“See, We Pay And You Write Songs, And Then You Make A Ton Of Money. And Then We Take Most Of It…”
With Danny Boyle being the subject of a very big hoo-hah after departing the much troubled project which is Bond 25, his latest venture in the form of Yesterday couldn’t be further from a tale about a cold-blooded British spy with a penchant for the ladies. Based around a screenplay from Richard Curtis, the acclaimed writing mind behind stalwart Christmas movies including Love Actually and Notting Hill, Boyle’s latest challenges you to hold back all levels of sanctimonious sniffing and imagine a world in which the iconic voice of The Beatles never existed, a movie which features Himesh Patel (Eastenders) in the lead role of Jack Malik, a passionate and wholly unsuccessful singer-songwriter whose only long-term dedicated fan is his manager and close friend, Ellie, as played by Lily James (Baby Driver). After a worldwide blackout, Jack is the victim of a nasty traffic collision and awakens to discover that neither “The White Album” or “Abbey Road” ever existed, resulting in him deciding to rip off the famous words of Lennon and co. in order to stake a claim of fame for himself.
With a central idea which is in itself slightly ludicrous, Boyle has managed to deal with particularly out-there screenplays throughout his career, whether it be the mind-bendingly confused state of a film like Trance or the more down-to-Earth, family friendly Millions, a film with a central idea which in this political climate seems a million miles away, and with a first act which joyously announces all the lead characters, including Jack’s oblivious parents and Joel Fry’s (Game of Thrones) maniacal roadie, Yesterday begins in interesting and heartwarming fashion, particularly when the first chords of famous Beatles tracks are seemingly heard for the very first time by Jack’s close family and friends. As soon as Ed Sheeran turns up however, the film moves from low-key niceties to schlocky, sentimental nonsense, taking the worst parts of Love Actually and turning them up to eleven as the film evolves into a Beatles inspired love-in with added saccharin sweetness whilst seemingly forgetting the greatness of a first act which in all its’ absurdity still managed to feel real, and with a final curtain which made me nearly gag at the sheer audacity of attempting to make everyone grab the nearest tissue, Boyle’s movie is a messy, violently polished work of tosh which just happens to have a great first act which saves the piece from being a total disaster. Plus, they didn’t even mention the best Beatles song; HELTER SKELTER, COMING DOWN FAST!