Help! had no shortage of good actors, although the Beatles would not count themselves among them…
High Priest Clang was played by Leo McKern, a character actor with a distinctive round face and bulbous nose who already had a long theatrical and film career going back to the 1940s (including an appearance in Lester’s Running Jumping & Standing Still Film). Help! launched him to a higher level, and he went on to give notable performances in A Man For All Seasons, Ryan’s Daughter, and The Blue Lagoon. He is probably most remembered by British viewers (and the American PBS audience) as the barrister Horace Rumpole in the BBC TV series Rumpole Of The Bailey, which ran off and on from 1975 through 1992.
High Priestess Ahme was played by Eleanor Bron in her film debut. The young actress with a strikingly unconventional look was already well-known for being the first female performer in a Cambridge University Footlights revue (the previously all-male theatrical club was also the launching pad for David Frost, Peter Cook, future Pythons John Cleese, Graham Chapman, and Eric Idle, and later, Douglas Adams, Hugh Laurie, Stephen Fry, Emma Thompson, and on and on…) She made a name for herself in the emerging world of modern British satire. With fellow Footlight John Fortune, she created a male/female comedy duo act for Peter Cook’s Establishment nightclub (similar to the sort of thing Mike Nichols and Elaine May were doing in the US around the same time). She also was a performer on David Frost’s Not So Much A Programme, More A Way Of Life (1964-65). After Help!, she continued performing in film, television, stage, and radio, and authored several books.
A lot of sources say her name inspired the title of the 1966 Beatles song “Eleanor Rigby,” but this may not be so. A real Eleanor Rigby has a grave in the St. Peter’s Parish Church cemetery in Liverpool, which the teenage McCartney often used as a shortcut on his ramblings around town.
Bhuta, Clang’s long-suffering sidekick, was played by John Bluthal, who had worked with Richard Lester for many years (he was the car thief in A Hard Day’s Night), and would go on to do so for many years more. Modern audiences might recognize him as the blind street musician who owns the chimpanzee (“min-key”) in Return of the Pink Panther, or Professor Pacoli in the opening sequence of The Fifth Element.
Dr. Foot’s assistant, Algernon, was played by Roy Kinnear. (“He’s an idiot,” says Foot of Algernon. “A degree in woodworking. I ask you.”) Like Bluthal, the rotund Kinnear was a member of Lester’s “stock company,” appearing in most of his films. And like Bron, he was a veteran of Britain’s satire boom of the early Sixties, appearing in David Frost’s That Was The Week That Was in 1962-63. (Frost seemingly came up with a different satirical comedy show for every TV season.) Kinnear’s performance is quite possibly the comedic highlight of Help!. The Behm/Wood screenplay has no shortage of lines that aren’t particularly funny to read, but become funny in performance. Kinnear is a genius in this area. Some examples:
“I’m better with animals than plugs and transistors, Daddy being the local master of the hounds. That’s where I get it from, my love of animals. They trust me. [Long pause, then wistfully] I should have been in vivisection.”
“[To Ringo] You’re a drummer, eh? I’m no mean hand at the ol’ sticks-man stuff myself, you know,” [Then randomly slaps the back of an office chair for several seconds with his hands.]
Everyone loves, or should love, Roy Kinnear. Most people know him as Veruca Salt’s father in 1971’s Willy Wonka And The Chocolate Factory. He never did much work in the US, but his British filmography is pretty impressive.
The mad scientist, Dr. Foot, was played by Victor Spinetti. Spinetti, described by Wikipedia as a “raconteur,” was a Welsh-born actor who did most of his work writing, directing, and acting on the theater stage (while still managing to appear in over 30 films). He appeared in a major role in A Hard Day’s Night (as the neurotic TV director), and the Beatles loved him so much they insisted he be in their second film. After Help!, he continued his association with the band, appearing on their fan-club Christmas recordings, adapting Lennon’s book of nonsense stories and verse, In His Own Write, into a stage play, and making an appearance in Magical Mystery Tour. Paul McCartney described him as “the man who makes clouds disappear,” and George Harrison told him “you’ve got to be in all our films…if you’re not in them, my mum won’t come and see them — because she fancies you.” (Mrs. Harrison was shit out of luck — like Graham Chapman, Spinetti was openly and flamboyantly gay in an era when it could still be career suicide to do so.)
Another flamboyant British theatrical eccentric, Patrick Cargill, played Superintendent Gluck of Scotland Yard. Cargill was a fixture of British stage and television for decades, although his two popular TV shows, Father, Dear Father and The Many Wives of Patrick didn’t get much play Stateside. One of Cargill’s great moments in the film, in addition to his obsession with the word “famous,” is his insistence that he is a great mimic (“James Cagney” he proudly cites among his repertoire), followed by his attempt to do an Liverpudlian impression of Ringo over the phone. “Hullo, this is the famous Ringo speaking, gear-fab, what can I do for you as it were, gear-fab?” (“Not a bit like Cagney,” George remarks acidly.)
The Beatles began the Help! project in John Lennon’s home music room, him and Paul crafting to order the songs that would be heard in the film. They had been playing a winter residency at the historic Hammersmith Odeon theater in London from December 1964 through January 1965. In the chilly afternoons before the performances, Paul would drive out to Lennon’s country home in Weybridge and hammer out the soundtrack for the movie they knew they would be filming in a month or so. (Cynthia Lennon related in her memoir that if deadlines were particularly tight, Lennon and McCartney would collaborate over the phone.)
“We made a game of it. John and I wrote [each of] the songs within two or three hours — our ‘time allotted.’ It hardly ever took much longer than that.” (Paul McCartney.) If a song didn’t at least start to come together in the time allotted, they figured it wasn’t worth the effort and moved on.
After their winter holidays, and well-stocked with several Lennon-McCartney compositions written expressly for the film (and two Harrison songs to boot), the band arrived at EMI Studios on Abbey Road on February 15, 1965. They recorded the basic tracks for “Ticket To Ride,” “Another Girl,” and “I Need You.” Those three songs were completed the following day, along with a song that was not destined to end up the the film, “Yes It Is.”
On February 17, “The Night Before” was recorded, along with another non-film song “You Like Me Too Much,” both heavily featuring the Hohner Pianet electric piano, which they saw one of their opening acts use at the Odeon shows. (Like a lot of the band’s new musical “toys,” the Pianet was briefly obsessed over, then virtually abandoned. Harrison’s just-purchased volume-control guitar pedal, all over the previous day’s “I Need You” and “Yes It Is,” met a similar fate after the Help! sessions.)
February 18 was an epic recording day, with “You’ve Got To Hide Your Love Away” completed, along with the non-film song “Tell Me What You See” and an unreleased Lennon-McCartney song with Ringo on lead vocals, “If You’ve Got Trouble” (which was so awful, the Beatles gave up on it almost immediately, managing only a single take — though they did do a few overdubs and gave it a rough mix, just in case.)
February 19 saw the recording of “You’re Going To Lose That Girl.” The final tweaking, overdubbing, and mixing of the soundtrack songs occurred on February 20, along with an attempt at another song destined for the reject pile, “That Means A Lot.” Continue reading