By Julie D. Griffin
The very strange world we live in coupled with that you alone must be the music of the flute and the lyre in most forms fioesque ~ The three significant theatrical forms of the Broadway endemic film Sargeant Pepper's Lonely Hearts Club Band embrace the poetics of Aristotle with both the tenet of epic comedy and tragedy, the dithyrambic of all set within a place of the music of the best of all of the hit songs of the Beatles. A recent tribute which replayed again on Wednesday for the original four of the world of exotic rock, of course Yoko and Sean, and Sir Paul McCartney and playboy Ringo Starr along with a host of others which also meant a special invitation to a lot of the original girls who appeared as an audience at the Ed Sullivan show, it would be nice if the show repeated itself at least five more times, and especially in order to obtain the resolution necessary to qualify for a film review.
Rhythm, language and harmony, the three also factors of poetics, the medium of voice, color and form which made the composition of the colorful film here like so much free life of the kind which of the meter present with all of the elements of a musical film of the iambic, elegiac, as the common hexameter of the match for Homer and Empedolies combine. The objects of the imitation equal the men in action after the small village of Fleu De Coup welcome home the Sgt. Pepper Band, a small town midwest heartland band who ushered the people of the town there in a lifelong dance. They danced through the roaring 20's, the depression, economic recovery and even another great war, according to George Burns, wearing a suit of Abbey Road white, who played the part of a business man who watched world history and newspaper taxis waiting to take you away form progression of that from the seat of his small town stance from Normandy 1944 to August 10, 1958.
One young man there sings among all of the other Beatle songs represented, I used to be mean to my woman, I beat her and kept her from the things she loved...but it's getting better all the time. Strawberry Field though, the small town girlfriend of Billy Shears (Peter Frampton), who plays the lead singer of the Pepper Band, helps the band blaze a path and fame and stardom and even a record contract. Unfortunately, the band forgets all about her once they attain a life of Hollywood style, and soon the town where she lives falls apart, and so does she for grief for the Billy she loves away from her now. One day Strawberry and Billy awoke on the hay of the farm by the sound of a rooster alarm, and the next he found himself the property of the music industry. She takes the Heartland Express out of the wholesome bible belt land and the famed Beatle song about the girl who leaves her home town to go to a place of bright lights and a big city plays. Another song plays after that, Lucy In The Sky With Diamonds, which is not a song about L.S.D. which many hypothesized wrong, but is a song about a schoolgirl who friended a Beatle son. Back to the story which so much like a Broadway play, the Sgt. Pepper Band who originally take a large helium balloon which turns into a plane on the way to Hollywood, CA representative of the riches which sudden unfold, also find themselves on the precipice of a record studio which escorted there by white limo and seductive possibilities, in reality no longer exists. The message given by a white poolside madonna after Roxbury Drive and a photo shoot in front of a cardboard Heartland City Hall is that peace and a white heaven exists more on the border of a lovely life the boys left after departing from their hometown. And that they are needed at both places though, the song about Loretta (Strawberry) getting back to where she once belonged with the boys is just a little more than somewhat confusing. It seems that the lead singer of the band should not have just left his girlfriend standing there, and that the lesson he needs to learn now is to take her along on the road.