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A Hard Day's Night
24 February 2013
8.41pm
robert
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The scene with John and the actress is a double joke – one, is how to most people all the Beatles looked alike because of their hair – this joke actually continued into HELP – "That is not the one!" "Oh they all look alike . .."

But also a joke on the pretentiousness of the acting community at large – recall the entire conversation between John and the actress "But I defended you" etc.
 (also note my tag line below is from this scene)

two other great scenes – John snorting the coke bottle on the train. And John asking to "surge" with the teenage girls- "please sir may I surge with them?".

"She looks more like him than I do."
24 February 2013
10.45pm
Linde
The Netherlands
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I never really understood what that ''but I defended you'' bit was all about.

Oh God I just realized what ''Paul's grandfather'' meant by ''pink edged daisy''a-hard-days-night-ringo-6

25 February 2013
12.22am
Ron Nasty
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Both interpretations work. I have never seen it as anything other than John trying to put off someone he'd met briefly before and didn't want to get caught up with again. The other theory does work as well however. Here is the scene as it appears in the script:

48A. INTERIOR CORRIDOR AS BOYS PASS THRU ON WAY TO DRESSING ROOM

JOHN is behind them. JOHN, BOYS and MILLIE are walking towards each other.

MILLIE
(as all pass)
Hello.

JOHN
(stopping… the boys carry on past, not noticing her)
Hello.

MILLIE
Oh, wait a minute, don't tell me you're …

JOHN
No, not me.

MILLIE
(insistently)
Oh you are, I know you are.

JOHN
No, I'm not.

MILLIE
You are.

JOHN
I'm not, no.

MILLIE
Well, you look like him.

JOHN
Oh do I? You're the first one who ever said that.

MILLIE
Oh you do, look.

JOHN looks at himself in the mirror.

JOHN examines himself in the mirror carefully.

JOHN
My eyes are lighter.

MILLIE
(agreeing)
Oh yes.

JOHN
And my nose…

MILLIE
Well, yes your nose is. Very.

JOHN
Is it?

MILLIE
I would have said so.

JOHN
Aye, but you know him well.

MILLIE
(indignantly)
No I don't, he's only a casual acquaintance.

JOHN
(knowingly)
That's what you tell me.

MILLIE
(suspiciously)
What have you heard?

JOHN
(blandly)
It's all over the place, everyone knows.

MILLIE
Is it? Is it really?

JOHN
Mind you, I stood up for you, I mean I wouldn't have it.

MILLIE
I knew I could rely on you.

JOHN
(modestly)
Thanks.

MILLIE touches his arm then walks away. After a moment she turns.

MILLIE
You don't look like him at all.

JOHN winks at her and she winks back.

 I think it's John putting her off the scent. The only two Beatles with really distinctive noses are John and Ringo, to my mind. But there is the script, fabfouremily, and we all see different things, so which theory do you like?

(PS You wanted to kickstart the thread, think you've managed it!)

 

"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
25 February 2013
6.17pm
fabfouremily
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mja6758 said

fabfouremily said
There´s a point in the film, when they´re at the TV studios, possibly about halfway through the film. John bumps into one of the actresses and she says that he looks like somebody (and then after a bit she says that actually he doesn't look like him at all). Who does he supposedly look like? I either can´t hear who she says, or she doesn't say? Can anyone help? It's been bugging me over the last few days….

She is saying he looks like the "John" character in the film, and not wanting to deal with being recognised again, John sets about convincing her that he's not, that he just looks like him.

Aaaa thanks for that, and for the script downthread. I´ve watched the film about 7 times but I never hear what she says at first :)

And yes, I would say that the thread has been kick-started! a-hard-days-night-ringo-10ahdn_ringo_09

''We're just knocked out. We heard about the sell out. You gotta get an album out, you owe it to the people. We're so happy we can hardly count.''

26 February 2013
6.32pm
Zig
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I love that scene – particularly, Mal Evans' cameo. mal-evans

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27 February 2013
2.04am
Egroeg Evoli
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My favorite scene is John in the bathtub. And I also like when George shaves the mirror. :D

Do you want to know a secret? Read my username backwards. ~ ~ ~ - - - . . . - - - ~ ~ ~ Also known as Egg-Rock, Egg-Roll, E-George, Eggy...

☮ & <3

27 February 2013
3.36am
unknown
ay, qué pesado
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My favorite part of the movie, really, is their accents. It's a funny movie, and they have some good songs in there, but for me, their accents and faces are what make the movie so great. George is my favorite in AHDN, I find his parts the funniest. Also, is it just me, or were their accents thicker in AHDN than in Help!, MMT and Let it Be?

All living things must abide by the laws of the shape they inhabit
27 February 2013
4.37pm
vonbontee
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Are there any copies of the script circulating with Paul's scrapped "solo" scene intact? I've always been curious what that's about…

I like black music, disco music. I like the disco music that's out now - John Lennon, 1975
27 February 2013
4.51pm
Ron Nasty
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Is this what you're after?

Shot No. 57
Ext. Street

(PAUL comes down the street looking about him for RINGO. In the street is an old building, the sort of place that is highly favored for TV rehearsals. There is a sign on the door saying "TV Rehearsal Room." As PAUL draws near, a load of actors and extras, etc. are leaving, they are in costume, they are the ones who earlier had been going to a word rehearsal. When PAUL gets near the entrance he decides to go inside.)

Shot No. 58
Int. Hall

(PAUL enters and wanders about. He reaches a door, pushes it open and looks in. He sees a girl clad in period costume. She is moving around the room and obviously acting. PAUL watches her for a moment and then decides to go in.)

Shot No. 59
Int. Rehearsal Room

(PAUL goes into the room. The girl is in mid-flight. She is very young and lovely and completely engrossed in what she is doing. The room is absolutely empty except for PAUL and herself. She is acting in the manner of an eighteenth-century coquette, or, to be precise, the voice English actresses use when they think they are being true to the costume period… her youth, however, makes it all very charming.)

GIRL: "If I believed you sir, I might do those things and walk those ways only to find myself on Problem's Path. But I cannot believe you, and all those urgings serve only as a proof that you will lie and lie again to gain your purpose with me."

(She dances lightly away from an imaginary lover and as she turns she sees PAUL, who is as engrossed in the scene as she was.)

GIRL: (surprised) "Oh!"

PAUL: (enthusiastically) "Well…go 'head, do the next bit."

GIRL: "Go away! You've spoilt it."

PAUL: "Oh! Sorry I spoke."

(He makes an attempt to go. He simply continues to look steadily at the girl, then he smiles at her. She is undecided what to do next.)

GIRL: "Are you supposed to be here?"

PAUL: "I've got you worried, haven't I?"

GIRL: "Of course not. I asked who you are, that's all."

PAUL: "No you didn't, you asked me, Was I supposed to be here?"

GIRL: "I'm warning you, they'll be back in a minute."

PAUL: "D'you know something, 'They' don't worry me at all. Any road, I only fancy listening to you, that's all but if it worries you… well…"

GIRL: "Of course it doesn't worry me, I can…" (she interrupts herself) "…Who are you?"

PAUL: (smiling cheekily) "Another worrier."

GIRL: (accusingly) "You're from Liverpool, aren't you?"

PAUL: "How'd you guess?"

GIRL: "Oh, it's the way you talk."

PAUL: (innocently) "Is it…is it, really?"

GIRL: "Are you pulling my leg?"

PAUL: "Something like that."

GIRL: "I see. Do you like the play?"

PAUL: "Yeah, I mean, sure, well, I took it at school but I only heard boys and masters saying those lines, like, sounds different on a girl." (smiles to himself.) "Yeah, it's gear on a girl."

GIRL: "Gear?"

PAUL: "Aye, the big hammer, smashing!"

GIRL: "Thank you."

PAUL: "Don't mench. Well, why don't you give us a few more lines, like?"

GIRL: (pouts)

PAUL: "You don't half slam the door in people's faces, don't you? I mean, what about when you're playing the part, like, hundreds of people'll see you and…"

GIRL: (cutting in) "I'm not…"

PAUL: "Oh, you're the understudy sort of thing?"

GIRL: "No." (aggressively) "I'm a walk-on in a fancy dress scene. I just felt like doing those lines."

PAUL: "Oh, I see. You are an actress though, aren't you?"

GIRL: "Yes."

PAUL: "Aye. I knew you were."

GIRL: "What's that mean?"

PAUL: "Well, the way you were spouting, like…" (he imitates her) "'I don't believe you, sir…' and all that. Yeah, it was gear."

GIRL: (dryly) "The big hammer?"

PAUL: (smiling) "Oh aye, a sledge."

GIRL: "But the way you did it then sounded so phoney."

PAUL: "No, I wouldn't say that… just like an actress… you know."

(He moves and stands about like an actress)

GIRL: "But that's not like a real person at all."

PAUL: "Aye, well, actresses aren't like real people, are they?"

GIRL: "They ought to be."

PAUL: "Oh, I don't know, any road up, they never are, are they?"

GIRL: "What are you?"

PAUL: "I'm in a group… well… there are four of us. We play and sing."

GIRL: "I bet you don't sound like real people."

PAUL: "We do, you know. We sound like us having a ball. It's fab."

GIRL: "Is it really fab or are you just saying that to convince yourself?"

PAUL: "What of? Look, I wouldn't do it unless I was. I'm dead lucky, cos I get paid for doing something I love doing." (he laughs and with a gesture takes in the whole studio) "…all this and a jam butty too!"

GIRL: "I only enjoy acting for myself. I hate it when other people are let in."

PAUL: "Why? I mean, which are you, scared or selfish?"

GIRL: "Why selfish?"

PAUL" "Well, you've got to have people to taste your treacle toffee."

(She looks at him in surprise)

PAUL: "No, hang on, I've not gone daft. You see, when I was little me mother let me make some treacle toffee one time in our back scullery. When I'd done it she said to me, 'Go and give some to the other kids.' So I said I would but I thought to meself, 'She must think I'm soft.' Any road, I was eating away there but I wanted somebody else to know how good it was so in the end I wound up giving it all away… but I didn't mind, cos I'd made the stuff in the first place. Well… that's why you need other people… an audience… to taste your treacle toffee, like. Eh… does that sound as thick-headed to you as it does to me?"

GIRL: "Not really, but I'm probably not a toffee maker. How would you do those lines of mine?"

PAUL: "Well, look at it this way, I mean, when you come right down to it, that girl, she's a bit of a scrubber, isn't she?"

GIRL: "Is she?"

PAUL: "Of course… Look, if she was a Liverpool scrubber…" (PAUL starts acting a Liverpool girl, he mimes about then turns, extending his leg.) "Eh, fella, you want to try pulling the other one, it's got a full set of bells hanging off it… Y'what?… I know your sort, two cokes and a packet of cheese and onion crisps and suddenly it's love and we're stopping in an empty shop doorway. You're just after me body and y'can't have it… so there!"

GIRL: (shattered) "And you honestly think that's what she meant?"

PAUL: "Oh, definitely, it sticks out a mile, she's trying to get him to marry her but he doesn't want… well… I don't reckon any fellas ever wanted to get married. But girls are like that, clever and cunning. You've got to laugh." (He laughs)

GIRL: "Well it's nice to know you think you're clever."

PAUL: (grinning) "And cunning."

GIRL: "And what do you do about it?"

PAUL: "Me? Oh, I don't have the time, I'm always running about with the lads… no, we don't have the time."

GIRL: "Pity."

PAUL: (not noticing the invitation) "Aye, it is, but as long as you get by, it's alright, you know… bash on, happy valley's when they let you stop. Any road, I'd better get back."

GIRL: "Yes."

PAUL: (going) "See you."

GIRL: "Of course."

(PAUL stands at the doorway, shrugs, then goes out. After a moment the GIRL starts to act her speech. She is still using her actress voice.)

GIRL: "If I believed you sir. I might do…" (she breaks off and smiles) "…clever and cunning…" (she starts again but this time she delivers the lines in a saucy, teasing manner)

(PAUL pops his head back round the door.)

PAUL: "Treacle toffee…wowee!"

(He disappears and the GIRL laughs delightedly.)

 

(End of Scene)
 

"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
27 February 2013
5.25pm
vonbontee
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Just what I was looking for, mja, thanks! (Would've been easier just to post a link, wouldn't it?)

What a shame the footage (presumably) doesn't exist anymore. When I think of all the filmed-and-scrapped scenes for this and so many other classic movies going back a hundred years…If only they could've seen the future…DVD! Blu-Ray!

I like black music, disco music. I like the disco music that's out now - John Lennon, 1975
27 February 2013
5.50pm
vonbontee
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Hmm, after reading it, I can't say I care for it much. It's too wordy and "sincere" – it reminds me of the kind of part that Zeppo would play in a Marx Brothers movie. Maybe it could've been trimmed a bit rather than just cut entirely, I dunno. What was Paul's reaction to his big scene being abandoned, I wonder?

Another (unintended) thing: I can't help but imagine Paul delivering those actress-deprecating lines to Jane Asher!

I like black music, disco music. I like the disco music that's out now - John Lennon, 1975
27 February 2013
9.28pm
Ron Nasty
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vonbontee said
Hmm, after reading it, I can't say I care for it much. It's too wordy and "sincere" – it reminds me of the kind of part that Zeppo would play in a Marx Brothers movie. Maybe it could've been trimmed a bit rather than just cut entirely, I dunno. What was Paul's reaction to his big scene being abandoned, I wonder?

Another (unintended) thing: I can't help but imagine Paul delivering those actress-deprecating lines to Jane Asher!

I agree. I think one of the reasons it was cut was because it slowed the pace of the film. Regarding your link point, wouldn't really have worked – I  cut and pasted it from a copy of the complete script I have on my laptop.

"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
27 February 2013
10.18pm
Linde
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Thanks for posting! Wow, never seen that, and I was always so curious.

I agree with vonbontee, I don't really care for it either. It seems rather boring, especially compared to the other three's bits. It has too much words and it doesn't seem like it's very funny. 

I wish there was some dvd with deleted scenes from all the films.

And now I really feel like watching AHDN.

27 February 2013
10.20pm
vonbontee
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Regarding your link point, wouldn't really have worked – I cut and pasted it from a copy of the complete script I have on my laptop.

Ah, I see. I'm just glad you didn't have to type it all out yourself!

I like black music, disco music. I like the disco music that's out now - John Lennon, 1975
5 April 2013
5.14am
parlance
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The Examiner posted excerpts from Roger Ebert's reviews of AHDN and YS in their obituary.

“It was clear from the outset that 'A Hard Day's Night' was in a different category from the rock musicals that had starred Elvis and his imitators,” he wrote in his book “Roger Ebert: The Great Movies.” “It was smart, it was irreverent, it didn't take itself seriously, and it was shot and edited by Richard Lester in an electrifying black-and-white semi-documentary style that seemed to follow the boys during a day in their lives.”

and

“Unfortunately, most animated cartoon makers are content to reproduce the real world. So there’s a recognizable jungle in 'The Jungle Book,' and Tom and Jerry chase each other through an unmistakable living room,” he wrote. “The beauty of 'Yellow Submarine' is that it casts this objective universe aside and sails in a world of pure fantasy. The strange creatures and designs that inhabit Pepperland are simply a delight to the eye.”

Huge loss to the film community today. :'-(

parlance

Beware of sadness. It can hit you. It can hurt you. Make you sore and what is more, that is not what you are here for. - George

Check out my fan video for Paul's song "Appreciate" at YouTube and Vimeo.

5 April 2013
5.07pm
parlance
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Someone posted Ebert's poignant tribute to John written the day after his death on another board I'm on, so I wanted to share the link.

To keep this on topic, here's what he wrote about AHDN in the tribute:

That summer of 1964, I went to see the movie "A Hard Day's Night." Perhaps because it came at the right moment in my life, or perhaps just because it was such a liberating film, so free and filled with joy and music, it moved me as few films ever have. Yes, it truly did -- that formless, anarchic black-and-white movie with the Beatles running around in an empty lot, and Ringo going off to walk by himself, and John and George and Paul racing through a train and singing in the wire-mesh baggage compartment while hundreds of little girls screamed and squealed.

The concert footage from "A Hard Day's Night" caught better than anything else I've ever seen the mesmerizing mass effect of the Beatles. And there is one young girl in that film I will never forget. She is blond, she is perhaps 13, she has tears running down her cheeks, she is screaming the name of a Beatle over and over again, hopelessly crying out herpassion. To see the scene is to smile: It is, the instant crush of an adolescent fan. But the innocence of it, its clean lines of emotion stand for me as an image of that time.

parlance

Beware of sadness. It can hit you. It can hurt you. Make you sore and what is more, that is not what you are here for. - George

Check out my fan video for Paul's song "Appreciate" at YouTube and Vimeo.

5 April 2013
5.26pm
vonbontee
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parlance said

The Examiner posted excerpts from Robert Ebert's reviews of AHDN and YS in their obituary.

“It was clear from the outset that 'A Hard Day's Night' was in a different category from the rock musicals that had starred Elvis and his imitators,” he wrote in his book “Roger Ebert: The Great Movies.” “It was smart, it was irreverent, it didn't take itself seriously, and it was shot and edited by Richard Lester in an electrifying black-and-white semi-documentary style that seemed to follow the boys during a day in their lives.”

and

“Unfortunately, most animated cartoon makers are content to reproduce the real world. So there’s a recognizable jungle in 'The Jungle Book,' and Tom and Jerry chase each other through an unmistakable living room,” he wrote. “The beauty of 'Yellow Submarine' is that it casts this objective universe aside and sails in a world of pure fantasy. The strange creatures and designs that inhabit Pepperland are simply a delight to the eye.”

Huge loss to the film community today. :'-(

parlance

Yeah, literary community too. (It's Roger, not Robert, obviously.) RIP, second-greatest-guy-born-the-same-day-as-Paul-McCartney

I like black music, disco music. I like the disco music that's out now - John Lennon, 1975
5 April 2013
5.30pm
parlance
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Dammit, obviously a typo.

parlance

Beware of sadness. It can hit you. It can hurt you. Make you sore and what is more, that is not what you are here for. - George

Check out my fan video for Paul's song "Appreciate" at YouTube and Vimeo.

4 August 2013
12.31pm
Kermit
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I love the scene when they play the card game… 

Does anybody know which card game they play?

6 August 2013
4.33pm
Zig
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a-hard-days-night-ringo-8Not sure what the game is – I do get a kick out the 'Liverpool shuffle' in that same scene.

To the fountain of perpetual mirth, Let it roll for all its worth.

Can buy Joe love! If you're going to buy that song, album, or T-shirt anyway; please consider using these links to support the Beatles Bible: Amazon | iTunes

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