Words: Fleur Kas (she/her)
Just like the first wave of Beatlemania, Mendez’ casting is catered to teenage girls, with the stereotype of female hysteria underpinning its marketing. As BBC journalist Alex Taylor articulates: ‘If 1960s Beatlemania was defined by teenage girls fainting and screaming, the plan now is arguably to get Gen Z – in internet parlance – “screaming, crying, throwing up” from behind their phone screens in excitement’.
Once upon a time, 4 lads from Liverpool started a band – sound familiar? The legendary story of The Beatles is being revisited in Sam Mendez’ 4 part biopic, due to be released in 2028. Each film will focus on a different band member, with notable casting choices to say the least: Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon, Joseph Quinn as George Harrison and finally, Barry Keoghan starring as Ringo Starr. Aside from the 2 Paul’s sharing the same name, do the ‘Internet’s boyfriends’ have what it takes to embody the Fab Four?
The Beatles are undeniably one of the most popular bands in Western musical history, yet what many listeners (including myself prior to this research) don’t know is that they were also film stars. The quartet acted in 5 major films throughout their career, each eponymous to some of their most successful albums: A Hard Day’s Night (1964), Help! (1965), Magical Mystery Tour (1967), Yellow Submarine (1968) and Let It Be (1970). Richard Lester’s A Hard Day’s Night was particularly influential yet paradoxical; it can be seen as a slapstick advertisement for the album which simultaneously conformed to yet rebelled against the press’ expectations of the band. Although they caricatured their stereotypical images (Paul as ‘the cute one’, John ‘the smart one’, George ‘the quiet one’, and Ringo ‘the lucky one’), the film also celebrated their authenticity and wit. While Lester’s film was produced at the peak of “Beatlemania”, albeit critical of the moment, Mendez’ biopic is pushing for a next wave of it.
Let’s break down what Beatlemania exactly means. The OED (yes, that’s right) defines it as an ‘addiction to the Beatles and their characteristics; the frenzied behaviour of their admirers’. As opposed to the trendy ‘moptop’ hair of the 60s, Beatleheads are less recognisable today; yet the same ‘frenzied behaviour’ is being incited. Just like the first wave of Beatlemania, Mendez’ casting is catered to teenage girls, with the stereotype of female hysteria underpinning its marketing. As BBC journalist Alex Taylor articulates: ‘If 1960s Beatlemania was defined by teenage girls fainting and screaming, the plan now is arguably to get Gen Z – in internet parlance – “screaming, crying, throwing up” from behind their phone screens in excitement’. Beyond paying homage to the band’s members, Mendez’ underlying objective is to fuel a heteronormative, consumer fantasy, perhaps perpetuating rather than challenging the misogynistic tendencies of Beatlemania.
Moreover, studio executive Tom Rothman has described the biopic as ‘the first binge-able theatrical experience.’ This idea of ‘binge-able’ cinema is compatible with the genre of pop, as was evident during Beatlemania. From the oh-so-catchy ‘She Loves You’ to ‘I Want to Hold Your Hand’, the earlier, defining hits of Beatlemania were addicting to listen to, just like film and TV. However, is it ethical to encourage cinema binges in an age of Internet addiction, not to mention parasocial relationships replacing real-life connections? One could even argue that the desire for binge-ability caused the band’s split: the ever-growing demands of the music industry conflated with heavy drug use. Post-Beatle-breakup, the four remained consumed by the world’s addiction to them, with fatal results for John Lennon. In George Harrison’s words, ‘all things must pass’: perhaps it is sensible to leave Beatlemania in the 60s.
Then again, is capitalising off of these crushes really that harmful, or does Mendez offer a healthy dose of distraction from our current reality? Paul and Ringo, the band’s surviving members, have both consented to the biopic: in contrast to their drastic rise in fame in the 60s, they have years to prepare this time around. As Hunter Davies, the band’s biographer, noted in a recent Radio 4 interview: ‘The strange thing about the Beatles is that the longer we get from them, the bigger they become.’ Nevertheless, a 2022 survey by Radio X revealed that 1 in 3 Gen Z’s are unfamiliar with The Beatles: by making the Internet’s boyfriends the face of the band, it will help young people (re)discover the beloved Liverpudlians.
On that note, none of the new Fab Four are actually from Liverpool. Undoubtedly, the Merseyside has great Irish influence, but Mescal and Keoghan will still need to perfect their Scouse. An even greater challenge is posed to Dickinson and Quinn as Londoners, raising the question on whether they can successfully (and inoffensively) perform Northerners. With accents being such an important indicator of identity in the UK, this may test the authenticity and allure of the film. Similar to Glasgow, Liverpool is a UNESCO City of Music, a heritage which can be preserved through representation in the media: I am strongly hoping the films will at least be set in Liverpool, unlike the fabricated London of Yorgos Lanthimos’ Poor Things. If Mendez gets it wrong, this theatrical experience may end up being a not-so-magical mystery tour.
Aside from these problematic aspects, a second wave of Beatlemania is very feasible, and could be very fun. Personally, I don’t think I’ll be queuing outside the GFT to binge-watch the biopics all day, but admittedly, I’m keen to see them: just imagine a Paul Mescal rendition of ‘And I Love Her’! With a separate film dedicated to each member, I am anticipating seeing the individuality of each Beatle beyond their stock archetypes. Although we are now 55 years away from Let It Be, the band’s final album, Mendez is cementing The Beatles’ legacy through Internet culture, reflected in his casting and artistic intentions. Time will tell if the biopic effects a major breakthrough in pop culture, but let’s prepare to twist and shout!
Sources:
https://www.thebeatles.com/films
https://www.bfi.org.uk/features/hard-days-night-60-beatles-pop
The Beatles and The Historians: An Analysis of Writings About the Fab Four by Erin Torkelson Weber (2016)
https://www.oed.com/dictionary/beatlemania_n?tl=true&tab=meaning_and_use-paywall
https://www.bbc.co.uk/news/articles/c9djl4qd884o
https://www.radiox.co.uk/artists/beatles/1-in-3-gen-z-unfamiliar-says-survey
https://www.bbc.co.uk/news/articles/cgrgq5p2q9vo
