The director recalls an innocent period when Beatlemania was everything.
The Big Picture In the 1970s, an ambitious band of young directors that included Francis Ford Coppola, Martin Scorsese, and the late William Friedkin defined the New Hollywood with their idiosyncratic vision that rebelled against the safe and predictable norms of the studio system. Their films were often in response, at least in metaphorical terms, to the zeitgeist, which, as it pertained to the late-'60s and early-'70s, constituted a reaction to political quagmires.
Despite this elaborate concept and explicit place in history, I Wanna Hold Your Hand is not about The Beatles, just like how Back to the Future is not about time travel, or how Who Framed Roger Rabbit is not about humans and cartoon characters sharing the same universe of existence. This is the key to understanding Zemeckis' accomplishments as a critically acclaimed populist filmmaker.
However, I Wanna Hold Your Hand is far from tactless. Meshed with the zany Stooge-like slapstick is a curiosity about the monumental cultural implications of Beatlemania. The film's opening evokes an eerie, calm-before-the-storm aurora. Police carry out barricades and go about their duty as if inside the Ed Sullivan Theater, there is a crime scene. At the stage, hours before the performance, Sullivan , commands his crew with the fortitude of George Patton before battle.
The conflicting, yet coexistent, relationship between Janis, who loathes The Beatles for shoving her beloved folk music out of cultural relevancy, and Tony, who also loathes The Beatles because he is a rebel, highlights the band's seismic influence on sociology. Janis and Tony should not get along, or even cross in the same paths. One is an intellectual aficionado of folk music who detests the inferior catalog of The Beatles.
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