A clip in Beatles ’64 features Canadian media theorist Marshall McLuhan making a salient observation: “The chances of your understanding anything going on in your own time are very small, except through the means provided by artists. Artists are people who enjoy living in the present.” That perspective is both supported and disproven by the film’s candid access to John, Paul, George and Ringo — surnames not required — on the cusp of global superstardom during their first visit to America in 1964.
The band members are by no means oblivious to the seismic momentum of Beatlemania, becoming virtual prisoners at New York’s Plaza Hotel as it’s surrounded by a mob of screaming fans. And yet they remain at that time disarmingly innocent, almost incredulous — fundamentally still four goofy working-class lads from Liverpool with mop-top haircuts who appear to view the hysteria mostly as a lark. Only in
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