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Yesterday, the Beatles and why talent isn't enough Richard Curtis ignores the fact that great artists are often in the right place at the right time

The long and winding road to success (Photo by Jeff Hochberg/Getty Images)

The long and winding road to success (Photo by Jeff Hochberg/Getty Images)


May 28, 2020   5 mins

Around this time last year, I came out of a press screening of Yesterday thinking that writer Richard Curtis and director Danny Boyle had wasted a fantastic concept. What if you were the only person on Earth who remembered the Beatles? The film gave the dullest possible answer: you’d become a megastar by playing their songs but you’d feel a bit grubby about it. As I wrote at the time, “Not only does Curtis not answer the questions he has raised; he doesn’t even appear to notice he has asked them.” Now it turns out that a much more interesting take already existed: the original screenplay.

Last week, struggling screenwriter Jack Barth told Uproxx how, in 2012, he wrote a screenplay called Cover Version about an unsuccessful singer-songwriter who — you’ve guessed it — is the only person who remembers the Beatles and presents their songs as his own. But while Yesterday’s Jack Malik, the latest in a long line of sweet but emotionally inept Curtismen, hits the big time, Barth’s protagonist does not.

Barth sold the screenplay to producer Matthew Wilkinson in 2013 and worked on a version with Mackenzie Crook (The Office, The Detectorists), before Wilkinson and co-producer Lee Brazier approached Richard Curtis three years later. “We worked quite intensely with Jack on the script but thought we might need a bigger writer for it,” Brazier told Screen Daily last year. Curtis’s star power quickly brought Boyle, Beatles rights-holders Apple Corps and co-star Ed Sheeran on board.

Barth’s role in the film wasn’t exactly secret but the Uproxx story struck a nerve, triggering news stories and social media uproar. Perhaps it’s down to the irony of the writer of a film about taking credit for someone else’s work apparently taking credit for someone else’s work, or perhaps a lot of people just hate Richard Curtis, but it was widely read as a plagiarism scandal. It’s not. Barth’s idea was bought and paid for, and he received a “story by” credit.

Even if the presence of certain key scenes in Barth’s draft — Jack playing ‘Yesterday’ to his startled friends, John Lennon’s appearance as a humble fisherman, the final gag — casts doubt on Curtis’s claim that he never read it and took nothing but a “one-line plot” from Barth, the film-makers’ only real offence was to shut Barth out of the promotional narrative, thus robbing a man in his 60s of a desperately-needed career boost.

The idea itself was not unique. You only have to consider the number of novels in which Nazi Germany has won the Second World War to see that historical turning points breed counterfactuals, and similar ideas involving the Beatles appear in Australian author Nick Milligans 2013 ebook Enormity and Eddie Robson’s Doctor Who audiobook 1963: Fanfare for the Common Men (both published after Barth wrote his screenplay).

The same year, David Quantick’s TV drama Snodgrass imagined a timeline in which John Lennon stormed out of the Beatles in 1962. In a 1996 episode of the sitcom Goodnight Sweetheart, George Formby’s agent attempts to buy ‘When I’m Sixty-Four’ from Nicholas Lyndhurst’s time traveller. The differences are more interesting than the similarities. If you gave the same general concept — the Beatles’ music minus the Beatles themselves — to 10 writers, you’d end up with 10 distinct stories angles on the relationship between creativity and success.

The Curtis theory, as demonstrated in Yesterday, is that the Beatles’ songbook is so objectively, undeniably, timelessly great that, even in the hands of a modestly talented schmoe, it would rule the world. This is partly because Curtis wanted to write a conventional romcom about a man torn between the treacherous delights of fame and saintly schoolteacher Lily James rather than a high-concept comedy in the tradition of Groundhog Day; Wembley Stadium is a better venue for one of his trademark public confessions than the backroom of a pub.

But it’s also because success is the water in which he swims. “I think that the reason that Richard turned him into the most successful songwriter of all time is because that’s how Richard’s life is going,” Barth told Uproxx: “he’s never been knocked out, as far as I know.” It isn’t entirely true that Curtis doesn’t understand failure — The Boat That Rocked, his horny 2009 love letter to pirate radio, sank without trace — but he’s certainly more familiar with its opposite.

Curtis, who once waited for three hours to see the Beatles appear on the balcony of a Stockholm hotel when he was eight, must know that songs aren’t everything, but high achievers are great believers in meritocracy and boomers are typically steadfast in their conviction that their childhood faves could go toe to toe with any subsequent pop star. To Curtis, the idea that the magic of the Beatles would not work in 2019 is heresy.

The Barth theory, as far as I can tell without being able to read his screenplay, is that success is contingent on several factors — timing, momentum, charisma, connections, luck — of which inspiration is not necessarily the most important. “I was lying in bed one night thinking, if Star Wars hadn’t been made and I just came up with the idea for Star Wars, I bet I wouldn’t be able to sell it,” said Barth, who had 25 unproduced screenplays under his belt. “Carry that on to the Beatles, if I knew all the Beatles songs, I bet I couldn’t be successful with it.”

Anyone with a significant interest in the history of pop music knows this to be true. Simply compare the reputations of The Velvet Underground and the Bay City Rollers, then and now, to see the difference between talent and success. The Beatles, in being both the biggest band in the world and the best, were a miraculous exception. But remove the context of the 1960s, subtract John, Paul, George and Ringo, and there’s no chance that the songs alone would pull off that coup. OK, I could imagine ‘Something’ or ‘Hey Jude’ being hits if Coldplay (who wouldn’t exist without the Beatles but let’s shelve that thought) released them tomorrow, but ‘Back in the USSR’? A Cold War Beach Boys pastiche about a country that no longer exists? Nyet. ‘I Am the Walrus’? Not a hope.

While there are vestigial traces of this possibility in Yesterday — Jack’s family interrupting the world’s first performance of ‘Let It Be’, the record label laughing off his idea of calling his album Sgt Pepper’s Lonely Hearts Club Band — the basic assumption is that the Beatles’ songs are too good to fail. Barth’s take, in which the singer achieves nothing more than a cult following, reminds me of a brilliant Catherine Tate sketch, spoofing Goodnight Sweetheart, in which a time traveller lodging with a family in wartime London treats them to a poignant rendition of ‘Let It Be’. “What a bleedin’ racket!” interrupts Tate’s cockney matriarch. “You tryin’ to deafen us all?”

The possibility that a classic song might go unloved in the wrong context — like ‘Johnny B Goode’ in Back to the Future — is far more provocative and, I think, credible. If you’ve ever heard a bad Beatles cover version (and they are legion), then you know that the singer is as important as the song.

The entertainment industry, naturally, prefers the Curtis theory. Films about missed chances and thwarted ambition, like Inside Llewyn Davis, are doomed to be niche because they’re fundamentally depressing. Who wants to be told that talent and ambition aren’t enough and you can follow your dreams down a dead end?

Barth’s Cover Version would most likely have been an eccentric indie movie even if Apple Corps had somehow been persuaded to license the world’s most zealously-guarded back catalogue to a film that diminished its power. Yesterday wouldn’t exist, at least not on this scale, if it were not partially an advertisement for the deathless magic of the Fab Four.

Yet Barth’s experience proves that, in fact, his theory is correct. It’s the narrative of Yesterday flipped on its head: a relative unknown has a brilliant idea but not the status to make it happen. It takes celebrity and influence to bring it to a mass audience. Success begats success while the unknown remains unknown. That’s not an uplifting story — you wouldn’t turn it into a hit movie — but it’s showbusiness.

 

 


Dorian Lynskey is an author, journalist and UnHerd columnist.

Dorianlynskey

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danielplatt.09
danielplatt.09
4 years ago

There would be no Elvis Beatles Stones nothing happens without the overwhelming influence of the The Blues (folk and Chicago) Jazz, Armstrong to Charlie Parker. Armstrong taught the world how to swing and without swing, nothing happens. Rock N Roll modern Jazz Hip Hop, nothing. So why don’t you make a movie about that.” They” are the innovators and don’t forget that it was Chuck Berry, Little Richard, Bo Diddley, Fats Domino that made the Brits want to pick up and play their guitars. world without Louis Armstrong, world without BB King a world without Robert Johnson a world without Muddy Wolf Buddy Guy makes me cringe. Make a movie about that.

Fraser Bailey
Fraser Bailey
4 years ago

It would take a book to refute this article, which is about a film written by Richard Curtis, the ‘Michelle’ of script writers. Instead I will merely point out that you can’t take the songs out of their time and context and to discuss whether or not they would be hits today is somewhat ridiculous. By the standards of their time, more or less everything the Beatles did was staggeringly innovative. Over the decades we have become inured to this and our senses don’t register the songs in that way.

I will also briefly take issue with the denigration of ‘Back In The USSR’ and ‘I Am The Walrus’. The former is a brilliant pastiche by McCartney, who from 1965 to 1969 was unsurpassed in the particular art. In fact, I don’t suppose any songwriter has ever surpassed his talent for pastiche.

As for ‘Walrus’, it was the track that inspired one of the key members of Can to form that group because it transformed his ideas of what could be created within the rock/pop idiom. In terms of its sonic and lyrical content it is probably the Beatles’ most complex piece of work – see Ian Macdonald’s analysis in ‘Revolutions In The Head’ – although ‘Tomorrow Never Knows’ may have been more innovative.

johnny7
johnny7
4 years ago

“…
remove the context of the 1960s, subtract John, Paul, George and Ringo,
and there’s no chance that the songs alone would pull off that coup” Absolutely on the money. I remember thinking when Ed Sheeran (popular, but whose canon is a mystery to me) held up his hands in surrender on listening to Yesterday. Totally daft. Brilliant article.

omegalo448
omegalo448
4 years ago

Richard Curtis has long made a virtue of lacking substance. He couldn’t possibly disappoint me due to my lack of expectations when approaching his lightweight work.
As for The Beatles, I was a second generation fan and I’ve seen people much younger becoming fans of their music. There will probably be Beatles fans in every generation, much as Beethoven will continue to earn new admirers. This doesn’t guarantee that all of those songs would be hits now, though Beatles reissues and compilations always seem to fly right up the charts even in an age where their sense of melody is all but extinct.

Ian McGregor
Ian McGregor
4 years ago

Boyle and Curtis, as could be expected, grotesquely woked Yesterday.

James Sinclair
James Sinclair
4 years ago

There was an unnecessary dig at Oasis, which sort of summed up the sentiment of the film in my opinion. If there’s one band that lovie/liberal-left types will never understand its Oasis.

Fraser Bailey
Fraser Bailey
4 years ago
Reply to  James Sinclair

Well I am not a left/liberal type and I don’t like Oasis, with the possible exception of the first album.

tom.farrell
tom.farrell
4 years ago

I think the author needs to watch Back To The Future again. Johnny B Goode goes down a storm – that’s the whole point of the scene. Marty only loses the audience when he improvises into Van Halen territory

danielplatt.09
danielplatt.09
4 years ago
Reply to  tom.farrell

Marty was doing Jimi Hendrix, or a white boys version of Hendrix which is what Butthead Van Halen did. Poor mans version of Hendrix

gerrysw11
gerrysw11
4 years ago

From the other end of the telescope, a preparatory paper for a PhD thesis came to much the same conclusion about Jimi Hendrix. TL;DR whatever his talents if Chas Chandler hadn’t taken him to England nothing would have happened (indeed nothing was happening until then)

https://fortyninthparallelj

Janet Inglis
Janet Inglis
4 years ago

So that’s why I’m not rich and famous! Nobody wrote my songs 60 years ago. It’s got to work in reverse, right?

matt.theloop
matt.theloop
4 years ago

I not only did not care very much for this film, it really was disappointing because it def has an intriguing concept / trailer.
As a working Script Doctor who also owns a nightclub, I feel I am uniquely capable of making this argument.
Besides the rather surprisingly flat and very un-Boyle direction from Boyle, I never once thought the Lead Male was a struggling artist, someone really starving for work but loves the game so much, he’d play music for free. Never once.
And the Hey Jude / Hey Dude bit is really bad sitcom level crap, not an interesting explanation of the creative struggle.
Just really really bad

Daniel Goldstein
Daniel Goldstein
4 years ago

“OK, I could imagine ‘Something’ or ‘Hey Jude’ being hits if Coldplay (who wouldn’t exist without the Beatles but let’s shelve that thought) released them tomorrow, but ‘Back in the USSR’? A Cold War Beach Boys pastiche about a country that no longer exists? Nyet. ‘I Am the Walrus’? Not a hope.”
In chart terms, it’s debatable that the latter two were “hits” in the first place – certainly, they didn’t achieve significant success in their own right. They were originally album tracks, EP tracks or B-sides in the UK. ‘Eleanor Rigby’ or ‘Yellow Submarine’ might be better examples of Beatles hits which may not make the charts today, partly because musical genres are often specific to their era.