Sergeant Pepper's Lonely Hearts Club Band

Ok, the acting is absolutely terrible and it's completely campy. But, that's part of it's charm. If you can watch the movie without comparing the Beatles versions, most songs hit the mark. Aerosmith's Come Together, Billy Preston's Get Back, and EW&F's Got to Get You into My Life, are still great. There are a couple of songs like Golden Slumbers that play better on the album. If you are fans of The Bee Gees, mainly Barry Gibb's hair, (which, somehow, actually steals a few scenes) and Frampton, you should be tickled. Some of the guest spots are great, some were just, eh. I imagine it will be up to who your favorite acts are. If you make it to the end of the movie, the credits roll out with a virtual who's who of the 70's singing the title song. The movie won't be for everyone, but those who love the 70's should have fun reminiscing.

I saw this movie three times as a teenager. This was before I had listened to the Beatles very much. I loved the movie and I even owned the soundtrack.

At forty-four, I have heard the Beatles, seen the fall of the BeeGees and seen the stubborn persistence of an almost geriatric Aerosmith. They are indeed the "Future Villain Band".

Love the Beatles? You will hate this movie. Interested in a simpler time when the hair of rock stars sits in a quiet mass atop the head as if waiting to attack (check out Barry Gibb...or is it Maurice?)? Interested in hearing music that you grew up with and loved torn to pieces by dupes of producers that no longer cared if what they made was good...only profitable? Then, this is the movie for you as well...

Songs done well: Come Together, Got to Get You into My Life, Strawberry Fields and I'll Never Do You No Harm...

Songs that didn't stink: Lucy in the Sky, You never Give me Your Money and A Day in the Life...

Songs that were killed and the corpses urinated upon: When I'm Sixty-four, Fixing a Hole, Mister Mustard and Because...

This was considered one of the biggest cinematic disasters of its era---a film that virtually destroyed the careers of the Bee Gees and Peter Frampton, and recording mogul Robert Stigwood (a giant at the time) likewise disappeared from view. Thirty years later, there are no less than 13 pages (so far) of blistering denunciations of this movie here at IMDb.

I have never understood any of this. I had a good time with the film when I was young, and in later years, it still held up for me. It certainly is no classic, but if you are willing to relax and meet it halfway, you might find yourself having a good time. It is fun watching people like Steve Martin, Frankie Howerd, and Donald Pleasence hamming it up, and George Burns is always enjoyable.

Once, I said all of this to an acquaintance in person, and his response was: "Why would I want to hear Beatles songs if the Beatles aren't doing them?" Herein lies the film's problem, I think. Fans of the Beatles consider their music to be untouchable---very few artists have tried to do covers of Beatles songs, and the few who have met with hostility. Fans of the "fab four" carry a lot of weight, and they consider covers of the music to be nothing less than blasphemy. Consequently, when this innocuous film came out, they went on the attack and never let up.

Come on, lighten up! It is a fun, innocent little film.

A Beatles fan all my life and this was a pleasant surprise as I had avoided it over the years as being pastiche cliched crap, but hey, life is full of surprises. And I like it. Just shows that brilliant music can make a mediocre story look good. Never the other way around. Bee Gees and Frampton were good choices.

Naw, actually, it was twenty-FIVE years ago today, that producer Robert Stigwood had a flea placed in his ear by SOMEBODY, (maybe agent/co-producer Dee Anthony, who repped both the Bee Gees AND Peter Frampton at the time,) and the flea said: "What is the greatest rock-and-roll album of all time? Who right now are the greatest, most popular music stars? And how can you possibly lose if you combine them both?"

Answer that question with a question: How could you possibly WIN???

To those who decry the defacing of a sacred cow, first of all, and pay close attention to this, people: THIS MOVIE IS A PRODUCT OF ITS TIME. Nothing in the late Seventies succeeded (or exceeded, as it were) like excess. If big was good, then bigger was even better, and the King of Media Overkill was Robert Stigwood at this period. Which was his standout quality, and his company's undoing. (Not to mention the undoing of quite a few careers along the way.)

Second of all, as it has already been pointed out, the timing SUCKED, even moreso than the movie itself. The SATURDAY NIGHT FEVER backlash was just beginning with PEPPER'S release, and even though Peter Frampton had proven himself still able to chart with such current hits as his cover of "Signed, Sealed and Delivered" and "I'm In You," (please hold your snickers), his album sales had begun to wane, a surefire indicator that his status as a pretty-boy guitar god was fading fast.

For the most part, the audience demographic the movie was aimed at was served as well as they could be. None of the teenybopper females in the theater audience I saw it with, (yes, I DID see it in a theater), gave one whisker on a rat's bee-hind that the album the movie was derived from was a classic, or that George Martin actually produced the soundtrack (well, most of it.) They sighed in rapture on cue when a dreamy closeup of The Brothers Gibb or Frampton came whizzing by, or sobbed uncontrollably at the 'oh-my-GAWD-this-is-so-maudlin' ending. I swear, THIS is the audience the producers should've seen it with, when the reviews came in chopping the entire project to shreds.

So, for a movie that represents everything that was both bad AND good about That Decade simultaneously, was there anything of merit to observe? YES. First of all, for the most expensive musical ever made in its day ("tupping the bill" at a whopping $60 mil plus), every cent is evident on-screen. Owen Roizman (who shot THE EXORCIST) managed to get every shot right, even if the pastels were enough at times to send an epileptic into grand mal seizures, and there was enough condescending sweetness for twelve diabetic comas.

Also, contrary to the rabid rantings of Beatlemaniacs everywhere, the soundtrack is the best part of the movie. I guess what makes it so hard for most people to watch, are the scenes that are almost painful indicators of what the movie COULD'VE been, because the energy and drive is so different from the rest of the goings-on.

Meaning Aerosmith's ball-busting cover of "Come Together," the finger-snapping, funk-injected "Got To Get You Into My Life" from Earth, Wind and Fire, and Steve Martin's super-manic "Maxwell's Silver Hammer," echoing his even better turn to come in LITTLE SHOP OF HORRORS. No matter how much the remainder may induce severe bouts of wincing and cringing, these moments almost redeem Henry Edwards' "Yellow-Submarine-on-peyote-buttons" screenplay. ALMOST.

I bought this (and I'd be embarassed to tell you how much I spent) for a So-Bad-It's-Good movie party I decided to throw for some friends on New Year's Eve. Just to see if it was as bad as I remembered, (and as bad as people have credited it to be), I gave it a spin just for old time's sake. Time does heal old wounds, I guess, and as much as I snickered, groaned and chortled at the outlandishness of it all, I have to admit that at the very least, I was entertained. Kind of like when you're watching virtually nothing on Saturday night, until a rerun of "Donnie and Marie" comes on Nick At Night. And though you'd never tell your friends you did, you watched every painfully corny moment of it...and actually enjoyed it.

So that's how I think of PEPPER now, as a very secretively guilty pleasure.

And for those reading that last line and yelling "Is he CRAZY??? This is the BLACK HOLE OF MUSICALS!!" I can only say this: you have not lived as long as I have, or seen as many movies to be able to make that statement with any kind of confidence.

How do I know? Let me ask you: have you ever seen the musical version of LOST HORIZON? Mae West in SEXTETTE? Lucille Ball in MAME? Go sit through even ONE of those, boys and girls. I dare you. We can talk about really bad musicals after you've weathered THAT ordeal. I did...and lived to tell about it.