather behaves like a dog by taking care of Paul McCartney`s grandfather instead of enjoying fun adventures like the others. The fake grandfather only tries to stir up already existing tensions within the band and he uses this knowledge to manipulate him by emphasising Ringo Starr`s minor role in the band. Of course, the drummer reacts angrily and says that the only thing that is in it for him is a “bloody book”. Thus, he leaves the cafe to have some fun as well because he is annoyed about the other Beatles` patronising behaviour towards him. As a matter of fact, the director captures quite nicely how Ringo Starr is perceived in the public as the typical outsider of the band which is interesting because the same image repeats itself in their last and most authentic film LET IT BE.

4.2.4 George Harrison`s image as the introvert Beatle In one scene, they are inside a train compartment and the other Beatles all ask questions about Paul McCartney`s fake grandfather and even mock him apart from George

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Harrison (00:02:43-00:04:35). In this scene, George Harrison only comments that he knows Paul McCartney`s real grandfather and asks who the old man is. All the others make funny comments about the grandfather, but George Harrison is reading the newspaper silently most of the time. He seems rather introverted in comparison to the other Beatles` humorous questions concerning the old grandfather. According to John Lennon, George Harrison`s assigned role in their first film A HARD DAY`S NIGHT was to “be strong and silent” (Carr 1996, 53). These character traits determined George Harrison`s introvert image in their second film HELP! too. Clearly, this is the reason why the audience barely sees him taking part in any conversation. The funny one-liners of the script are predominantly given to the three other Beatles, who let George Harrison seem like the silent listener of their conversations. To recapitulate, George Harrison definitely presents the introvert and uncommunicative Beatle with a wooden acting style.

4.3 HELP!

The Beatles` second feature film, HELP!, reveals almost nothing of their real personalities as their individual images are completely staged. It can be compared to A HARD

DAY`S NIGHT, although their first film includes a little bit more of each Beatle`s character traits. Therefore, the Beatles` second film really makes them appear like puppets of the mainstream-entertainment.

4.3.1 Paul McCartney`s image as the narcissist of the Beatles In one scene, the Beatles are inside their terraced house and Paul McCartney is accidentally given an injection which causes him to shrink (Lester 1965, 00:32:23-00:33:10). It is no secret that Paul McCartney had an affinity for fancy clothes because from an early age, “Paul`s parents, [...], had instilled in him the need to look smart and presentable” (Hewitt 2008, 20). In this scene, the shrunken Paul McCartney appears on the floor hiding his nakedness with a receipt. The Beatles are never seen without their outfits. The fact that this happens to the Beatle who cares the most about clothes might not be a coincidence. In this scene, John Lennon hints at Paul McCartney`s well-known interest in clothing by saying “this is his best suit” while searching for him. Thus, John Lennon mentions it ironically and seems to be unable to imagine Paul McCartney disappearing without “his best suit” as he is known to be the biggest narcissist of the Beatles in terms of being always very enthusiastic about his

56 general looks. To recapitulate, this scene clearly depicts Paul McCartney`s narcissistic tendency for fashion and looks in general by listening carefully to John Lennon`s statement, who seems to be unable to imagine him without being perfectly dressed.

4.3.2 John Lennon`s image as the egoistical Beatle In another scene, they are in the terraced house and John Lennon comes across as very egoistical as he searches for his own book. The book he takes out from the shelf is his own book called A Spaniard in the Works which he then kisses, drawing attention to his own accomplishments (00:05:01-00:05:08). Stephen Glynn emphasises that the Beatles` second film is comparable to “a comic extravaganza `with the Beatles`” (2013, 95). This statement shows that their roles are of little importance in HELP!. Nevertheless, John Lennon was always known to be the most egoistical Beatle besides Paul McCartney`s narcissistic tendencies. John Lennon somehow manages to show his own ambitions in the form of self- promotion. It is the first time in a Beatles` film where the audience sees John Lennon`s subtle way of presenting his personal interests by holding his own book into the camera. He kisses the back of it so that the book title is clearly visible for the audience. The way he presents the book can be seen like a hidden advertisement. Without any doubt, this scene is used as a platform for himself. To recapitulate, John Lennon is portrayed as the egoistical Beatle by observing his selfish behaviour.

4.3.3 Ringo Starr`s image as the most relatable Beatle

In the film, HELP!, Ringo Starr represents no longer the outsider of the band in comparison to

A HARD DAY`S NIGHT because he is the centre of attention now. In one scene, they are on the Bahamas and the other Beatles have the plan to dress up as him to keep him safe from the followers of the Goddess Kaili (01:21:45-01:23:21). Throughout the film, Ringo Starr is definitely shown as the glue that holds the band together and gets the other Beatles in trouble with his clumsiness. In this scene, everyone dresses up as him to mislead the violent followers of Kaili who are aiming to steal the sacred ring by slaughtering him. In the end, they find the real Ringo Starr because of his clumsiness. As a result, his clumsy behaviour gives him the most authentic image in this film which is why he seems so relatable. Bob Neaverson also refers to Ringo Starr as the Beatle “with the most all-round appeal and sympathy” ( 1997, 43).

Nevertheless, he was highly praised for his natural acting skills in HELP! as the drummer`s

57 comical talent was compared to “a `Chaplinesque` performance recognisable to everyone around him as just Ringo being Ringo on camera” (Norman 1982, 241). Thus, the portrayal of

Ringo Starr in HELP! is arguably the most naturalistic portrayal of any of the Beatles in the film, at least according to those who knew him. Allowing his sense of humour, natural clumsiness, and down-to-earth nature to bleed through into the character gives him a sort of relatable feel to the audience which they do not perhaps get from the exaggerated and two- dimensional versions of the other Beatles. It can be said that Ringo Starr is portrayed as the relatable Beatle due to his clumsiness as well as his down-to-earth nature.

4.3.4 George Harrison`s image as the quiet and mysterious Beatle In the whole film, the audience barely hears George Harrison talk or do anything special at all. In one scene, they are at a palace and Ringo Starr plays card with George Harrison, while all of them have a conversation on how to handle the situation about the ring (00:58:38-00:01:36). Most of the time George Harrison seems reserved about everything and barely takes part in the conversations. As a result, the film audience sees a very mysterious and introverted George Harrison. Ringo Starr only calls him a liar because he cheats during the card game. As an audience member he does not stand out from the other Beatles. He is neither talkative nor seems to have an own opinion. Thus, he is definitely not the centre of attention in this scene as well as he seems quite redundant in the whole film. George Harrison`s general looks are the only thing that matches with the other Beatles and reveal him as one of them, but not his behaviour. To sum up, a somnolent George Harrison is portrayed in this film, who shows no hint of his own emotions and represents the quiet, mysterious Beatle.

4.4 MAGICAL MYSTERY TOUR

In the film, MAGICAL MYSTERY TOUR, the Beatle`s new openness can be seen due to the inclusion of their real relatives and friends in the bus tour, for instance, Paul McCartney`s real brother Michael McCartney and some secretaries of their fan clubs. They also personally selected the actors for this film (Pieper and Path 2005, 319). This fact adds a very personal note to it because they clearly surrounded themselves with people they trust. In general, the Beatles had more creative freedom in this film as they directed it. It can be said that this film was definitely a big step in the direction of more authenticity for each Beatle because they no longer were used like puppets. They chose how they wanted to be portrayed in this film on 58 their own, as opposed to A HARD DAY`S NIGHT and HELP! which accounts for big differences seen in George Harrison`s, John Lennon`s and Paul McCartney`s image change.

4.4.1 Paul McCartney`s image as the new and strong manager of the band in the film as well as in reality In one scene, they are dressed as magicians and are in a laboratory. Ringo Starr asks George Harrison and Paul McCartney, where the bus of the mystery tour is and Paul McCartney is the only one that provides a detailed description (The Beatles 1967, 00:20:04- 00:21:08). With Brian Epstein`s death in 1967, there was the big question of who would guide the Beatles as they took a new direction in their career. In fact, Paul McCartney was the one that took on the important role as the leader of the band who came up with abstract ideas for this film (Piotrowski 2008, 126). As a result, he directs the Beatles through this mystery tour in the film as well as in real life. In this scene, he is the only one that has a sufficient answer for Ringo Starr, who repeatedly asks where the bus is. Paul McCartney not only points at the map, but also gives a detailed description and seems to be the only one knowing the exact route. This is due to the fact that he was the main director of this film, even though all the other Beatles were mentioned too. To recapitulate, this scene perfectly depicts Paul McCartney`s new role as their strong leader and main driving force in difficult times.

4.4.2 John Lennon`s image as a father John Lennon always had to hide his family and wife in their early years. In one scene, they sit in the bus and he plays with a little boy sitting next to George Harrison, whom he includes in the game (00:30:00-00:30:50) In this scene, they are still approachable, but more in the sense as family people who make a mystery tour together. John Lennon blows up a red balloon to entertain the little boy and gives it to George Harrison, who makes noises by releasing the air of it. Therefore, John Lennon is represented like a playful as well as loving father due to the nice conversation between John Lennon and the little boy. This is the first time in a Beatles` film, where the audience finally sees John Lennon as a family man instead of hiding this fact from society. In fact, John Lennon`s son Julian was already around the similar age as the boy in this scene because both boys seem to be between 5 to 7 years old. was almost never shown in public due to their image as eligible bachelors. In

59 conclusion, John Lennon is portrayed as a kind-hearted family man as opposed to being often presented as the egoistical and sarcastic Beatle.

4.4.3 Ringo Starr`s image as the funny and humble Beatle Ringo Starr predominately represents the humorous Beatle with witty jokes in his pocket, seeming always very humble. In a bus scene, it becomes quite obvious, when he sings spontaneously “I`ve got a lovely bunch of coconuts, there they are standing in a row” and wants the other people at the bus to join in (00:42:22-00:42:34). Bob Neaverson emphasises that Ringo Starr appealed in terms of his “affable, goofy humour and vulnerable `ugliness` to almost everybody else” (1997, 24). This is how he was predominantly perceived in public. Ringo Starr is presented once again as the funny, affable Beatle with a unique sense of humour in this film. His quirkiness comes across very well, making him seem the most natural on camera. In this scene at the bus, the coconuts he sings about might be his own testicles but he really cannot be taken seriously during this funny serenade to his fake aunt Jessica. As nobody joins in during his little serenade, he asks the other members on the bus: ”What`s the matter with you?”. He really behaves very humbly in this scene as he sips relaxed from his bottle of beer and tries to small talk with the other people in the bus. Ringo Starr’s onscreen image seems to be the closest to his real life self. According to Stephanie Anne Piotrowski, he was the only Beatle who was very down-to-earth and a family person in real life, “living outside London” (2008, 140). To sum up, Ringo Starr is presented as the epitome of the humble Beatle who has a natural comical talent and seems rather unaffected by their enormous success.

4.4.4 George Harrison`s new image as the spiritual Beatle In one scene, the song “Blue Jay Way” is presented on a projection screen and George Harrison sits on the street in a dazed state and advocates for a spiritual path instead of turning to drugs (00:36:55-00:40:42). George Harrison was already very interested in Hinduism and showed his affinity for spiritualism quite often by visiting the Indian guru Maharishi Mahesh Yogi. Spiritualism and religion can be the key for changing one`s mindset and becoming free from drug addiction. According to , George Harrison consumed the LSD in 1966 as he changed into a completely different person who was suddenly very keen on reading books about spiritual topics (1982, 269). Stephanie Anne

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Piotrowski emphasises that “Indian art, Hindu symbolism, and surreal shots of nature” are used in this scene to signify George Harrison’s interest in rebirth with the help of spiritualism (2008, 161). Also, a projection of a flowery, colourful Henna tattoo can be seen on George Harrison`s body, which she argues is another hint for his spiritual change (162). It is known that these tattoos are usually used in sacred ceremonies such as weddings in India. This scene ends and the alteration from a foggy into a clear lighting indicates enlightenment too. In conclusion, George Harrison chose to be portrayed as the spiritual Beatle that believes in rebirth due to spiritual influences, especially of Hinduism.

4.5 YELLOW SUBMARINE

Unlike MAGICAL MYSTERY TOUR, the Beatles didn’t direct or write this film - and they didn’t even act in it until the very last scene. The voices of the Beatles in YELLOW

SUBMARINE are actors. They really didn’t want to be involved in it, and so their portrayals as individuals were out of their control (Helbig 2016, 299). In the Beatles` fourth feature film,

YELLOW SUBMARINE, their personalities are quite comparable to MAGICAL MYSTERY TOUR. The director presents them as socially critical, who enjoy spreading messages of love, peace, and unity. Even though the Beatles are comic figures and seem to be not serious, the director questions their individual images and plays with them without the influence of the Beatles themselves.

4.5.1 Paul McCartney`s image as the stylish Beatle In one scene, the Beatles hide from the Blue Meanies in a fortress-like building on a hill in Pepperland, where they find uniforms and Paul McCartney is again portrayed as the fashion enthusiast of the group. He runs his fingers over the fabric of the uniforms and describes them as “nice gear”, showing his appreciation for clothes (Dunning 1999, 01:01:56-01:02:20). Clothes are helpful in the portrayal of a certain image of an artist. Paul McCartney was usually known as the Beatle who had the most interest in clothes and film outfits in real life. According to Paolo Hewitt, “it was Paul who was to have the biggest influence on The Beatles` public style and image” (2008, 20). He also says that Paul knew from an early age that uniformity was extremely powerful (20). In this scene, John Lennon shows Paul McCartney a uniform and he immediately feels the fabric which makes him seem like a professional designer because he is the only one that somehow examines the material of it

61 before he puts it on. The comment about “nice gear” makes him seem knowledgeable about fabrics and fashion. The other Beatles put on the uniforms without a comment. Only, John Lennon shows his interest in the outfits as well by asking how he looks. In comparison to Paul McCartney, he does not seem like a fashion expert in this scene. Thus, Paul McCartney is again portrayed as the fashionable Beatle in this film, which is comparable to his narcissist image in HELP!, where his affinity for clothing is also mentioned.

4.5.2 John Lennon`s image as the drug addict In one scene they are in a room, where Frankenstein lays on a table and Ringo Starr pulls the trigger that wakes him up. Then, Frankenstein drinks a purple liquid and turns suddenly into John Lennon (00:17:41-00:18:46). John Lennon`s clean image got quite damaged in real life due to his “arrest on 18 October 1968 for possession of marijuana” (Neaverson 1997, 94). It is widely known that he also took many chemical substances at that time, especially LSD. The purple substance that Frankenstein drinks seems to be toxic because it releases colourful vapours. Usually, chemical substances such as LSD can also have a bad influence on the general looks and mental state of a drug consumer. This can be seen by the transformation of Frankenstein into John Lennon, who complains to Ringo Starr that he “just had the strangest dream”. Ringo Starr replies to him that he warned him not to eat “on an empty stomach”. Even though drugs do not get literally mentioned in this scene, this answer seems to be a hint for John Lennon`s extreme drug consumption because one should never eat pharmaceutical or chemical substances on an empty stomach. Moreover, having hallucinatory dreams are also side effects of a drug trip. Thus, this scene definitely plays with John Lennon`s image change, who publicly showed his fondness for psychedelic experiences.

4.5.3 Ringo Starr`s image as the dumb Beatle In one scene, John Lennon is surprised that Ringo Starr is dealing in abstracts, when they talk about time. Ringo Starr intends to say that he is not stupid, when he replies: “Just because I`m a drummer, does not mean that...;” (00:26:14-00:26:48). In another scene, the other Beatles tell Ringo Starr that he is a pure genius and take back their prejudices, when he solves the problem with a smart idea of releasing the Beatles that are frozen in time by using the hole in his pocket (01:15:36-01:16:10). In these scenes, Ringo Starr no longer gets presented as the light-hearted Beatle with a lack of intelligence. Often, he is the one telling the

62 jokes, but not with an intelligent sarcasm in comparison to John Lennon or Paul McCartney. Ringo Starr`s humour is more superficial, while John Lennon normally adds a wry to it. Even, the producer portrays Ringo Starr`s dumb image because he publicly described him as a “`clutz`” (Carr 1996, 145). In the first mentioned scene, the director definitely plays with Ringo Starr`s image, who seems quite slow-witted because John Lennon is very surprised about the drummer`s knowledge about time. In the second depicted scene, Ringo Starr has the idea to use the hole in his pocket as the key to release the replicated Beatles, which are frozen in time under a glass sphere. He is definitely much smarter than the other Beatles perceive him and they apologise for their prejudices by acknowledging his idea and referring to him as “a pure genius”. In YELLOW SUBMARINE, the portrayal of Ringo Starr as the obtuse Beatle, perpetrated by earlier films like A HARD DAY’S NIGHT and HELP! in which he is constantly getting himself into trouble and having to be rescued by the others, is subverted. On multiple occasions in the film, characters expect Ringo to be stupid, and then are surprised by his wits in saving the day. To recapitulate, the director plays with Ringo Starr`s image as the dumb Beatle which is being addressed in these scenes in a humorous manner.

4.5.4 George Harrison`s developing image as the spiritual Beatle in comparison to

MAGICAL MYSTERY TOUR In one scene, George Harrison`s devotion to Hinduism is more present than ever in the film YELLOW SUBMARINE. The location is Ringo Starr`s palace, where John Lennon, the Lord Mayor, and Ringo Starr search for the other Beatles. John Lennon opens a door to a room, where they find George Harrison sitting on a Hindu throne (00:18:57-00:19:30). In this scene, many indications of Hinduism appear, such as an image of an Indian farmer with cattle. Cows are sacred animals in India and are usually worshipped due to religious beliefs. Also, the music changes and is clearly influenced by Indian instruments like the sitar, which immediately creates a spiritual atmosphere. Two videos of blossoming lotus flowers are projected into the scenery too. In India, lotus plants are often associated with “divinity and enlightenment” (Kandeler and Ullrich 2009, 2463). Furthermore, George Harrison sits on a golden throne reminding the audience of Hindu altars and is surrounded by a group of surreal statues looking like lions with wings. Behind him, the audience sees a big grey building comparable to spiritual Indian temples. Also, this film was made at the height of Harrison’s

India obsession, so obviously earlier films like HELP! would not show a spiritualism he hadn’t

63 developed yet. In conclusion, George Harrison`s fondness for India and Hinduism is portrayed much more clearly than in any other Beatles’ film.

4.6 LET IT BE

In their last film, LET IT BE, each Beatle appears as authentic as possible because no longer do they have to stick to a certain script. Instead they rehearse their songs like they always did in this documentary film, which gives the audience the chance to get an impression of their real personalities. It is one of the most intimate looks behind the scenes, which the Beatles barely allowed in their previous films.

4.6.1 Paul McCartney`s image as the patronising leader as well as regretful Beatle In one scene, Paul McCartney`s position in the band becomes very obvious, when they discuss improvements for the song “Don`t Let Me Down” and he tells the others to move on during this rehearsal (Lindsay-Hogg 1970, 00:02:49-00:03:10). In this scene, the film audience can definitely observe that he is the centre of attention which makes the other Beatles appear like extras. Clearly, the audience sees a very bossy Paul McCartney who gives the directions and silences the other Beatles by telling them “to move on” in this rehearsal. Of course, the famous argument between him and George Harrison shows his conceited tone as well, when he treats him like a child who does not know how to play some riffs. Even John Lennon blames Paul McCartney`s patronising manners during the rehearsals of this film for being one of the main reasons for their break up as he criticises:

I can`t speak for George, but I pretty damn well know – we got fed up being sidemen for Paul. The camera work was set up to show Paul and not to show anybody else. And that`s how I felt about it (Carr 1996, 175).

In this statement from John Lennon, it becomes very clear how unhappy the other Beatles were about their minor roles in comparison to Paul McCartney`s constant presence in almost every scene. Thus, Paul McCartney is definitely presented as the patronising leader of the band and the driving force of this film.

In another scene, the audience sees a quite regretful Paul McCartney, who has a serious conversation with John Lennon about truthfulness in the film material with the Maharishi (00:25:48-00:27:18). In this scene, he regrets that the Beatles do not seem truthful in it and says, “we put our own personalities under”. He is referring in particular to a scene in 64 which John Lennon does not seem like himself, but the opinion reflects a wider dissatisfaction with the untruthful way the Beatles had been portrayed on film up to this point. Also, Paul McCartney laughs and mentions during this conversation that John Lennon did not know what to do in this scene with the Maharishi in kind of a “tell me old master way” and “he might slip him the answers”. Also, he compares the band`s behaviour with “schoolboys” sneaking around in the film instead of allowing the public a more honest glimpse of their lives. This is the first time the audience sees behind the facade of their films, which are not as natural as they are supposed to be. Paul McCartney obviously dislikes the fact that they had to hide their personalities from the public in a film. To sum up, it is quite interesting to hear an honest as well as regretful Paul McCartney, who usually represents the strong leader of the band.

4.6.2 John Lennon`s image as the loved-up solo artist and annoyed Beatle In one scene, the Beatles perform the song “” without John Lennon. Meanwhile, the audience sees an intimate kissing- and dancing shot between John Lennon and Yoko Ono in, which definitely proves their status as a loved-up couple (00:21:15- 00:22:56). In this scene, he prefers dancing with Yoko Ono to joining the band in the rehearsal (Neaverson 1997, 104). This scene is special because it is the first time ever that John Lennon does not rehearse together with the band. Clearly, the band is no longer his main focus. The John Lennon the audience sees in the film is one who is peeling himself away from the band, distancing himself from his former bandmates and from Paul McCartney in particular, and reattaching himself to Yoko Ono. The only attention John Lennon predominately receives in this film is connected with Yoko Ono`s presence. The audience rarely sees John Lennon work on his music alone, and Yoko Ono is included in everything he does in the film, including the music making. It is clear that she has a very strong influence on him. For instance, matching styles, her presence in all the scenes, and working together on solo projects became of paramount importance for him. While Paul McCartney is trying to hold the band together, John Lennon is already more interested in solo projects and seems tired of being “only” a Beatle. The harder Paul McCartney tried to hold on, the more inclined Lennon seemed to pull away. According to Stephanie Anne Piotrowski, both John Lennon and Paul McCartney had already begun working on other projects, outside of the Beatles, before the making of this film. For example, John Lennon had two performances with different acts and realised by working together with other artists that there was a creative world beyond the limitations of just being a part of the Beatles (2008, 235). By the time LET

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IT BE was filmed, John Lennon was already well on his way to being an independent solo artist, his interest captivated by Yoko Ono. It is clear in the film that he had moved on from the Beatles, and so in his last Beatles film, John Lennon no longer presents the witty or rebellious Beatle: he no longer comes across as a Beatle at all.

4.6.3 Ringo Starr`s image as the withdrawn and alienated Beatle In one scene, all the band members discuss improvements for the song “Don`t Let Me Down”, apart from Ringo Starr who is not included and only listens to them silently (00:02:49-00:03:10). Ringo Starr`s personal wishes in terms of music are cut out and barely seen in the film. He seems rather tired of everything. Of course, he still comes across as a funny person, when the audience sees scenes in which he plays with Paul McCartney`s stepdaughter. But most of the time, the film audience sees a more serious and quiet Ringo Starr. Stephanie Anne Piotrowski says that the director shows a “withdrawn, tired figure different from the broad grins and moptop shaking mannerisms that became Starr`s trademark during the time of early Beatlemania” (2008, 230). Mainly, he is the silent musician that observes the other Beatles from a certain distance in almost every scene. In real life, Ringo Starr had barely any artistic freedom in the band and maybe had the feeling of being less important in comparison to the rest of them (231). Also, Ringo Starr somehow builds a barrier between him and the audience in this film by revealing nothing about him. This makes it quite impossible for the audience to get an insight into Ringo Starr`s thoughts, ideas, and personality. Ringo Starr was always the funniest and easiest to like in the earlier films, but in

LET IT BE he has become the most alienated and withdrawn Beatle.

4.6.4 George Harrison`s image as the frustrated Beatle Throughout the film, George Harrison seems to be annoyed in terms of the restrictions given to him by Paul McCartney. In the famous scene of Paul McCartney`s and George Harrison`s disagreement, these limitations become very obvious (00:14:50-00:16:40). In this scene, Paul McCartney scolds George Harrison for playing the riffs not in the correct way which obviously annoys George Harrison. It is the first time that the audience sees an angry George Harrison who dares to speak up and sarcastically tells Paul McCartney that he will play whatever he wants him to or nothing at all. Paul McCartney recognises that he has annoyed him, which he did not intend to do and says that he only wanted to help, which

66 naturally makes things worse. The tensions are visible in this scene and are clearly present in the whole film. Bob Neaverson`s explanation for George Harrison`s possible resentment is that he was only allowed to contribute a few songs to the Beatles` albums. Thus, he barely received attention from the other Beatles, even though he had become an independent and great (1997, 109). As a matter of fact, it is apparent that George Harrison`s interest in the band was waning and resulted in an unmotivated attitude towards the music-making. In general, the audience sees a frustrated George Harrison who seems somehow to be stuck in a band, in which he feels trapped, powerless, and undervalued, and which he no longer wants to be a part of.

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5.0 Conclusion

In this thesis, the ways in which the Beatles’ feature films affected, encouraged, and eventually shattered their public image is analysed. Each big image change is reflected in their five feature films. The biggest changes in terms of their developing images are shown in A

HARD DAY`S NIGHT, MAGICAL MYSTERY TOUR, and LET IT BE. The Beatles` clean image changes into a hippie image and finally into one which seems to be their most authentic image in their entire career.

The subchapter of the first chapter, which is the introduction of this thesis, is called “1.1. The perception of the Beatles` films in public in connection with their changing images as well as critiques”, is proof of how their films were perceived in public and that critiques show that the public was aware of their changing images during their career. Thus, this thesis demonstrates how the films influence and affect the public image of the Beatles, and the agency the band had in this.

In the main part of this thesis, chapter ”2. The change of the Beatles` image in respect of their general looks in their films” reveals that the Beatles had an immense influence on fashion in the 1960s and they used their films to introduce their image changes. They knew how to make use of their appearance. Nothing was left a coincidence because uniformity was a main goal throughout their career. The Beatles usually opted for almost identical outfits as well as haircuts which made them look like a “Four-Headed-Monster” (Hewitt 2011, 115).

Their early films, A HARD DAY`S NIGHT and HELP!, not only reflect their neat and similar appearances but also emphasise the Beatles` high recognisability. Thus, looks were extremely important to show their clean image of well-dressed men. This image drastically changes in their films MAGICAL MYSTERY TOUR and YELLOW SUBMARINE, which can be definitely perceived as their outing as hippies in terms of their colourful and funky clothes. Often, their outfits were inspired by flowers as well as Indian patterns. As a result, they no longer had a clean image but rather a very freedom-loving and spiritual image. Thus, the Beatles’ styling and clothing were influenced by the hippie movement, also known as the famous counterculture. The Beatles` film, LET IT BE, is the only film in which they show their own fashion preferences because each one of them is dressed differently. They no longer present a unit in terms of clothes, which is why their image is authentic regarding their looks. To sum

68 up, this chapter emphasises the way in which the band used fashion as an expression of their identity.

However, chapter “3. The Beatles` music in their films in connection with their constantly changing image” demonstrates how their visual presentations of their music are used to reflect their constantly changing images in their films. First of all, research shows that the Beatles had a massive influence on in the 1960s and their developing music style reflected their changing public image. Music videos and performances present the Beatles as ordinary, playful, rebellious, and flirtatious musicians in their early films. The first time that this image changes most drastically is in MAGICAL MYSTERY TOUR, in which the Beatles have full control over their own decisions and even direct this film on their own. As a result, their clean image as playful boys vanishes completely. This chapter shows that the Beatles` image as hippies, who produced and presented their artistic ideas with colourful visual presentations, is in the foreground. Their movement away from popular or mainstream music and towards counterculture can be well observed in this film, both in the music and in the film’s own aesthetic style, and it played an important role in shattering the Beatles’ image as a “pop band”. It was the first time in their entire career that music was presented they way they intended to, which made it easy for them to raise a slight awareness for social problems and use music to spread messages of love, peace, and unity in the world.

Their fourth film, YELLOW SUBMARINE, addresses very similar problems as MAGICAL

MYSTERY TOUR even though the Beatles had no influence on this film as they were barely involved and didn’t even lend their voices to the production.The findings of this examination of their films support the idea that their last film LET IT BE is not trying to project a false image to the public. In conclusion, findings of this chapter prove that it is not only the Beatles’ performances and the way they are presented as individuals in the films that affected their public image but that the way their music is portrayed in their film also contributes to this.

The last chapter of the main part of this thesis, called “4. The perfect portrayal of each Beatle`s image in their films with the rare exception of their last film Let It Be”, is an exploration of each Beatle’s individual development, both as a musician and a public figure, is reflected in their films. Findings of this analysis show how each member of the band had to present a certain image to the public in order for the band to appeal to multiple target groups.

First of all, Paul McCartney`s image as the mature leader in the band is put forward in A

HARD DAY`S NIGHT, MAGICAL MYSTERY TOUR, and LET IT BE. The only time that his role as

69 the main leader of the band comes across as something negative is in LET IT BE, in which he seems to be too patronising in comparison to the other Beatles. Also, his affinity for fashion is portrayed in HELP! and YELLOW SUBMARINE. Second, John Lennon`s portrayal of a sarcastic as well as egoistical Beatle changes into being presented as a free-spirited Beatle with an interest in drugs. The only time that John Lennon is presented as a normal family person is in

MAGICAL MYSTERY TOUR. In their last film LET IT BE, the audience gets to know him as the loved-up solo artist and annoyed Beatle whose main purpose in life is Yoko Ono. Normally, Ringo Starr is portrayed as the relatable, goofy, and humble Beatle in most of their films. Sometimes, their films play with his image of being just the drummer with a lack of intelligence. Their fourth film, YELLOW SUBMARINE, plays with his dumb image by presenting him suddenly as the genius of the band. Ringo Starr`s image as the outsider of the band in their first film, A HARD DAY`S NIGHT, repeats itself in their last film LET IT BE. Considering both films, the first one addresses this problem in a comical way but it sadly seemed to be the truth at the end of their career. In comparison to Paul McCartney`s music ideas for lyrics and melodies, Ringo Starr`s artistic ideas are never discussed. Thus, he comes across as being very serious, withdrawn, and alienated from the other band members in their last film. George Harrison`s image as the introvert Beatle in their first two films gets reflected by his quiet and mysterious . In MAGICAL MYSTERY TOUR and YELLOW SUBMARINE, his interests in Hinduism and spiritualism is suddenly addressed which gives him a very spiritual image. Nevertheless, LET IT BE is also the most authentic film in respect to George Harrison`s facade of being usually the silent Beatle who gets rid of this image by finally speaking up for himself and showing his annoyance about Paul McCartney`s role as the leader. Thus, this chapter reflects how each Beatle’s public image developed throughout their career and the ways in which the films contribute to this image, as well as reflecting it.

Overall it can be said that the Beatles’ five films had an extremely important effect on the band`s image throughout their careerin respect of their appearance, music, and individual image changes.

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Filmography

A HARD DAY`S NIGHT. UK. 1964. Dir. Richard Lester. DVD, 2014.

HELP!. UK. 1965. Dir. Richard Lester. DVD, 2007.

MAGICAL MYSTERY TOUR. UK. 1967. Dir. The Beatles. DVD, 2012.

YELLOW SUBMARINE. UK. 1968. Dir. George Dunning. DVD, 1999.

LET IT BE. UK. 1970. Dir. Michael Lindsay-Hogg. Accessed March 16, 2018. https://archive.org/details/LetItBe_724.

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