Tag Archive: john lennon


The British class system depends on its nation’s citizens knowing their place and not getting any fancy ideas above their station. Two films from the late 1950s and mid-1960s show what can happen to those who challenge this convention.

The image on the left is from Room At The Top (1959) directed by Jack Clayton. The second is  from John Schlesinger’s Darling (1965).  

The smarmy anti-hero of the first is Joe Lampton, a man on the make stylishly played by Laurence Harvey. This film is based on John Braine’s novel of the same title. Braine described his creation as a man who behaves “like a little boy with his nose pressed against the window of a beautiful candy store.”  Lampton is determined to defy those who label him as a small town nobody and savour the sweet stuff money can buy.  

Getting the girl (the boss’s daughter),  the top job in the company and a handsome salary would in other circumstances constitute a happy ending but here they are the ingredients of a personal tragedy. The look on Lampton’s face as he puts on his suit jacket is not that of a man happy with his lot.  

In Working Class Hero,  John Lennon sang  “There’s room at the top /They are telling you still/But first you must learn to smile as you kill. The Bible (Matthew 16:26) issues a similar warning: “What will it profit a man, though he should win all the whole world, if he loses his own soul?  Joe Lampton does not heed these warnings. The film shows that upward mobility is possible but breaking through Britain’s rigid class-bound barriers may come with increased riches but you must be willing to live with no peace of mind.

Julie Christie’s look of puzzlement in the image from Darling is also one of dissatisfaction. The unmade bed in the background is not the aftermath of a sexual romp but seems to symbolise one of many sleepless nights.

Christie plays Diana Scott, a glamourous model and free-spirit who seems to have the world at her feet. But like Room At The Top, Darling is a cautionary tale that shows the illusions and delusions surrounding material success.

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On February 13th, Tilda Swinton was awarded an Honorary Golden Bear for her lifetime achievement at the 75th Berlin International Film Festival.   Her brilliant Acceptance Speech should be watched repeatedly and shared widely.

The timeliness of her impassioned plea for humanity is evidenced by the fact it came the day before JD Vance’s tirade spreading hate and scapegoating immigrants  at the Munich Security Conference .  As Tilda said: “it has perhaps never been more pressing to consider to weigh with reverence and maturity what sovereignty means to humans.”

She cleverly avoided naming the latest mob of enemies to freedom and human rights. Any caring person should know who they are.  Her speech is also rooted in a firm belief that “Cinema can inspire a civilized world”.

There is always more than one side to a story. As Tilda points out, movies are great at showing this. She doesn’t give examples but  Akira Kurosawa’s  Rashômon (1950)  sets the benchmark here. It is also demonstrated in the more recent Japanese movie Monster (2023)  directed  by Hirokazu Koreeda where we see the same dramatic events from the perspective of worried mother, a teacher and a young boy.

Without patiently and compassionately considering all points of view there is a very real danger that the world’s agenda is set by blinkered extremists as if no other possibilities exist.   

To imagine no country and a brotherhood of man may be idealistic but  hope must lie in the dream that such a Lennon-esque  vision will endure long after “greed addicted governments”  and “planet wreckers” are confined to history. Tilda imagines “a borderless realm and with no policy of exclusion persecution or deportation” and why ever not?

Isn’t being human meant to help those in dire need rather than create more barriers to liberty?  

YESTERDAY directed by Danny Boyle (UK, 2019)

yesterday Can this really be the same director who brought us Shallow Grave, Trainspotting and 28 Days Later?

Aside from one of the most unconvincing and sexless love stories ever brought to the big screen, the audience is asked to swallow whole the most lamely contrived plot devices (and holes) in the name of blurry-eyed nostalgia.

If this had all been pitched as a dream, we might have accepted that anything is possible as we do when Alice falls into Wonderland and Dorothy lands in Oz. But here we are in the real world of modern England with Himesh Patel in the part of Jack Malik.

help

Help me if you can!

He is a struggling singer from Suffolk who is about to quit when an global blackout causes a planetary memory loss of epic proportions.

Following this inexplicable (and unexplained) event we are asked to believe that :
1. Nobody remembers The Beatles.
2. Cigarettes and Coca Cola don’t exist
3. Harry Potter was never written.
4. John Lennon lives to enjoy a contented solitary retirement in a house by the sea.
5. A mediocre ginger-haired singer-songwriter plays a show and fills Wembley Stadium.

All of these are plainly absurd although since the fifth just so happens to be true, I suppose screenwriter Richard Curtis would resolutely defend his corner.

The Ed Sheeran cameo is especially grueling for self-respecting music fans although it could have been worse since rumor has it that Coldplay’s Chris Martin was first choice for this role.

This truly dreadful movie makes even the soppiest of Disney fantasies look like works of gritty social realism.

How Beatle people conquered America

EIGHT DAYS A WEEK  directed by Ron Howard (USA, 2016)

beatlesAfter all that has been written, sung and spoken about The Beatles do we really need another feel good film looking at aspects of their meteoric rise and enduring appeal?

Of course we do!

As an official Apple Corps production you know in advance that this will be another adoring, at times superficial, look at how four young men from Liverpool conquered America and the world. Only the most cynical will complain about this.

I guess the time will come when someone will expose a darker side to this rags to riches story that surely exists. The backstabbing that came soon after the band split, notably in John Lennon’s spiteful ‘How Do You Sleep?’, illustrate that life with the Beatle people was not always so shiny and happy as it appeared. Continue reading

Image based on the top 30 words used in songs based on 1 million recordings.

In this year’s  BBC John Peel lecture, Brian Eno said that one of the failings of modern-day music critics is that they pay too much attention to song lyrics. As part of Roxy Music, Eno played on two of the greatest pop singles of all time – Virginia Plain and Pyjamarama – where the words add to the atmosphere but when considered apart from the music are ,at best, enigmatic, at worst, plain jibberish.

Even when songs do have an obvious meaning or tell a story, they should not be viewed in the same way as poems or works of fiction. This is why the ‘Rock In Translation’ slot of Italy’s Virgin Radio makes for such a torturous listening experience. On this, a woman earnestly reads the translated lyrics to popular tunes as though she were helping to impart some meaningful insight into the human condition. Lines in the vein of “come on baby rock me all night long” are rendered into Italian as though they were some kind of profound comments on the nature of loving relationships. Continue reading