The legend goes that two wildly bold young film students (Robert Zemeckis & Bob Gale) forced their way into Steven Spielberg's office to show him their student project, A Field of Honor. Spielberg, who had of course done the same thing when he was starting out as an amateur filmmaker, more than likely felt a connection with the eager students. Spielberg was so bowled by their student project that he used his powers at Universal to get them to greenlight their first feature, with a caveat that he'd step in if Zemeckis couldn't handle the directing reins; no such decision ever came close to happening. I WANNA HOLD YOUR HAND is a kinetic peek into the world of celebrity-hysteria at its finest, and a major showcase for this first time director, who comes out swinging with the technical prowess of a seasoned professional. In true Zemeckis fashion, we never really “see” the Beatles. We instead focus on a group of foolhardy, overenthusiastic New Jersey teenagers hellbent on getting to see the Beatles perform on the Ed Sullivan show, in whatever manner they can fashion. Even out the gate Zemeckis has a lot to say about this particular “halcyon” era of American life, with Normal Rockwell dead in his sights,, recklessly tackling the world of idol-worship, fetish-indulging politicians, blackmail, and crooked cops - plus a harrowing scene involving a dad forcing his son into an army-style haircut, just so his son doesn’t look too much like a girl. Fueled by pitch perfect performances from the likes of Bobby Di Cicco, Wendie Jo Sperber, & Eddie Deezen, and anchored by the great Nancy Allen, who delivers a show-stopping scene involving Paul McCartney's bass guitar, I WANNA HOLD YOUR HAND remains to this day a chaotic wallop of a debut that announced the arrival of one of America’s greatest cinematic treasures, Robert Zemeckis.