Tag: paul mccartney

Prue sets her Beatles record true

Prudence Bury attended the Royal Ballet School in London, and she would have continued as a dancer, if her breathtaking beauty had not led her to become a fashion model.

Prue’s Classical background is evident in every way in “A Hard Day’s Night”. Prue has beauty, poise, and refinement that set her apart from the other girls on the train — including, in my opinion, her friend Pattie Boyd.

[flv:http://www.dograt.com/Video/2009/JUN/AHDN.flv 440 330]

It is Prue who leads Pattie when walking to their seats into the dining car. It is Prue who Paul McCartney refers to when he says, “Excuse me Madam” — gesturing to Pattie only when he says “two of us” — and it is Prue who is closest to the camera. Pattie had a word of dialog, but it seems to me that from the point of view of director Dick Lester, visually it is Prudence Bury who was his focus.

So how did Prue come to be in “A Hard Day’s Night”? Her former husband, Terry Hooper, tells his version of the story in this excerpt from a supplementary feature on the AHDN DVD.

[flv:http://www.dograt.com/Video/2008/OCT/TerryHooper.flv 440 330]

Prue takes exception with pretty much every point made by Hooper, and she would like to set the record straight. The following was taken from a message sent to me by Prudence Bury, and with Prue’s approval I put her comments in a ‘bullet’ list.

  • We were not married [during the making of “A Hard Day’s Night”]. This took place in 1965.
  • Terry was a croupier. He had been since I met him in 1958.
  • I attended an audition for the film and met Dick Lester and Walter Shenson.
  • I was chosen along with Pattie to play the part of a school girl on the train, not a screaming teenager.
  • Terry had never met (nor even heard of) the aformentioned men.
  • When during the making of the film Dick said they were looking for a croupier, it was I that suggested Terry, as that was his job.

And there you have it, from the lady herself. I’ll have a more of Prue Bury, including a new photo, in my next post.

Pure Prue

Prudence Bury will be here soon! Please be patient. I’m working out the details with her of exactly what she wants to say, and how it will be said. Don’t expect an extensive interview. It will be brief and to the point, allowing Prue to save her whole story for better, larger venues. She will be appearing at a Beatles weekend in November. More about that later.

If you’ve never known the name of Prue’s character in “A Hard Day’s Night,” it’s Rita. Pattie Boyd played Jean. Now you know!

Page from screenplay to \"A Hard Day\'s Night\"

Cilla Black, British Import

Will the three K’s in the girl group K3 ever find fame beyond Belgium and the Netherlands? I suspect not, with language being the reason why. Do any American network television producers even know about K3? Oh, yes. As of yesterday I am 100% sure of that.

Cilla Black with George MartinBut now let’s go back to 1965, when Petula Clark had a string of hit records that was perhaps unprecedented for any solo female singer. Certainly no other British woman has met with such success before or since. Julie Andrews specialized in musicals, of course.

Dusty Springfield broke onto the U.S. charts some months before Petula, and she was quite successful, although she never had a #1 hit here. But there was also another female English solo singer seeking success in America. Cilla Black was, like the Beatles, from Liverpool, and she was likewise discovered and managed by Brian Epstein.

Cilla Black provides an interesting contrast to Petula Clark. They’re both petite, with strong voices, but where Cilla’s appeal was being cute and coy, Petula’s primary charm was sexiness. With great popularity in England, Brian Epstein behind her, and George Martin producing her records, Cilla had the necessary advantages to succeed in America. But it didn’t happen.

Cilla Black made one appearance on the Ed Sullivan Show. It was on September 12, 1965, the same night the Beatles made their last live appearance for Sullivan. I featured a bit of it at this link eighteen months ago. And this is Cilla on that night.

[flv:/Video/2008/JUN/CillaBlackEdSullivan.flv 440 330]

In the recording studio, Cilla had the benefit of not only George Martin, but several songs written by Paul McCartney.

The first is “Love of the Love,” from 1963, which I think should have been done in a more laid back style.

[audio:http://www.dograt.com/Audio/2008/JUN/LoveOfTheLoved.mp3]

Then there’s “It’s For You,” from 1964, which I think has Martin making Cilla sound conspicuously like Shirley Bassey, who he had recorded recently singing the famous “Goldfinger” theme.

[audio:http://www.dograt.com/Audio/2008/JUN/ItsForYou.mp3]

… and “Step Inside Love” from much later, in 1968, with production values that point towards George Martin’s work with McCartney on “Live and Let Die.”

[audio:http://www.dograt.com/Audio/2008/JUN/StepInsideLove.mp3]