1968 cannes film festival

George Harrison, Cannes, France, May 1968, photographed by Ringo Starr (Photograph/ringostarrphotobook.com - via CNN)

George, Pattie, Ringo and Maureen were in Cannes for the premiere of Wonderwall on 17 May 1968.

“In January 1968 I was in Bombay, working on the soundtrack for the film Wonderwall - a Sixties hippy movie directed by Joe Massot. He asked me if I would do the music, but I told him I didn’t write music for films. Then he said that whatever I gave him, he would use. That sounded pretty simple, and I thought: ‘I’ll give them an Indian music anthology, and who knows, maybe a few hippies will get turned on to Indian music.’
I worked with Indian musicians at the EMI/HMV studios in Bombay. Mr Bhaskar Menon (later to become the head of EMI worldwide) brought a two-track stereo machine all the way from Calcutta on the train for me, because all they had in Bombay was a mono machine. It was the same kind of huge machine we used in Abbey Road; they’re called STEEDs. I’ve got one in the kitchen now - the one that we recorded ‘Paperback Writer’ on. I came back and added a lot more in Abbey Road, and put the music on the film.
Wonderwall came out some time later, and probably died a death. Ringo came with me to the premiere in Cannes. (I know this because they’ve put out the CD and I’ve read Derek’s liner notes. I didn’t remember it until I saw the photos of us with a rather nice young lady called Jane Birkin who was in the movie.)” - George, The Beatles Anthology

"I decided to do it as a mini-anthology of Indian music because I wanted to help turn the public in to Indian music.” - George, Wonderwall Music liner notes

"It was fantastic really [in India]. The studio is on top of the offices but there’s no sound-proofing. So if you listen closely to some of the Indian tracks on the LP you can hear taxis going by.
Every time the offices knocked off at 5.30 we had to stop recording because you could just hear everybody stomping down the steps. They only had a big EMI mono machine. I mixed everything as we did it there, and that was nice enough because you get spoiled working eight and sixteen tracks.” - George, liner notes

"I had a regular wind-up stop watch and I watched the film [at Twickenham Film Studios] to ‘spot-in’ the music with the watch. I wrote the timings down in my book, then I’d go to Abbey Road, make up a piece, record it and when we’d synch it up at Twickenham it always worked. It was always right.” - George, liner notes

"I suggested we take a brick out of the wall to give the fellow on the other side a chance, just as the Jack MacGowran character had a chance. Bob Gill didn’t want to do it, but he did it.” - George, liner notes [x]

4

George Harrison, Pattie Boyd, Ringo Starr, Maureen Starkey, Jane Birkin and others arriving at Le Grand Hotel, Cannes, possibly 17 May 1968, the day of the screening of Wonderwall.

Photos © Reporters Associes; Shinko Music

“In January 1968 I was in Bombay, working on the soundtrack for the film Wonderwall - a Sixties hippy movie directed by Joe Massot. He asked me if I would do the music, but I told him I didn’t write music for films. Then he said that whatever I gave him, he would use. That sounded pretty simple, and I thought: ‘I’ll give them an Indian music anthology, and who knows, maybe a few hippies will get turned on to Indian music.’
I worked with Indian musicians at the EMI/HMV studios in Bombay. Mr Bhaskar Menon (later to become the head of EMI worldwide) brought a two-track stereo machine all the way from Calcutta on the train for me, because all they had in Bombay was a mono machine. It was the same kind of huge machine we used in Abbey Road; they’re called STEEDs. I’ve got one in the kitchen now - the one that we recorded ‘Paperback Writer’ on. I came back and added a lot more in Abbey Road, and put the music on the film.
Wonderwall came out some time later, and probably died a death. Ringo came with me to the premiere in Cannes. (I know this because they’ve put out the CD and I’ve read Derek’s liner notes. I didn’t remember it until I saw the photos of us with a rather nice young lady called Jane Birkin who was in the movie.)” - George Harrison, The Beatles Anthology [x]

Claude Lelouch, Jean-Luc Godard, Francois Truffaut, Louis Malle, Roman Polanski at The Cannes Film Festival 1968.

Roman Polanski: Truffaut called me one morning and said that I must come to a meeting to discuss what to do about Henri Langlois. Langlois was the head of the Cinemateque. He was someone very popular and someone I personally liked very much. He had just been dissmised by Malraux, the Minister of Culture. Strangely enough, that started the whole thing. But even in that instance, when I arrived at the Palais des Festivals where this meeting was held in the festival’s smaller screening room, I realized it had nothing to do with Langlois – it was simply a lot of left-wingers trying to dismantle the festival. It reminded me of certain moments of the Stalinist period in Poland, and Godard immediately attacked me. He was a fervent Trotskyist at the time, and, well, he was many things… That was probably the period when being a Trotskyist was fashionable. I saw a lot of people in this room who had nothing even to do with the festival. They didn’t have films to present nor had they been invited. They said:  „The festival is over. It’s over. We don’t want it. We don’t want a festival of stars”.

3

The Black and Red Dress

In early May 1968 Pattie wore her black and red outfit with her signature green butterfly pin when she and George visited Mia Farrow’s Surrey home. (By Henry Grossman from his book, Places I Remember - My Time With The Beatles.)… In mid May 1968 Pattie again wore the black and red outfit, plus green butterfly pin and a pink hat for a Wonderwall promotion on the dock of Le Grand Hotel in Cannes, France… Next Pattie’s outfit is worn by her sister Jenny, a frequent visitor at Kinfauns, who was photographed in the door way by a fan (small image from an ebay auction listing).