Tell Me What You See – Production Design in HELP! (1965)

In this world, I surely love two things:

Production Design.

And…

The Beatles.

I was definitely that girl in high school who put Beatles stickers and patches on everything – backpacks, book covers, art supply cases, jeans, my boyfriend’s butt. Adoration has its commitment and moments of utter tackiness.

Ticket to ride the Alps, naturally.

One of the best parts of this film is the Boys’ Flat(s).

Four outside doors open into a large flat, which the boys share. They’ve politely divided the large flat into four long-oriented living spaces, obviously/cheekily marked by colored walls and decor. They also pantomime ignoring each other and politeness simultaneously.

Watch them enter their flat at around 4:30:

The Spanish subtitles really give it a little something, don’t you think?

Paul – white room

John – brown room

George – green room

Ringo – blue room

I always thought John and Paul should’ve switched rooms. John did end up making white his signature color, but maybe that was AFTER all the acid and Yoko and India and such.

George and the clipper.

Eating grass. Eh hehehehehe. The Beatles were completely stoned during the production of this movie, which just makes me want to reach for any and all marijuana references.

I like the use of the floors in this set. Paul’s pop-up all-white organ and John’s sunken bed/couch are just…awesome. I think the only room that has a “normal” floor is Ringo’s, since George has a grass mat floor. This set has the master use of lifts and trap doors. It’s the combination of old-style stage construction and 1960s UK mod style that just makes my heart a-flutter.

Plus, John is such a cutie.

And! Here’s my favorite song off of HELP!

You’ve Got To Hide Your Love Away.

This music bit also showcases the Beatles’ Flat. Excellent construction, there are so many angles and areas of visual depth in the set.

Heh, great view of Paul’s room.

And here’s one more, just because.

Be still, my heart, near a handsome, clever, mocking man.

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