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The very mention of The Beatles conjures up images of screaming fans, mop-top haircuts, and songs that became synonyms with the swinging sixties, added a fresh chapter in the annals of rock ‘n’ roll, and etched themselves forever in the hearts and minds of generations; songs about love, peace, social consciousness, loneliness, childhood nostalgia and drug culture that still hit differently. The four working-class boys, who shot to global stardom from the smoky clubs of Merseyside in Liverpool (UK), evoke nostalgia like few other bands’ members do.
For those interested in everything Beatles, there is good news. Sam Mendes, the British filmmaker behind American Beauty (1999), Road to Perdition (2002), Revolutionary Road (2008), and Bond films Skyfall (2012) and Spectre (2015), is set to showcase the band’s journey in a four-film project about The Beatles, with all movies scheduled for a simultaneous theatrical release in April 2028. The films, featuring Harris Dickinson (John Lennon), Paul Mescal (Paul McCartney), Joseph Quinn (George Harrison), and Barry Keoghan (Ringo Starr), will offer distinct perspectives on the band’s history.
The first announcement in this regard was made in early 2024, but with the recent updates on the project, including the fact that Farhan Akhtar — who was recently seen in 120 Bahadur and is rumoured to play Don in the third instalment of his own directorial after Ranveer Singh exited — is going to play sitar maestro Ravi Shankar in his Hollywood debut, there is going to be great interest in India as well. In 1968, as the counterculture was searching for new spiritual coordinates, Ravi Shankar became an important bridge between Indian classical music and Western rock royalty. That February, The Beatles travelled to Rishikesh to study Transcendental Meditation under Maharishi Mahesh Yogi at his ashram on the banks of the Ganges.
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Shankar, who had already been mentoring George Harrison in the sitar and in Hindustani musical philosophy, was closely associated with this East-West exchange, though he was not a resident participant in the meditation retreat itself. The sojourn produced dozens of songs — many of which later appeared on the White Album, their 30-track ninth studio album — and quickly became part of the pop folklore: four young men in saffron-hued seclusion, chasing silence in the Himalayan foothills while the world projected onto them its fantasies of enlightenment.
Fab Four, up close
The Beatles biopic project consists of four separate movies, each centred on one band member. Backed by Sony Pictures, Neal Street Productions, and Apple Corps, the films mark the first time the Beatles’ estates have granted full life and music rights to a scripted feature. They will show overlapping events from each member’s viewpoint. Mendes conceived the idea in 2022, convincing the families after years of pursuing a Beatles story. He pitched it as too vast for one film or a miniseries, opting instead for standalone features that together form a mosaic of the band’s journey from Liverpool docks to global frenzy.
Farhan Akhtar will play sarod maestro Ravi Shankar, who hosted The Beatles in Rishikesh in 1968.
Screenwriters Jez Butterworth, Peter Straughan, and Jack Thorne wrote the scripts, drawing from American journalist-author Bob Spitz’s book, The Beatles: The Biography (2005) — a comprehensive, 983-page account of the band’s rise, drawing on six years of research, 650 interviews, and private, unreleased documents to dismantle the ‘myth’ and present a more realistic, detailed portrait of the group, covering their early years, German, and Beatlemania eras — as well as fresh interviews.
In his book, Spitz, who has also written the biographies of The Rolling Stones, Bob Dylan and Led Zeppelin, captures the band’s journey from their modest beginnings in Liverpool to their transformation into the most influential musical group of the 20th century. Spitz begins by grounding the story in the cultural and economic backdrop of postwar Liverpool. He traces the childhoods of the band, which brought joy to the world, showing how their family lives, early losses, and exposure to American rock ’n’ roll (Elvis Presley, Chuck Berry, Little Richard, and Buddy Holly) shaped their ambitions and musical sensibilities.
The book then moves into the Beatles’ formative years, particularly their time in Hamburg, Germany, where they honed their craft in clubs, playing marathon sets that toughened their sound and stage presence. Spitz describes how this period cemented their bond as a band and sharpened their musical edge. By the time they returned to Liverpool, they were no longer just another local group, but had developed the charisma, energy, and talent that would soon lead to Beatlemania, the dizzying rise of the Beatles in the early 1960s. He details their partnership with manager Brian Epstein, whose vision and discipline helped them become what they became, and producer George Martin, whose guidance in the studio unlocked their creative potential.
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The later chapters focus on the Beatles’ artistic evolution and the growing tensions within the group. Spitz explores their shift from live performances to studio experimentation, producing masterpieces like Revolver and Sgt. Pepper’s Lonely Hearts Club Band. He also examines the personal struggles — creative differences, the pressures of fame, and interpersonal conflicts — that began to fracture their unity. The book does not shy away from the darker moments, including disputes over management, diverging artistic visions, and the eventual unravelling of their partnership.
Even after their acrimonious breakup in 1970, The Beatles’ influence on music, culture, and society remained unparalleled. Spitz portrays them not only as extraordinary musicians but also as symbols of the 1960s counterculture, embodying the spirit of innovation, rebellion, and change. Mendes’ films, one hopes, dwells on all these aspects, and more. Filming started in November 2025, and is expected to span over a year. Crews have shot in the UK, recreating iconic moments like the band’s 1964 arrival in New York for The Ed Sullivan Show, staged in London streets. Challenges arose early on; one ban prevented filming at the famous Abbey Road crossing due to traffic concerns. Behind the camera, Mendes has assembled heavyweights: cinematographer Greig Fraser for visuals, editor Lee Smith for rhythm, and production designers Stefania Cella, Mark Tildesley, and Neal Callow to evoke the 1960s zeitgeist.
Their timeless appeal
The incredibly talented Saoirse Ronan (Ladybird, Atonement), four-time Oscar nominee, plays Linda McCartney, McCartney’s anchor during the whirlwind of fame. Anna Sawai steps in as Yoko Ono, who was frequently blamed by fans and media for the breakup of the Beatles and for changing Lennon’s musical and personal life. Aimee Lou Wood is Pattie Boyd, Harrison’s first wife and muse for songs like Something. Mia McKenna-Bruce portrays Maureen Starkey, Starr’s steadfast partner. James Norton takes on Epstein, the manager behind their massive popularity. Harry Lloyd is Martin, the producer seen as the ‘Fifth Beatle’ for his wizardry in the studio.
Other key figures include David Morrissey as Jim McCartney, Paul’s father; Leanne Best as Mimi Smith, Lennon’s aunt and guardian; and Adam Pally as Allen Klein, the controversial businessman who managed the band post-Epstein, Lucy Boynton as Jane Asher, McCartney’s girlfriend during the Beatlemania peak, and Morfydd Clark as Cynthia Lennon, John’s first wife. Harry Lawtey plays Stuart Sutcliffe, the original bassist whose early death haunted the group. We will see Akhtar as Ravi Shankar, the sitar master who influenced Harrison’s turn to spirituality. Bobby Schofield and Daniel Hoffmann-Gill portray roadies Neil Aspinall and Mal Evans, unsung heroes of the touring years.
First images from the films were out earlier this year via postcards distributed at Beatles landmarks like the Liverpool Institute for Performing Arts and Strawberry Fields as part of the promotion titled, The Beatles — A Four-Film Cinematic Event. The images show the leads in period attire: moptop hair, slim suits, et al. Mescal, who is basking in all the accolades for Hamnet and The History of Sound, described the shoot as gruelling but exhilarating.
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Ringo Starr, in a 2025 interview, shared that he met with Mendes to discuss his perspective, praising the director’s respect for the story. Paul McCartney, the last surviving member alongside Starr, gave his blessing and promised no creative interference. The project, which is likely to avoid being a hagiography, will also tackle darker stuff like drug use and infidelity, and business feuds. Industry watchers call it a high-stakes gamble. Sony’s Tom Rothman has dubbed it as the “first bingeable theatrical experience” and suggested a rollout that encourages multiple viewings in quick succession, perhaps all in one day or weekly drops.
Even today, The Beatles’s songs see billions of streams yearly and sold-out tribute shows are held frequently. This project taps into all of this, coming as it does in the wake of a biopic boom, which includes Bohemian Rhapsody (2018), based on the life of Freddie Mercury, the lead singer of the British rock band Queen, and Elvis (20220, on American rock and roll singer and actor Elvis Presley. Made at the budget of $200 million, the quartet of films will be a perfect introduction to younger audiences, especially Millennials, many of whom would have little idea how Beatlemania ensnared the world. As someone posted on X, “Beatles in 2028? Count me in for the full day.” With two years to go, the hype around the film only proves the Fab Four’s timeless appeal.
