When the music hating Blue Meanies take over Pepperland and freeze everyone within it, including the protectors, Sgt Peppers Lonely Hearts Club Band. Captain Fred and his Yellow Submarine recruit The Beatles to help save Pepperland. Along the way, they fall through the Sea of Time, Sea of Nothing, Sea of Holes and more. They meet Jeremy Hillary Boob Ph.D. and take him with them along the adventure. When at Pepperland, the Beatles "rally the land to rebellion" and take down the Blue Meanies, the four-headed Meanie dog and the Dreadful Flying Glove (with the songs "Sgt. Peppers Lonely Hearts Club Band", "With A Little Help From My Friends", "Hey Bulldog", "All You Need is Love"). In the end, we see all four live-action Beatles singing "All Together Now". Written by
John Vogel <email@example.com>
When the film was being restored for DVD, the producers obtained The Beatles' permission to remix the songs in order to produce a proper 5.1 music track. Engineer Peter Cobbin went back to The Beatles' original four-track work tapes and assembled true multi-track masters for each of the 15 songs, enabling him to achieve stereo effects and adding clarity that had never previously been possible. Many Beatles fans objected to this, although the surviving Beatles themselves reportedly approved the new mixes. See more »
Paul and George's shirts change colors throughout the movie. Paul's shirt varies from a more purplish hue to an almost-black hue, and George's shirt varies from a greenish-brown to a more orange-y-brown. See more »
What COULD compare? Yellow Submarine is 130,000 frames (90min x 60sec x 24 frames/sec) of classical, pop, tribute (to earlier animation styles), and original art from Da Vinci to Warhol to Picasso to Popeye to unbridled hallucination, drawn to a best-of-Python screenplay of non-sequiturs, puns, and pokes at institutions from cold-war antagonists to (governor) Reagan's paranoid National Guard deployment against counterculturists.
It's a feast for the senses and sensibilities. One can revel in the flashing, dancing colors and art styles--most of which well-shame anything Disney ever attempted and make today's phony-depth digital claptrap look like spilled esophageal reflux. The soundtrack is a condensed spectrum of the range with which Lennon/McCartney/Harrison composed, from deeply contemplative (Eleanor Rigby) to near-post-adolescent exuberance (Harrison's contributions) to silly-love-song filler showtunes (All Together Now). The dialog exchanges keep viewer's verbal senses on the edge of their seats. The theme undercurrents lightheartedly appeal nostalgically to those who were drawn to it in its theatrical release, historically to those who still wonder 'what the 60s was all about', without getting in the way of sheer artistic ebullience.
If you're an adult, it helps to like animation and British-invasion-era music (or Mozart, Bach, Beethoven, Rodgers & Hammerstein, for that matter). If you're an adult watching it with your kids (there's nothing offensive), be prepared for them to groan at Disney/Pixar/Nickelodeon rubbish from then on, and say "I want more of THAT!"
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