Cult Flops - Sgt. Pepper's Lonely Hearts Club Band

Universal, 1978
Starring Peter Frampton, George Burns, Frankie Howerd, and the Bee Gees (Barry, Robin, and Maurice Gibb)
Directed by Michael Schultz
Music by John Lennon and George Harrison; Lyrics by Paul McCartney and George Harrison

And I thought Rocky Horror Picture Show was strange. This tale of a beloved band who use the power of love to save their small town is a supremely weird monument to the music of the Beatles and the pop culture of the late 70's. Everyone from Aerosmith to Earth, Wind, and Fire pops up here, with more than 100 stars joining in for the reprise of the title number. Everything before that...well, let's just head to Heartland, where its mayor Mr. Kite (Burns) is telling the story of Sgt. Pepper and his band, and find out just how off-the-wall a rock opera can get.

The Story: The original Sgt. Pepper dies during a performance in 1958 and leaves his legacy to his grandson Billy Shears (Frampton). Billy forms a new band with his three best friends (the Bee Gees), and they continue to play the magical instruments that keeps Heartland happy. Billy's half-brother Dougie (Paul Nicholas) is their manager, who is more interested in selling their music than in how their music makes the town feel. Billy only has eyes for his beloved girlfriend Strawberry Fields (Sandy Farina).

B.D Hoffler (Donald Plesance), a record producer, brings them to Hollywood for a contract. They're easily plied with sex and drugs, to Strawberry's dismay. Meanwhile, Mean Mr. Mustard (Howerd) and his female robots steal the famous musical instruments, sending Heartland into a slump. When Billy, Strawberry, and the Lonely Hearts Club Band find out, they steal Mustard's van to find the missing instruments. After Dougie holds a rally to help Heartland (and intends to keep the money), Mustard kidnaps Strawberry and takes her to the Future Villain Band (Aerosmith). Can the members of the Lonely Hearts Club Band stop this menace and bring happiness back to Heartland?

The Song and Dance: Well, it's definitely original, I'll give it that. It plays more like a comic book from this era than a typical musical. Among the few people who seem to have any idea of how to handle the material are Steve Martin, who has a blast with his one number, and Aerosmith. The last-named oozes menace as the "Future Villain Band" and are frankly far more interesting to watch and hear than the so-called "good" and "clean" singers. There's some decent cinematography, sets, and costumes as well, especially in the picturesque Heartland.

Favorite Number: There are a few numbers that do manage to work. The bizarre comic version of "Maxwell's Silver Hammer," the hiding place for the first musical instrument, shows off Martin's then-brand of insane comedy and foreshadows his somewhat similar "Dentist!" routine in Little Shop of Horrors eight years later. Shock jock Alice Cooper does a wild psychedelic "Because" as a cult leader who specializes in mind control. Earth, Wind, and Fire's "Got to Get You Into My Life" actually became a top 10 single, pretty much the only thing from this movie to go over well at the time. If nothing else, you can play "spot the random star" in that huge final rendition of the title song.

By far the best number here is "Come Together." As the so-called "Future Villain Band," Aerosmith are supposed to represent everything that's evil and decadent in the world. Steven Tyler, at the peak of his sexual and vocal prowess, and his band blow everyone away with their darkly sexual performance. They're so magnetic, it's more of a disappointment when Frampton and the Bee Gees show up and lay into them.

Trivia: It started as an off-Broadway concert, Sgt. Pepper's Lonely Hearts Club Band on the Road.

What I Don't Like: Pretty much everything else. Not a single thing makes sense, from the weird song placements to the silly and piecemeal story. George Burns' narration is intrusive and unnecessary. Farina, Frampton, and the Bee Gees can sing just fine, but can't act worth a darn and come off as dull, lifeless, and bland. They're supposed to be the good guys, but they're amazingly boring compared to all the lunacy around them. Mean Mr. Mustard is an even duller villain, with absolutely no motivation and few interesting traits besides being mean. His number with Strawberry, "When I'm Sixty Four," comes off as more creepy than funny.

And then, there's the literal deux ex-machina ending. It feels like the writers couldn't figure out how wrap things up and wanted to finish on a positive note...and shoved a happy ending in at the last minute. The whole thing really goes on for way too long. The entire "find the instruments" middle portion could be deleted with no one the wiser - they could have found another place for the "Maxwell's Silver Hammer" and "Because" numbers.

The Big Finale: They don't come much campier than this. Only come here if you really love camp, the cast, or the music and pop culture of the late 70's, or you're a huge fan of Aerosmith or Earth, Wind, and Fire.

Home Media: Despite - or maybe because - of it's "so bad it's oddly fascinating" status, it's easy to find on all major formats, often for under 10 dollars.

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