YESTERDAY. Love, Fame and The Beatles [REVIEW]

f you love Queen’s music, you probably went to see Bohemian Rhapsody. If you’re a fan of Elton John, chances are you saw Rocketman. And if you admire The Beatles’ legacy, you should watch Yesterday. That would be a straightforward enough equation—if not for the fact that Yesterday stands apart from the other two in the way it weaves the British rock legends’ music into its cinematic world. Unlike Bohemian Rhapsody or Rocketman, Yesterday doesn’t follow the biographical-musical convention of dramatizing the band’s history. Instead, much like Across the Universe did over a decade ago, it threads Beatles hits into a narrative centered on fictional characters.

That’s why Yesterday is an unconventional tribute—using the Beatles as a narrative building block in a traditional romantic comedy, while simultaneously expressing admiration and fan devotion to the creators of Sgt. Pepper’s. The main character of Yesterday is Jack Malik—a twenty-something musician working in a big-box store to support his struggling artistic career. His manager is Ellie, a former schoolmate who was the first (and only) person to recognize Jack’s stage talent and supports him in his difficult pursuit of fame and recognition. It must be said—Jack’s career is going nowhere. He usually performs in pubs for uninterested, random patrons. That all changes after a serious accident during a mysterious global power outage. When Jack wakes up, he’s shocked to discover that he’s the only person in the world who remembers The Beatles—the band has seemingly been erased from history and everyone’s memory. On the verge of quitting music, Jack decides to take advantage of this bizarre situation. He recreates songs like Let It Be, She Loves You, and the titular Yesterday from memory, gradually gaining more and more attention. This unusual love letter to Beatles music was brought to life by none other than the iconic British filmmaking duo—Danny Boyle (director) and Richard Curtis (screenwriter). In their jointly produced Yesterday, you can clearly see a synthesis of their distinctive styles: the film is built around humorous situational scenes laced with British wit, arranged with a lively rhythm into what is, in many ways, a predictable but engaging story. Even without the Beatles subplot, this would be a well-crafted romantic comedy. Strong character development and cleverly tangled storylines help sidestep Curtis’s familiar script clichés, instead highlighting a believable melodramatic core.

Boyle’s hand is particularly evident in the way humor is used—appearing subtly and blending seamlessly into the psychological depth of the characters. The result is smooth transitions between moments that are hilarious, dramatic, and emotionally stirring, creating a strong narrative flow that makes you forget you’re watching yet another spin on a well-known formula. This structure makes the film’s focus less about Jack’s meteoric rise to fame through a mysterious twist of fate, and more about his relationship with Ellie. The sudden breakthrough in Jack’s floundering career causes a rift between him and his loyal manager, shaking him to the core and revealing truths he hadn’t seen before. It’s easy to guess where Jack and Ellie’s relationship is headed from the very first scene, but the film keeps us unsure until the very end about how the creators will resolve their storyline.

What makes it compelling is that beyond the romantic angle, it also highlights the importance of having close ones who believe in you and help turn your talent into success. In this way, The Beatles provide a metaphorical reinforcement of Yesterday’s moral: just as Jack’s success is built on the work of others—albeit used in an ethically “sanitized” way—it’s also dependent on the unwavering support of someone who truly believes in him. Curtis and Boyle take the film’s central idea and use it to creatively explore the well-known theme of “invisible support.” But The Beatles aren’t just a gimmick here, used to elevate a conventional melodrama.

Behind the storyline of recreating and reintroducing their work to the world lies a belief in the timeless value of their music. At one point, Jack even describes what he’s doing as a mission—a calling to share the musical genius of Lennon, McCartney, Harrison, and Starr. His desire for global fame is fused with a conviction that The Beatles wrote the greatest songs in history—songs that simply must be known. And if the world didn’t get them under The Beatles name, maybe it can receive them through Jack Malik. It’s a powerful message, and though it risks overuse, it’s hard to deny that Jack’s story rekindles love for The Beatles’ music. “Without The Beatles’ music, the world would be a slightly worse place.

” Transplanting the Beatles phenomenon from the 1960s into today’s world, however, raises some doubts. The film’s universalist thesis comes at the cost of sidelining the cultural context (so beautifully highlighted in Across the Universe) and the revolutionary impact the Beatles had on the music industry. The subplot about Jack’s disconnect from the songs’ original meaning never fully develops and ends up being just an excuse for a few brief scenes. Likewise, the somewhat heavy-handed marketing pairing of The Beatles with Ed Sheeran (amusing in his comedic scenes) feels a bit off—especially alongside an exaggerated portrayal of the music business (with the fantastic Kate McKinnon as a manager and a brilliant PR meeting scene).

On a cinematic level, the film suffers slightly from kitschy animated inserts and uninspired montage sequences filling in the story’s gaps. But these aren’t significant flaws—they don’t overshadow the film’s overall lighthearted, feel-good tone and the unpretentious, Beatles-fueled energy it carries. What truly seals the film’s success are the actors. Himesh Patel is flawless as Jack—a bit naïve, a bit awkward, a bit dreamy—wrestling with his feelings and the absurdity of his situation. Lily James embodies the classic Curtis-style “girl next door” character, revealing deeper emotional layers through bittersweet moments.

Joel Fry is memorable as Rocky, Jack’s clueless tour manager and friend. This trio, supported by the aforementioned Sheeran and McKinnon, Sanjeev Bhaskar and Meera Syal as Jack’s parents, and Alexander Arnold (whose portrayal of Gavin, the amateur producer, echoes Klaus Voormann from Backbeat), generates excellent on-screen chemistry that gives Yesterday a charming, lived-in character feel. After watching Yesterday, you’ll probably feel the urge to throw on a Beatles album—and you’ll likely agree with one of the film’s characters: the world would be a little worse without them. But the real strength of Yesterday is that it doesn’t exploit The Beatles’ legacy—it merges a heartfelt tribute with an engaging, genuinely enjoyable story.

It may not be a cinematic masterpiece, but Boyle and Curtis’s film—a simple, endearing comedy—feels more authentic to me than high-budget biopics. It’s less about marketing strategy, and more about pure entertainment and affection for the music and characters. And that’s enough to wholeheartedly recommend Yesterday not just to Beatles fans, but even to those allergic to romantic melodrama. I laughed, I got a little emotional, and ever since the screening, I’ve had Beatles songs on repeat. That’s what it’s all about.