An Eastern cult discovers that the sacrificial ring is missing. Ringo, drummer of The Beatles band has it; sent by the girl (who's to be sacrificed) as a gift. Clang, Ahme, Bhuta and several cult members leave for London to retrieve the ring. After several failed attempts to steal the ring, they confront him in an Indian restaurant. Ringo learns that if he does not return the ring soon, he will become the next sacrifice. Ringo then discovers that the ring is stuck on his finger. Its a race against time; John, Paul, and George try to protect their friend while they're all being chased not only by Clang and his minions, but also by two mad scientists and the chief inspector of Scotland yard. Will Ringo be saved, or will he be sacrificed? Written by
Due to time constraints, the film was edited while it was being shot. So by day Richard Lester would shoot the film, and by night he would edit any scenes that had been completed. See more »
When the boys are out in the field protected by security, you can see through the whole first song, that Ringo does not have the ring on his finger, but during the next song before the ground explodes, he does have it on. See more »
[to Ringo, holding a syringe]
This will make your finger shrink. Be brave.
[into the camera]
Alas, if he were brave, this would not be necessary.
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This film is respectfully dedicated to the memory of Mr. Elias Howe, who, in 1846, invented the sewing machine. See more »
A brief glimpse into the end of an era of "innocence"
Of all the various Beatles transformations out there, I have to admit that I liked them best from late 1964 to mid-1966. During this era, they morphed from the "innocent" fab four into the pre-mystical Beatles that came about in late 1965 with the advent of their wonderful "Rubber Soul" lp.
Yes, I loved these guys from this era of time. If you're old enough to have experienced the British Invasion, then you can show an appreciation of how the music once was: short and sweet. To put it simply, most pop music that came out of this era was short (around 2 minutes and 30 seconds) and sweet enough to reveal a new type of rock n' roll that never existed before the advent of the Beatles, the Rolling Stones, the Yardbirds, Chad and Jeremy, the Dave Clark 5, etc, etc, etc.
It's too bad that this era didn't last long enough for us to enjoy. Before you knew it, it was gone like a morning mist. Even the American versions of garage rock, like Gary Lewis & the Playboys and the Turtles disappeared as discontent with the establishment and Vietnam sapped all of the collective innocence out of us.
It was an era of music that was, in essence, non-political; Beatles music, as well as other bands, were geared toward boy-girl love relationships and that was all. Barry McGuire then blew us out of the water with his "Eve of Destruction" around September, 1965. This, of course, caught the Beatles by surprise and they quickly changed their music from the typical "love songs" and became more creative in their talents by releasing "Day Tripper" with "We Can Work It Out" as a flip side.
"Help!" is a remnant of the final days of "innocence", when Vietnam was just entering the nightly news night after night after night and when the domestic disturbances on college campuses and ghettos was coming to a head.
This is what "Help!" represents to those who study this era. It was still a time when we could still help to avoid the problems that were beginning to plague American culture, society and politics. It still showed the Beatles as innocent and fun-loving mop tops that many people still prefer over their re-emergence as mystical, drug-experimenting replacements two years hence. I know that I still prefer them as innocent mop tops, but reality has shown that they were far from innocent even during their early days in Hamburg.
All that aside, this is still my favorite era of Beatledom.
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