During the early 1960s an invasion of sorts occurred -- The British Invasion. The term was used to describe The Beatles� astounding popularity all over the world, which gained by the minute as more and more people were exposed to the rock band from Liverpool and its music. To expose the group further in smaller cities and to gain a profit from soundtrack record sales, United Artists gave a very limited budget of �175,000 to begin production on a film featuring The Beatles in the Fall of 1963 (Marck, par 2). Less than a year later, A Hard Day�s Night was released. The cleverly scripted black and white movie has a documentary feeling as it follows the four band mates on their way to an evening television performance that is similar to The Beatles� real life appearance on The Ed Sullivan Show. The film, using various techniques that are influenced by the French New Wave, was and still is a huge hit and has influenced current pop culture media.

Director Richard Lester, who directed TV commercials in America before moving to England, took advantage of the flexibility that television technology -- light weight cameras, synchronous-sound recorders, light sensitive film stock and zoom lenses -- allowed to cheaply and efficiently shoot the movie like most of the French New Wave directors (Giannetti, 356-357, 377). The camera is constantly moving throughout the film. The dancing in the club scene has the feel of a home camcorder because of the jerkiness of camera movements. The press conference scene also appears to be filmed with a handheld camcorder. The tight shots and quick straight cuts during the hotel room quips and train dialogue is much like a television show being taped with a multicamera setup.

Lester uses editing techniques that French New Wave directors were using in their own films. French New Wave directors used zooms and sometimes began sequences with close-ups (Giannetti, 357). Lester exemplifies this on the train a couple of times. The first time is when the four of them are first on the train and Lester zooms out from Paul�s coat. A second time is a zoom in on the face of Grandfather Johnny (Wilfrid Brambell) when he becomes �engaged� to a lady, followed by a fuzzy closeup of his peevish face before zooming out to reveal that the place of scenery has switched to the train�s luggage room. A third instance is a zoom out from a record album cover Grandfather Johnny is looking at in the hotel room to begin the fan mail receiving scene. Lester does the reverse when Grandfather Johnny is in a diner and zooms in on his face. Another example of zoom usage is during the same scene when Lester continually zooms in on Grandfather Johnny and Ringo as they sit and speak.

French New Wave directors were also using �unconventional� editing (Giannetti, 357). Lester does the same during the noisy press conference with a montage of dissolves to different images of people drinking and eating, the boys being asked questions and cameras taking pictures with they are answering questions dubbed over. When George has his picture taken, it cuts to a black screen and displays each photograph on a strip of 35mm film as each one is snapped.

Lester is extremely innovative and creative during the musical sequences. The camera circles around them. Extreme closeups on their faces, the instruments and other objects, as well as contrasting shots of them from high above and far away, occur. Sharp camera angles are used. In the �I Should�ve Known Better� section, John, Paul, Ringo, George and Grandfather Johnny are viewed playing cards through the fencing and bicycle spokes. In the �Can�t Buy Me Love� sequence, the camera shakily records them from a helicopter as they romp in the field. The �I�m Happy Just to Dance with You� scene begins with a view from a television camera monitor and zooms out to display the four of them in front of the studio cameras. More than one instance exists when the camera focuses on monitor screens in the production room.

Numerous editing aspects of A Hard Day�s Night can be found reflected in today�s pop culture media. The resemblance probably exists because of the original influence television technology had on the French New Wave movement. The quick pace and camera positions are now common in any music video, Mtv program and reality show. Outkast�s music video for �Hey Ya� mimics the final performance scene with shots of screaming girls in the audience and each band member. The music video also has overhead shots of the cameras and monitors. The Backstreet Boys taped a commercial for Sears to the song �Larger Than Life� in an homage to the opening sequence of screaming girls chasing the band through the streets as they duck into different hiding places to get away. The sped up sections of the four of them running around in the �Can�t Buy Me Love� scene is very similar to the opening credits of The Monkee�s, which stars a manufactured band that is a photocopy of The Beatles in general.

Other movies appear to borrow from this film. Josie and the Pussycats is one example. The �Can�t Buy Me Love� scene has the four guys individually freeze framed while jumping in the air. The movie Josie and the Pussycats has nearly identical images of Josie and company. Sped up movement is also used. Josie and the Pussycats has Josie running and hiding from screaming fans at the mall. The director films the girls� reflections when they discuss whether they should sign a contract and during their makeover. Lester films a silly scene of the band�s manager being shaved on a mirror. He also uses the mirror on the train to frame each of the characters in one shot without resorting to the usual one from the door. Both movies� musical interludes are more like music videos. Another movie is That Thing You Do! with the jam sessions, television appearance and dialogue.

Beatlemania overtook pop culture in the 1960s. Director Lester had to be innovative and creative in his technique to craft an entertaining film on a small budget. He was able to do this by using television technology. The influence of the French New Wave style -- constant movement, abruptness and unconventionality -- is evident throughout A Hard Day�s Night from the opening train scene to the ending performance. In turn, the movie went on to influence future pop culture media including music videos, television shows and movies. As the trend usually goes, present day media will probably create a new technique or style that will later influence and develop a future one.

Giannetti, Louis and Scott Eyman. Flashback: A Brief History of Film. 4th ed. New Jersey: Prentice Hall, 2001.

Marck, John T. Oh Look Out! Part 3. [Online] Available http://www.iamthebeatles.com/article1004.html, 6/20/04.

~* June 20, 2004 @ 9:12 pm *~