Film: 3 x Lester: 1. The Three Musketeers

Richard Lester, (born January 19, 1932, Philadelphia, Pennsylvania, U.S.), American filmmaker who successfully transferred the fast-cut stream-of-consciousness style of television commercials to the big screen. He was best known as the director of the Beatles movies A Hard Day’s Night (1964) and Help! (1965).

A piano prodigy, Lester continued his musical activities while pursuing a clinical psychology degree at the University of Pennsylvania. After graduating in 1951, he worked at a local television station, beginning as a stagehand and eventually becoming a director.

He traveled to Europe in 1954, ostensibly as a “roving correspondent” for a newspaper syndicate, and paid his way by playing guitar and piano. Within a year he was working at London’s Independent Television studios as a composer and director. He hosted his own one-shot The Dick Lester Show in 1956, which though a disaster led to a series of choice directorial assignments on the various television projects of The Goon Show cocreators Spike Milligan and Peter Sellers. Also during this period, he began directing commercials, an activity to which he would periodically return throughout his career.While working on Milligan’s TV series A Show Called Fred, he provided frantic, non sequitur filmed segments.

These came to fruition in his theatrical-film directorial debut, The Running, Jumping and Standing Still Film (1959), which featured Milligan and Sellers in a series of surreal sketches and sight gags. Lester graduated to features with It’s Trad, Dad! (1962), a low-budget capitalization on Britain’s then current traditional jazz craze. When he helmed his first studio-financed film, The Mouse on the Moon, the following year, he continued to rely upon working methods he had honed for television, including the cost-saving use of multiple cameras.

Because of this work, Lester was chosen to direct the Beatles’ first film, A Hard Day’s Night (1964). Though tightly scripted by Alun Owen, the film possessed a charmingly spontaneous, improvisational energy that not only encapsulated the dizzy euphoria of “Beatlemania” but influenced moviemaking in general during the 1960s. Described by critic Andrew Sarris as “the Citizen Kane of jukebox musicals,” A Hard Day’s Night was followed by another enjoyable Beatles-Lester collaboration, Help! (1965).


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