The greatest opening chord in movie history is followed by one of the great cut-up comedies in “A Hard Day’s Night,” combining the immense charm of the young quartet with the intense invention of a young Richard Lester. It’s one second, two seconds at the most, twannggg, and the screen floods with the Beatles, in trim, natty suits and thin ties and the, yes, Beatles haircuts, being pursued up a London side street by a loving, crushing crowd of fans. Those opening two minutes forty-five seconds are one of the most fantastic bursts of joy in any movie I know. And then, you know what? You still get to enjoy the sweetly absurd comedy of the rest of “A Hard Day’s Night.” Plus: weren’t they such pretty, lovely boys? (Even in the company of their friend, the cleanest “clean old man” of them all.)The bright black-and-white DCP restoration, after other restorations in the past couple decades, is yet another reminder, not of the delicacy of pop culture as it ages, but of how fragile film history is. 87m. (Ray Pride)
“A Hard Day’s Night” opens Friday, July 4 at the Music Box.
Ray Pride is Newcity’s film critic and a contributing editor to Filmmaker magazine.
His multimedia history of Chicago “Ghost Signs” will be published soon. Previews of the project are on Twitter and on Instagram as Ghost Signs Chicago. More photography on Instagram.
Talking Screens, September 2-8, 2022: $3 Movies, For A Day | 10 Remarkable Films | Ozon Makes Fassbinder Lite National Cinema Day. In Chicago: "The Creepshow: A Stephen King Film Festival"; ten remarkable films in "The Story of Film: A New Generation—A Film Series"; Chicago Film Society presents "Foolish Wives"; and a five-picture run for Pier Paolo Pasolini begins with "Mamma Roma." Plus, a pair of female-led Mexican wrestling movies. New films this week: "Peter Von Kant," "The Good…
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