Instead of being plot reliant, the film is a visual spectacle with musical interludes, and while Morrison replicates the cartooning superbly, it hurts that the other major component is absent. There’s an obvious commercial attraction of a graphic novel accompanying the marketing for a restored Yellow Submarine film celebrating its fiftieth birthday. It’s also infused with the idealistic notion of concentrated peace and love overcoming all adversity. Four writers worked on the surreal screenplay, producing a nonsensical fantasy in the grand British tradition established by Lewis Carroll, with the Beatles strolling through absurdist situations cracking ridiculous jokes. Their manager Brian Epstein’s solution was to string a series of animations around the band’s then recent recordings, and it’s testament to the result that it’s even stranger and more surreal divorced from its era fifty years on than it was on its original release.īill Morrison and colourist Nathan Kane are note perfect in their adaptation of Heinz Edelmann’s film designs, each page a vibrant psychedelic wonder, Morrison’s depiction of the slightly off kilter and disturbing looking cartoon Beatles spot on. ![]() Already the world’s hottest band in 1964, the Beatles were contracted for three films, but working on Hard Day’s Night and Help! had evaporated the allure, and they were far from keen to waste their time producing another. In 1968 Yellow Submarine was a contractual obligation movie.
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