The Frame

Julie Taymor uses Beatles songs (many, many Beatles songs) to hold together her story of a working class Liverpool boy (Jude) who comes to America in the 1960s and meets and falls for preppy teenager Lucy. When her brother is drafted for Vietnam, the film takes a decidedly political turn and Jude and Lucy’s relationship is tested by Lucy’s devotion to the anti-war cause. Along the way are plenty of psychadelic detours and sweet duets. Basically, the entire Beatles oevre is covered, from the rollicking early 60s hits to the LCD-infused late 60s and political/philosophical 70s, which is great if a little on the gimmicky side. This film has split critics as much as any this year, and it’s easy to see why. It isn’t completely successful, largely because Taymor can’t decide what she wants to do with the political elements–she’s clearly anti-war, but she also appears to be anti-protest. Which could actually be the case, since an appeal to “All You Need is Love” appears to desire an alternative to violence perpetrated by both pro- and anti-war advocates; still, such a solution is pat at best. Still, even if Taymor doesn’t quite achieve her goals here (if indeed, we can discern her goals), there’s so much about the film that’s just plain enjoyable and enough that’s deliciously risky that it’s hard to deny it was worth trying. Generally, I’d say that a gutsy attempt at art is much better than staying safe and avoiding risk. Taymor has certainly made that attempt, and I applaud her for it.
Well Above Average