In "Eleanor Rigby," sequences of still photographs were used to form cycles of action. The images were Xeroxed copies of photos to form high contrast images. For example, we see an old brick building with ten windows and in each window we see the same woman petting the same cat over and over. In another sequence we see two women at a table lifting food to their mouths over and over. Xeroxed photos are still used in some TV commercials.

When the New York Times reviewed the film (Nov. 14, 1968) they called it a "truly nice" work and said "there are completely lovely visual ideas" in it. One exciting visual moment is the woman riding a horse in the sky in "Lucy in the Sky with Diamonds." The art was done using loose brush strokes rather than having the paint fit neatly within carefully inked lines. The paint continuously changes its shape and color and at times glowing stars or diamonds are seen. The visuals of the song constantly change, becoming more wild and overwhelming with the changes in the music.

Op and Pop Art inspired some of the sequences as did art forms that defy classification. The work goes far beyond the psychedelic poster art of Peter Max, an artist popular in the late 1960's. The "Sea of Holes" backgrounds capture the visual excitement of the Op Art of the European master Victor Vaserely. The "When I'm Sixty-Four" number features so many different kinds of design work (each group of ten numbers is in a different style), that it is impossible to classify the look of the sequence.

Fans of traditional Disney features sometimes have a difficult time with the film. They are used to strong narrative plots with well-developed characters that adhere to the designs laid down on the model sheets. They have trouble accepting the aesthetic approach of Yellow Submarine which stresses creative imagination and allows the visuals to constantly change. The film takes many risks with its playful use of colors and forms.

Still an Inspiration
Seeing Yellow Submarine again in Israel, almost 30 years after it premiered, was a wonderful rewarding experience. It is still a fresh and exciting film with brilliant and innovative visuals. The surreal animals, mechanical inventions, use of words and numbers on the screen, and other playful touches remain wonderful whimsical creations. The awful puns and non-sequitur jokes remain delightfully corny. The simple plot is still plausible enough to take you along on this adventure to save Pepperland. Only a sour old cynic would want to see the Blue Meanies win. If you love the music of the Beatles, you will probably have their tunes dancing around your mind for days after you rent the film at your local video store. It would be wonderful if King Features and United Artists would release the 89 minute directors cut in honor of the film's 30th year.

Norman Kauffman says that when they made the film they knew it would influence the art of their times. Today, he wonders if the film would still have had the same impact on the art world and public if it hadn't featured music by the Beatles.

It is now rumored that Apple Corp. and MGM might re-release the film next year and publicize the film's 30-year anniversary, however, nothing is confirmed at this time. It would be nice to see this film be re-released in at least the festival circuit and art theatres if not in a wider, general release, so that an entirely new generation can enjoy and be influenced by the magical art of Yellow Submarine.

Karl Cohen is President of ASIFA-San Francisco. His first book,Forbidden Animation: Censored Cartoons and Blacklisted Animators, has recently been published by McFarland Publishers. He also teaches animation history at San Francisco State University.