Word: ringo
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Dates: during 1960-1969
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...estimated 260 million people around the globe live left-handed lives in a right-handed world, Leonardo da Vinci and Alexander the Great were lefthanded, and so were Babe Ruth, Michelangelo and Charlemagne. The left hand rules Charlie Chaplin, Robert S. McNamara, Sandy Koufax, Kim Novak and Ringo Starr. They are known as southpaws, gallock-handers, chickie paws and scrammies-and on down a whole list of slangy synonyms whose very length testifies to the fact that for centuries left-handers have been looked upon with suspicion, if not with actual mistrust...
...strange enough, but that the actress should be as dreadful as Miss Aulin remains a total mystery. This 18-year-old girl has no discernible talent for comedy and tends to deliver her lines as if she were practising English elocution. The people around her (among them Charles Aznavour, Ringo Starr, Richard Burton, John Huston, Walter Matthau, Marlon Bando and James Coburn) manage to look like they had a hell of a good time making the film, but, alas, this does nothing for the audience...
Style or Nothing. Looking at the work in progress, Ringo complained that the pictures of him 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...
...much the same way that an elephant might be based on a mouse. All that is left is a smear. Candy (Ewa Aulin), a teeny-bopper who seems to be mentally retarded, is molested by a series of dirty old men in odd clothing. They include a Mexican gardener (Ringo Starr), a poet (Richard Burton), a guru (Marlon Brando), a Minuteman general (Walter Matthau), a surgeon (James Coburn), and Candy's uncle and father-both played by John Astin. The attacks take place on a pool table and in a moving truck, a paratroop plane, a grand piano...
...treatment of the song "Why don't we do it in the road?" A song with such a simple structure needs, and is ideally suited for, extensive musical exploration. The Beatles waste this opportunity with pedantic and sluggish guitar work and a generally uninspired musical conception, though Ringo tries hard. As a result the song falls flatter than it might have; particularly so because the shock value of the first line--"Why don't we do it in the road?"--is undercut by the second line which goes "No one will be watching...