A Hard Day's Fire

            In comparing the films A Hard Day’s Night by director Richard Lester and Oliver Stone’s The Doors, one can draw many parallels as well as make distinctions between the two. On a base level, both films pertain to popular and revered musical groups of the 1960’s, as well as serving as period pieces of the decade in which they take place. Both films as texts arguable make commentary of their zeitgeist, either overtly through the lens of Oliver Stone, and perhaps more subliminally with the Fab Four.

            However, in both films, an interesting point is brought to the viewer’s attention. That point is this – as a consumer outside of either group, it is impossible to truly be one of them, despite the commodities offered by both and the appropriations the markets around them capitalized on. Said another way, even if one bought Beatle boots, had shaggy hair, a skinny black tie and a Rickenbacker guitar, they would never truly be a Beatle – they lack the mentality of The Beatles, the cogency that they are marketable commodities but artistically integral ones at that (a very proto-punk mentality, I might add). The same agenda can be applied for the Doors. Despite Jim Morrison rallying his legions of Lizard King followers, poets and hippies, no one of them can be on the level of The Doors. No one possesses the capabilities of being either of the groups, even though both had branded themselves in albeit different ways – there was genuine knowledge by both acts that it could not happen but they continued along nonetheless.

            The Beatles and The Doors were musical acts whom very both very artistic and integral in their own regards. It is arguable that looking back in the scope of 1960’s popular music, though The Beatles would no doubt be ranked #1 or around the top position, The Doors would not be far behind. This of course can partially be attributed to Rolling Stone Magazine’s constant praising and doting upon both artists, but there must be a good deal of truth behind both positions. People want to emulate those they admire and respect, whether they wear suits or Concho belts, whether they sing silly love songs or condone acid and whiskey. However, this infatuation and super-commercialism was indeed a product of the 1960’s, and still we see those striving to be members of both and on the level of Morrison and McCartney.

(Credit: http://us.fotolog.com/thesexretaz_rock/)