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As any free-activity loving DC denizens would we attended the showing of “A hard day’s night” (from the original film, from the refrigerated vault-natch) at the

Library of Congress Music Movie Festival

(for future schedules click on link to see when to see Gimme Shelter, Monterey Pop Festival etc…)

and lets just say: it was the best thing we never spent money on (in public).

so here is some Wikipedia trivia for you:

The film was shot for United Artists using a cinéma vérité style in black and white and produced over a period of 16 weeks in the spring of 1964. Black and white was chosen for its lower cost, and the short timescale was because the studio was convinced that Beatlemania would not last beyond the summer of ’64. (Their primary interest in making the movie, in fact, was the potential sales from licensing a soundtrack album.) The film also used the innovative technique of cutting the images to the beat of the music, and because of this many see the film as playing a major role in development of modern music videos, especially the “Can’t Buy Me Love” segment, which featured creative camera work, and the band running and jumping around in a field.

The film’s director, Richard Lester, also directed The Beatles’ 1965 film, Help!. He went on to direct several popular motion pictures of the 1970s and 1980s, including The Three Musketeers and Superman II.

Three extras would become famous in their own right. Phil Collins was an extra in the concert sequence and later became the drummer for Genesis. Pattie Boyd later married both George Harrison and Eric Clapton (though at different times). A Hard Day’s Night also marks the uncredited film debut of Charlotte Rampling as an attractive young dancer featured prominently in the disco sequences.

Unlike the standard rock and roll movies of the early 1960s, which tended to lack a plot, A Hard Day’s Night had a solid, well-written script at the insistence of The Beatles and manager Brian Epstein. Screenwriter Alun Owen was chosen because they were familiar with his play No Trams to Lime Street, and Owen had a knack for Liverpudlian dialogue.

The film chronicles in a mock documentary-style The Beatles arriving at a theatre, rehearsing, and finally performing in a television special. Owen spent several days with the group, who told him their lives were like “a room and a car and a room and a car and a room and car”. He realised that by 1964 The Beatles were prisoners of their own fame, and their schedule of performances and studio work by that time was extremely punishing, and this was written into the script. The character of Paul’s grandfather refers to this, saying, “I was supposed to be getting a change of scenery, and so far I’ve been in a train and a room, and a car and a room, and a room and a room.”

The film is one of the best depictions of Beatlemania.

THE THING WE LOVED BY FAR THE MOST (aside from Haley’s undying affection for Ringo’s nose)

were the fans, and their reaction to music.

so here, in several shots or less, if today was 1964, how we would have rolled.

and rocked:


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