One inhabitant manages to escape to seek help, in a yellow submarine. Their neighbours, the Blue Meanies, despise anything that brings joy and one day they invade, turning it from a colourful land of joy to a monochrome one of misery. Doing what would later be done with the music of ABBA with Mamma Mia, the screenplay writers (Lee Minoff wrote the original treatment and the screenplay itself was penned by four collaborators with contributions by Liverpudlian poet Roger McGough, who was responsible for a lot of the dialogue’s crackling wit and for making sure that the Beatles actually sounded Liverpudlian but sadly wasn’t credited) took the Beatles’ music and used them to tell a story, only instead of a story of marriage and mystery parentage on a Greek island, Yellow Submarine is a hippie fairy-tale all about the power of love.Ĩ0,000 leagues beneath the sea lies the utopia of Pepperland, a place where everyone lives in harmony and beautiful things like music reign supreme.
They were pleased enough with the end product to agree to appear in a small cameo scene at the end of the film, therefore satisfying their contractual obligation to UA of actually appearing in it. Yellow Submarine was the third Beatles film produced by United Artists after A Hard Day’s Night and Help!, made simply because they were contracted for three and, since the plan was to make it an animation, the Beatles themselves had little direct involvement. Pepper album, but The Beatles in general. Yellow Submarine turned me into a fan, not only of the film itself and the Sgt. It turned out to be one of those defining moments, where a switch is turned on in your brain and you discover something that you love and that will continue to influence you. So, in 1999, as we sat down to watch a film called Yellow Submarine on Channel 4 (the first time it was shown on British television for the first time since its theatrical release in 1968 – only Dad had actually seen it), I did have a vague sense of who The Beatles were. Can you think of anyone better to tackle the surreality of ‘Come Together’ and ‘I am the Walrus’ than Robin Williams and Jim Carey for instance? Two of these were ‘Run Devil Run’, a Paul McCartney solo album, and ‘In My Life’, a tribute to Sir George Martin, featuring celebrity cover versions of various Beatles songs. We always had the same selection of about two or three CDs and so, consequently, these became favourites. These styles included melding love-action photography with animation, 3 dimensional sequences and kaleidoscopic "rotoscoping" where film is traced frame by frame into drawings.Back in the mists of time, in the days before sat-navs were ubiquitous, my Dad used to play music during long car journeys. " The style should vary every five minutes or so to keep the interest going until the end".
#Beatles yellow submarine series
" I thought from the very beginning that the film should be a series of interconnected shorts" remembers Yellow Submarine's art director, Heinz Edelmann. Yellow Submarine sits aloingside the dazzling Pop Art styles of Andy Warhol, Martin Sharp, Alan Aldridge and Peter Blake.
#Beatles yellow submarine tv
Directed by George Dunning, and written by Lee Minoff, Al Brodax, Jack Medelsohn and Erich Segal, Yellow Submarine began its voyage to the screen when Brodax, who had previously produced nearly 40 episodes of ABC's animated Beatles TV series, approached Beatles' manager Brian Epstein, with a unique vision for a full-length animated feature. " The music, let's face it, was the inspiration for the whole film," said Yellow Submarine line producer John Coates. And by integrating the freestyle approach of the era with innovative animation techniques, it revolutionised a genre. By merging the visual splendour of animation with a fantasy - adventure tale filled with peace, love, hope and of course, music, Yellow Submarine captured the essence of the Sixties. When The Beatles' spectacular feature, Yellow Submarine, debuted in 1968, it was instantly recognisable as a landmark film.
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