Word: ringo
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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...
...rest of the songs on the album are of varying degrees of goodness, with many many Beatle-like touches of genius (the glittering horns and Paul's singing in "Ob-La-Di, Ob-La-Da"; the two tempos in "Helter-Skelter"--Ringo's medium and George's very fast and the precise interchange between them; the ponderous massive build-up to an electrifying flourish in "I'm So Tired"); but they are too often only unsustained touches...
...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...
...morning in Liverpool, George, John, Paul and Ringo are approached by a troubled man in a canary-colored boat. His country, he announces, is in the hands of the Blue Meanies. The boys hop aboard and eventually arrive at Pepperland, where they conquer the villains-who look like angry Rorschach blots-with that worn weapon LOVE...
...going to be a ne'er-do-well, so you get together with some other kids who are also ne'er-do-wells and form a rock group. At your first recording session another group asks you to be their drummer. You join them; change your name to Ringo; and escape oblivion for fame and influence...