Directed By Danny Boyle
Starring – Himesh Patel, Lily James, Kate McKinnon
The Plot – A struggling musician (Patel) realizes he’s the only person on Earth who can remember The Beatles after waking up in an alternate timeline where they never existed. Using it to his advantage, the songwriter takes credit for every Beatles song ever created, but soon the price of fame catches up to him.
Rated PG-13 for suggestive content and adult language
– The gimmick. There’s much to be commended about this alternate dimension gimmick that the movie’s plot essentially focuses on, but none more credible than what’s left on the bone from what I originally thought was an overly revealing trailer. Aside from the loss of The Beatles here, there’s a series of startling exposition drops for everything from musical artists to soft drinks, that paint the pop culture tragedies within this complex situation that Jack becomes saddled with. In addition to this, the screenplay is wise enough to illustrate these what if scenarios, bringing along a series of smart and well-timed surprises that still persist even if artists like The Beatles actually don’t, and it’s a script that is every bit as profound and challenging as it is unique to the world with pop culture history so inferior to the one we live in.
– Absorbing presentation. Danny Boyle’s one-of-a-kind scope remains consistent in this film, garnering razor sharp editing and metaphorical transitions involving meaningful imagery that really allows us to soak in the atmosphere from all angles. One such example takes place during the initial bus accident, where we are treated to as many as four different perspectives on-and-off of the bus that fruitfully articulates the psychological beat that exists within this Chaos Theory. Likewise, Boyle treats us to a barrage of establishing setting sequences that engage us with vibrancy in color design, as well as big, bold lettering to better paint the big world feel that the pop star life quickly becomes saddled with. When you watch one of Danny’s films, it often feels like as many as two other films are cohesively and simultaneously playing at all times, giving the audience a perspective inside the mind of its protagonist where cameras aren’t often allowed to go, and in this case it reveals the one person who persists within Jack’s mind over the fame, the riches, and the overall popstar lifestyle.
– An emerging interest. While the gimmick of a world without The Beatles is enough to bring butts to the seats, it’s pleasantly remarkable that my interest became further invested in this nourishing love story from beneath that is brought along superbly by screenwriter Richard Curtis. The film values the bond between Jack and Ellie so much that it initially depicts them as friends and even business partners, and it’s in those introductory minutes where we better comprehend that there is enough room to grow in these subliminal romantic feelings between both to evolve into something more. As the film went on, I practically begged for the movie to return to their interesting dynamic that played so tenderly into the idea that absence makes the heart grow fonder. Jack and Ellie are confronted with an evolution in their relationship, and the progression throughout is anything but choreographed in the way you would expect a romantic comedy to stick a bit too close to conventionalism. It challenges them to confront this feeling inside, and demand more not only from themselves, but from the person staring back at them.
– Sturdy performances. For a first-timer, Himesh Patel strikes all of the right chords, balancing life on and off the stage in a way that nearly establishes the two sides as entirely different people. While wrapped in the spotlight, Patel’s Jack feels every bit as anxious as he does let down by all of the things he once craved, yet to the side that navigates through everything, there’s a relaxed and comical side to his demeanor that seems only present when he engages with James’ Ellie. Speaking of which, the chemistry between them is every bit believable as it is tasteful, and for a female lead there’s a lot of gentility and warmth behind Lily’s glowing smile that makes it easy to understand Jack’s falling for her. Notable supporting cast includes Ed Sheeran, Sanjeev Bhaskar, and especially Kate McKinnon as this overbearing manager who serves as a villain if anyone under the film’s cape.
– Musical incorporation. While not a musical itself, the film features 18 different Beatles songs that are played in compact form to keep the pulse of the story firmly in focus. This might upset some people to not hear a whole song in its entirety, but I liked the pacing of these clips because they were able to include more, offering a wide range of catalog that is sure to satisfy all interested parties. As for the performances themselves, Patel does do his own singing, and while his singing is at times inconsistent in attaining certain pitches, the passion that comes from his delivery, as well as altering to a song’s original speed, gives new life to a collection of timeless tracks without alienating audiences from experimentation. The finished products maintain the level of familiarity to their compositions, all the while establishing something fresh with the steep check written by the production that was second to none in the year’s soundtrack offering.
– Fantastical approach to iconic songs. How would a song like “Let It Be” do against today’s landscape of colorful personalities and downloadable content? “Yesterday” answers this in a poignant approach, depicting the difficulties of song writing in a toxic environment, that occasionally feels a bit too influential. In this respect, the material hints that The Beatles were lightning in a bottle not just for the abundance of classics that they produced, but also for them being a product of their time, in an age where music came before marketing. When presented in modern day rendering, we get a series of compelling circumstances that illustrates a mountain of opposition that John, Paul, George, and Ringo never had to embrace, and while we the audience side with Jack for his understanding of why these songs are genius, we can’t help but ask if they would receive the same praise in a decade known for exchanging content.
– Attention to detail. What I give a film like “Yesterday” over movies like “Rocketman” or “Bohemian Rhapsody” is the dedication to craft in mastering these big scale concert sequences that spare no expense or time to authenticate the experience. Live action audience over computer generation is the intended direction here, and it better masters this level of iconic impact that Boyle’s grandeur cinematography allows to stretch as far as the eye can see. In addition to this, the variety of shot composition camera angles and intensity in sound mixing articulately capture the big stage feel with no gimmicks required, and these intoxicating sequences that never over-complicated their intention restored my faith in cinematic concert footage that hasn’t been inspiring as of late.
– Fame fumbled. There’s a point midway through the movie where Jack of course becomes this mega popstar, being constantly mobbed by a barrage of fans that hunt him down to catch a glimpse of their idol. My problem with this stands as a film error of sorts, as for the rest of the film, any time Jack is in a highly public place, he isn’t bothered even in the slightest by an adoring fan. It’s not like his fame decreases. If anything, it increases as the film progresses, and this nagging error in continuity bothered me because I feel it could’ve better been used as a barrier between the love story of Jack and Ellie, that the two could never connect because of. To drop it completely just feels like an obvious oversight in production detail that was flawless until that point.
– Uneven pacing. This isn’t so much the case with the two halves of the film like is usually the case, but rather with an overly-anxious pacing that didn’t link up well with the nearly two hour run time that this story is blessed with. To do this right is to give each chapter of fame proper time to grow with its audience, but what we’re left with gives the film this constant feeling of montage storytelling that never takes advantage of the time it has been given. Particularly with the rising conflict of a new lover being added to Jack and Ellie’s complicated relationship, the screenplay introduces it then rarely addresses it ever again, until it absolutely has to. This film clearly has a lot of ideas, but without the proper execution in attention given, they fall off like B-side tracks that are only there to fill an album quota.
– Strange ending. I won’t spoil much here, but the lack of attention that the film’s alternate reality conclusion receives not only doesn’t explain things, but leaves us feeling like an important scene is missing that we’ve come to expect from movies like these. This could be considered good because it takes an original stance that is anything but conventional, but I feel like a scene of logic is required to better tie things together. For instance, the additional things erased from this world that I mentioned earlier are never elaborated at why those in particular are gone from this world. The Beatles could be connected to Jack’s obsession with them, but what about the other erased things? It’s never revealed, and while “Yesterday” has an interesting idea, its solution feels practically non-existent.
My Grade: 7/10 or B-