#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – The story of John Lennon’s childhood and teenage years from 1944 to 1960, his relationship with his aunt Mimi and his mother Julia -the two dominant women in the first part of his life-, his first meeting with Paul McCartney and George Harrison, their friendship, their love for music and the birth of The Beatles.
Plot: The drama tells the story of John Lennon’s teenage years in Liverpool and the start of his journey to becoming a successful musician. The story also examines the impact on his early life and personality of the two dominant females in his childhood.
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|7.1/10 Votes: 35,248|
|7.2 Votes: 616 Popularity: 11.252|
Knows not where he’s going to
Period drama has long been a forte of the British cinema; prior to this one there had already been at least three excellent examples from 2009; “Young Victoria”, “Dorian Grey” and “An Education”. Traditional British costume drama has concentrated on the Victorian era and early twentieth century (roughly speaking 1837-1945), but Nowhere Boy, like “An Education”, is set at a rather later period, in this case the late fifties.
The film is about the adolescence of John Lennon, while he was at school and art college in Liverpool. Unlike his three fellow Beatles, who were all from working-class backgrounds, Lennon grew up in middle-class suburbia with his Aunt Mimi and Uncle George, who had raised him since he was five. He was the son of Mimi’s younger sister Julia by her husband Alf Lennon (referred to in the film as “Fred”), but the marriage was not a success, and after Julia began a relationship with another man, Mimi took care of the youngster, then five years old. Julia did not reappear in Lennon’s life until his teenage years when a cousin informed him that, contrary to what he had previously thought, she was still living in Liverpool, only a short walk from his home.
The film focuses on the influence these two very different women had on Lennon’s early life. Although they were sisters, they had wildly contrasting personalities. Julia was a bohemian extrovert, liberal in her social views and keen to foster her son’s musical and artistic talents. Mimi (actually christened Mary Elizabeth) may have shared a nickname with the heroine of “La Boheme”, but there was nothing bohemian about her. She was a strict disciplinarian who initially had little sympathy with John’s musical aspirations and insisted that he get a “proper job”, although eventually she gave in and agreed to buy him a guitar.
The film also charts Lennon’s musical development, including his first meetings with Paul McCartney and George Harrison (Ringo, of course, did not come onto the scene until a few years later) and the birth of The Quarrymen, the band which was later to become The Beatles. There is a vivid picture of the British music scene in the late fifties, a time when trad jazz and rock-and-roll seemed to be competing to become the music of the future. There was also a curious British musical form, skiffle (actually a revival of an earlier American variety of jazz) which was influential at the time; The Quarrymen started out as a skiffle band.
The film also captures the look of the period; although the late fifties were a time of increasing material prosperity, there was much about British life which had a drab feel about it, especially the clothes and the interior decoration schemes. There is a contrast brought out between Mimi’s house, decorated in various shades of brown and cream, and the brighter colours of Julia’s which look forward to the more garish tastes that were to predominate in the sixties. (I remember growing up in a house where the living-room combined dark green wallpaper with a bright orange carpet- hideous today, but unexceptional at the time).
It was not so long ago that Kristin Scott Thomas was playing romantic heroines in films like “The English Patient”; today, casting directors seem to see her as a middle-aged battleaxe in roles like Veronica Whittaker in “Easy Virtue”. Aunt Mimi at first seems like the bourgeois equivalent of the aristocratic Veronica, although she later shows that there is a gentler, more caring, side to her nature. (If Veronica Whittaker ever had a gentler side she kept it well-hidden, even from herself). Scott Thomas is even better here than she was in “Easy Virtue”, because the role she is playing is more complex. Anne-Marie Duff is also very good as Julia and Aaron Johnson as Lennon seems like a young star in the making. Johnson is perhaps rather more handsome than Lennon was in real life, but he is able to convey a real sense of what he must have been like, in part a rebellious tearaway whose idea of fun is going for a ride on the roof of a bus, part emotionally vulnerable youngster torn between loyalty to his carefree, fun-loving mother and to his aunt, the woman who had cared for him since he was very young. The title “Nowhere Boy” is not just a play on the title of one of Lennon’s best-known songs; it is also indicative of John’s state of mind as he tries to reconcile these two influences on his life. Like his “Nowhere Man”, he “Knows not where he’s going to”.
The film’s main appeal will probably be to those with an interest in The Beatles, although in my view it can also be seen as a moving coming-of-age drama which can be enjoyed by those who can’t tell Lennon and McCartney from Rodgers and Hammerstein or from Gilbert and Sullivan. It contains not only some great music but also some great acting. This was director Sam Taylor-Wood’s first feature film but it is a debut of which she (that’s Sam as in Samantha, not as in Samuel) can be proud. 8/10
The Closest Beatle Movie To The Truth Yet…
I am a total nut about The Beatles, particularly John Lennon, and particularly when he was young. In spite of a few character flaws (the occasional smacking around girlfriends, etc.), pre-Yoko Lennon was always my favorite Beatle, and frankly one of my personal heroes.
I went into this movie already thoroughly acquainted with the story of Lennon’s upbringing, of Mimi vs. Julia, The Quarrymen, art college, etc. Having been burned by movies like “Backbeat” and “Birth of The Beatles”, I was bracing myself for a barrage of misinformation, out-of-order chronology, and embarrassing rock n’ roll clichés. All in all I was very pleasantly surprised. The attention to detail and historical accuracy was such a breath of fresh air after all the years of sub-par Beatle bio-flicks.
It was a joy to see how faithfully they re-created Mimi and George’s house. They had John Lennon’s actual childhood artwork and photos hanging around. They found an identical guitar to the one he first played in school, etc. But the main thing I wanted to write about are the characters: I was particularly happy to see the way Aunt Mimi was portrayed. She always gets a bad rep as this shrewd, cold, mean old lady, and it always bugs the crud out of me (actually, in the initial script she was written that way; McCartney and Yoko had to tell Sam Taylor-Wood it was unfair to her). She and Lennon were super-close; at odds sometimes, but they always had a deep love for one another.
However, it was a little distressing to me how poor Julia was treated. The movie makes her out to be some neglectful, childish strumpet who never bothered to know her son until he was almost grown. The truth is Julia and John saw each other during his childhood as often as circumstances allowed (albeit infrequently), and were very close in the years leading to her death. It doesn’t seem as if the real Julia was as loose and out of control as the movie implies. I think it was more that her whimsy and eccentricity bothered straight-laced Mimi. Mimi allegedly got custody of John after ranting and raving to child services that her sister was “unfit to be a parent” and insisted on taking him. Given how old-fashioned Mimi was, there’s a good chance that Julia’s “hard living” was blown way out of proportion (ironically, there’s some evidence that Mimi was having an affair with her student lodger, Michael – hypocrite, much?). By today’s standards, their whole family situation isn’t really that scandalous (*gasp*, “you sleep with someone you’re not married to!”), but I suppose it was for then. Just some food for thought.
I was also a little rubbed that they had young Paul McCartney acting like John’s teacher or something. He might’ve known more chords, or written a song or two, but he and Lennon were both relatively clueless when they began playing together. Lennon asking him “Why do you know so much?” – kinda lame considering that McCartney was pretty in awe of him too.
Lastly, the man, the myth, the legend himself: I think this movie hits closest to the mark on young Lennon’s personality out of any film ever made about him. He was a complex guy, especially in his youth (before he was Mr. “Peace and Love”). I think the tough guy posturing was probably dead on. The unchecked confidence that just oozes from Aaron Johnson’s pores really sells it. You get the sense that teenage Lennon is only bluffing his “dangerous troublemaker” bit, which was probably the case. I would’ve liked to have seen a little more of his sense of humor (the classic cheeky Lennon wit is missing a little bit). Although I appreciate the effort to also have him show some sensitivity, I think in this movie it’s the wrong kind.
I think John could’ve been written a little friendlier, warmer, kinder. Despite his teddy boy image, he apparently could be a sweetheart (you know, when not mocking the disabled or swearing at old ladies). It’s the mixture of that “I’m a badass” hardness and who he was underneath that make him such a fascinating character.
It’s common knowledge that his family situation was something he was deeply embarrassed about, and that his mother’s death was really hard on him, but young Lennon was also notorious for hiding any emotion that wasn’t blind rage. I seriously doubt that he would’ve gotten into some screamy-crying emotional spat with Mimi and his mom. I mean, come on – punching out Paul, running out of the house crying like some whiny little brat? Where’s the chilled-out, laid back sarcastic guy we all know and love? Lennon was plenty interesting enough on his own – no need to make him carry on like a soap star.
In the end, I have to keep in mind that it’s only a movie, and compared to what’s come before it I think it does a relatively wonderful job of showing what life was like for the young, pre “fab” Beatles; the history is pretty on the nuggets (it would’ve been cool to see Stu make an appearance, but you can’t have everything), the writing and the acting are superb, and It’s cool to see so much of Liverpool. Go watch it. Right now. Do it. Now.
Original Language en
Runtime 1 hr 38 min (98 min)
Genre Biography, Drama, Music, Romance
Director Sam Taylor-Johnson
Writer Matt Greenhalgh (screenplay)
Actors Aaron Taylor-Johnson, Kristin Scott Thomas, David Threlfall, Josh Bolt
Country UK, Canada
Awards Nominated for 3 BAFTA Film Awards. Another 6 wins & 18 nominations.
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Panavision Panaflex Millennium XL, Panavision C- and E-Series Lenses, Panavision Panaflex Platinum, Panavision C- and E-Series Lenses
Laboratory DeLuxe, London, UK, LipSync Post, London, UK (digital intermediate)
Film Length 2,686 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5260, Fuji Eterna Vivid 160T 8543)
Cinematographic Process Digital Intermediate (2K) (master format), Panavision (anamorphic) (source format)
Printed Film Format 35 mm (Kodak Vision 2383), D-Cinema