Critique the Critic

"Across the Universe" is a film that came out just last Friday, and one that has been anticipated by Beatles fans everywhere. The film is essentially a movie-musical, but completely using only Beatles songs; 33 to be exact. While searching for reviews, the critiques for this film were extremely mixed. I finally found a review in The Hollywood Reporter that presented all the good things, the bad things, and the original things that this film has to offer. Stephen Farber describes the premise of the film, which is a love story, based in the 1960s, one of the most historically important decades this country has encountered. The main character in the film, Jude, is a Liverpudlian dock worker looking for his father whom he hopes to find in America. While at school he meets Max, a rebellious young student, who becomes a fast friend. Jude soon falls in love with Max's sister Lucy, and life seems to be at its peak for the trio. Although, when Max is drafted into the military after dropping out, and leaves for Vietnam, Lucy and Jude are left to fight for peace, and keep their love alive. Farber agrees with many critics in saying that, yes it is an original idea for a film, mixing the music of the Beatles with the drama of the era, but an original idea can only go so far.

Yet this lavish production, which also screened at the Toronto International Film Festival, is finally unsatisfying because it somehow misses the essence of the Beatles and of the most memorable movie musicals.

Even though throughout the review, Farber points out the faults of this movie, his approval of the overall presentation of the film still keeps me wanting to see it. Farber does make it clear that the film had a great potential and much of it was reached through the full presentation of the story. Throughout the review, a reader can notice the one thing truly troubling Farber about the film is its desire to be a musical without harnessing the joy and cleverness found in many of the Beatles' songs.

The Beatles acknowledged the tensions of the period in some of their music, and Taymor has highlighted the grim mood of songs like "Revolution" as well as the more surreal, psychedelically flavored songs such as "I Am the Walrus" and "Strawberry Fields Forever." But she has completely ignored the sly wit found in such songs as "Penny Lane," "Paperback Writer" or "When I'm 64."

Farber believes that one of the greatest mistakes within the film was the simple story accompanying its extravagant musical numbers. He gives great praise to the costume and set design and the editing, which without would have made the review completely cynical. He also points out that with all that the movie presents during the storytelling, it is not met with a strong enough ending to finish it off.

Mark Friedberg's production design and Albert Wolsky's costumes should be remembered during awards season. Francoise Bonnot's editing also deserves high praise. The inter cutting during "Hold Me Tight," "With a Little Help From My Friends"and "Let It Be" gives these numbers a breathless cinematic rhythm. The arrangement of the songs also is top-notch. But the romantic finale seems pat rather than emotionally devastating.

Farber is able to present his critique by not just listing off reasons why he thinks this movie is just okay, but he uses his knowledge of the subject to enhance the reader's understanding of why the film could use improvement. His knowledge of various Beatles' songs and how there presentation would have better fit the story help acknowledge the possible mistakes the film may contain. He also compares the film to other movie musicals explaining that not all musicals must be joyous, but they should render a significant emotion.

Still, it could be argued that many of the greatest moments in movie musical history-like Gene Kelly's performance of the title number in Donen and Kelly's "Singin' in the Rain" -- convey pure exuberance. And of course what made the Beatles' own movies "A Hard Day's Night" and "Help!" so captivating was their spirit of playfulness and joy.

I enjoyed reading this review more than others because it presented not just reasoning why the film was not its best, but also highlights of the film that helped me realize that, although it is not fantastic, the film does have its bright moments.

Joe Cocker plays three characters in a brilliant rendition of "Come Together," and he momentarily supplies the gleeful wit that the film desperately needs. Bono's performance of "I Am the Walrus" is another high point.

Aside from complementing various songs throughout the film, Farber also expresses great acceptance for the cast and their overall performance.

Overall, this review not only informed me about the various issues lying within this film, it also informed me of the many ways the film could have improved, and giving examples of various moments where the film was truly good, helps me to know what to focus on when I go see it, because I still do want to!