On Location: Ringo’s wander in A Hard Day’s Night | Little White Lies

On Location

On Loca­tion: Ringo’s wan­der in A Hard Day’s Night

16 Aug 2020

Words by Adam Scovell

Grainy street scene, people passing. Faded image of building exterior. Lush green landscape.
Grainy street scene, people passing. Faded image of building exterior. Lush green landscape.
Retrac­ing the Beatle’s solo stroll through West Lon­don in Richard Lester’s 1964 music film.

Richard Lester was a direc­tor who under­stood the pow­er of 1960s British pop cul­ture. Along with Ken Rus­sell, Lester saw the poten­tial of the bur­geon­ing music scene and took advan­tage of it, blend­ing influ­ences from com­e­dy, pop-art and sur­re­al­ism into a unique cin­e­mat­ic style. Though work­ing ini­tial­ly in tele­vi­sion, Lester soon moved to fea­tures with The Mouse on the Moon before final­ly break­ing through with his col­lab­o­ra­tion with The Bea­t­les, A Hard Day’s Night.

Com­mis­sioned as much for the loop hole result­ing in the US dis­trib­u­tor being able to mar­ket its sound­track, the result­ing film not only broke all of its doom laden box-office fore­casts but actu­al­ly marked a shift in how music itself was pro­mot­ed, espe­cial­ly in its fore­shad­ow­ing of the music video. Notably, all of this takes place in an explic­it­ly Lon­don set­ting and a side-effect of Lester’s film­ing was to cap­ture the city look­ing par­tic­u­lar­ly excit­ing as var­i­ous youth move­ments bloomed.

Lester’s film trans­plants the relent­less tour­ing sched­ule of the band into the sin­gle day of the film’s hit sin­gle-inspired title. The four lads board a train in haste after being chased by a huge group of fans. There, they meet their man­ag­er Norm (Nor­man Ross­ing­ton) and road man­ag­er Shake (John Junkin), as well as Paul McCartney’s vin­dic­tive but excep­tion­al­ly clean grand­fa­ther (Wil­frid Bram­bell). The group are on their way to Lon­don to record a tele­vi­sion per­for­mance. But with the end­less array of dis­trac­tions, real and sur­re­al, there’s no telling whether they’ll make the final show on the night.

The hint that A Hard Day’s Night is real­ly a Lon­don film comes from its open­ing train jour­ney. We see the band chased through the streets around Maryle­bone Sta­tion before they catch a train. After a seg­ment of events and songs per­formed, we see its arrival back at the sta­tion: they arrive exact­ly where they left off. Even if sim­ply a cost-cut­ting exer­cise – why close off two main­line Lon­don sta­tions when sim­ply one and a few care­ful­ly repo­si­tioned cam­eras will suf­fice? – it exem­pli­fies what the film is will­ing to do with its por­tray­al of life on the road, result­ing in a film that cap­tures the city just before it start­ed ful­ly swinging.

The film acts as a time-cap­sule for two very dif­fer­ent sides of the city, both now arguably lost. The first is the last real gasp of 60s pearl-and-fur glam­our, filled with high-end clubs, casi­nos and hotels. The very aes­thet­ic of this world is alien and allur­ing, the clothes as lav­ish as the archi­tec­ture of these spaces. It’s dif­fi­cult not to feel a sense of long­ing when see­ing the film’s incred­i­bly off-the-cuff, doc­u­men­tary-esque scenes, the new mod­el youth explor­ing London’s nightlife when it still retained a styl­ish gleam and vivacity.

The oth­er side of the city is one that was quite lit­er­al­ly built over. When not drift­ing through exclu­sive night haunts, Lester unusu­al­ly shows London’s post-indus­tri­al rub­ble, whether in strange­ly designed out­door spaces – the field in Isle­worth where the band per­form their pro­to-music video for Can’t Buy Me Love’ – or in the half-built new devel­op­ments spring­ing up. For a film that spends so much of its time indoors, it’s sur­pris­ing in hind­sight to see the wealth of loca­tions and spaces Lester cap­tured for posterity.

Exterior of pink building with floral details, trees, and shadows

This is most appar­ent in a lat­er seg­ment when Ringo decides to walk out on the band last minute and get the most out of life. You could learn more by get­ting out there, parad­ing the streets… Liv­ing!” says McCartney’s stir­ring grand­fa­ther. And so Ringo walks in a rather for­lorn man­ner, due sup­pos­ed­ly to being gen­uine­ly hung over from a heavy night of drink­ing with Pat­tie Boyd, soon to be George Harrison’s wife and appear­ing as a girl on the train ear­li­er in the film. Yet it’s one of the film’s most uncon­scious­ly unusu­al and qui­et­ly beau­ti­ful moments.

On head­ing out with his cam­era, Ringo turns his eye to street pho­tog­ra­phy. Find­ing him­self in pre-wealth Not­ting Hill, he pho­tographs some every­day bits of street fur­ni­ture includ­ing some milk bot­tles on someone’s wall. The house is the first one on Lan­cast­er Road and is vir­tu­al­ly unchanged. Real­is­ing that he can’t walk the streets while still recog­nis­ably a Bea­t­le, Ringo flees from two fans and finds a junk shop where he avails him­self of a drab coat and hat for a dis­guise. The shop was at the oth­er end of Lan­cast­er Road but is now a lux­u­ry cur­tains shop.

Pastel-coloured building with double doors, window displays, and decorative black railings.

Final­ly, at least in this seg­ment framed as a mon­tage over the instru­men­tal ver­sion of That Boy’, Ringo finds the riv­er where he meets a boy (David Jan­son) skiv­ing off from school. It’s a beau­ti­ful sequence show­ing the cob­bled, indus­tri­al aspects around the riv­er full of moody Bill Brandt-esque shad­ows and wan­der­ing souls. The bridge seen in the back­ground is Kew Bridge and the shots were tak­en along the path on the south side of the riv­er. The Brent Gas Works seen in the shots have now been replaced by blocks of flats as have the dis­tinc­tive cob­bles. With house boats lin­ing the water­way and poplar trees shad­ing the path, I opt­ed to pho­to­graph slight­ly fur­ther from where Ringo walked, where the steep sid­ing of the riv­er bears a stronger resem­blance to Lester’s shots.

Ringo goes fur­ther lat­er on his walk, fea­tur­ing an unfor­tu­nate trip to a pub, a mishap on an Eal­ing build­ing site and even­tu­al­ly to the police sta­tion. Yet there’s some­thing deeply mov­ing about his ear­li­er dérive. Even if fic­tion­al, there’s a gen­uine feel­ing of return for Ringo as a char­ac­ter, as if the anonymi­ty pro­vid­ed by the vast­ness of Lon­don actu­al­ly gives him the plea­sure that McCartney’s grand­fa­ther sug­gest­ed half-mock­ing­ly he would find. Whether that same pur­pose­less, mean­der­ing dis­cov­ery would be made today is anoth­er mat­ter. But when­ev­er I find myself wan­der­ing with no par­tic­u­lar des­ti­na­tion, it’ll always be to my mind fore­shad­owed by Ringo’s lone­ly drift.

Lakeside landscape with dense vegetation, dark water, and cloudy sky.

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