Word: films
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Dates: during 1960-1969
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...made it, though almost their only contribution consists of excerpts from their records, plus three new and not notable songs. Secondly, the credits state that it is based on John Lennon's and Paul McCartney's song by the same name, but the story line of the film has very little in common with that simplistic little allegory about goofing off on barbiturate capsules ("yellow submarines...
Edelmann took considerable trouble with his principal characters-studying the Beatles' film, A Hard Day's Night, to get their characteristic walks, and watching an old newsreel of Hitler as a model for some of the movements of the Chief Blue Meanie. Edelmann's out right inventions came from everywhere -including the unconscious. He thinks he may have got the idea of the shark-stomached Snapping Turtle Turks because of a Turk he knew who once forced an indigestible Turkish meal on him. He considers the Flying Glove an apt symbol of evil, since "gloves are worn...
...made his nose too short, and it was promptly lengthened. But likeness was never really the point of Submarine. It is style or nothing. If the result seems less a coherent story than a two-hour pot high, Submarine is still a breakthrough combination of the feature film and art's intimacy with the unconscious...
Just as the stream of self-conscious ness winds down to a thin treacle, the film-and the car-take flight. Caractacus spins a tale of adventure, with Chitty Chitty Bang Bang as the hero. The car soars and sails, evil Baron Bomburst (Gert Frobe) covets it and unleashes comic villains to kidnap its owner. Instead, they get Grandpa. Off he goes to Vulgaria, a horrid land where children are forbidden. Underneath the baron's castle, the banished boys and girls have hidden for years, waiting for salvation...
...Potts come to the rescue, triumphing over twin evils: the baron and the score. Written by Robert and Richard Sherman (Mary Poppins), the eleven songs have all the rich melodic variety of an automobile horn. Persistent syncopation and some breathless choreography partly redeem it, but most of the film's sporadic success is due to Director Ken Hughes's fantasy scenes, which make up in imagination what they lack in technical facility. Next to Tiny Tim's hallowed remark, the holiday season's most overworked phrase is "What can we take the children...