When All This and World War II opened at the Cinerama Dome on November 11, 1976, it sparked furious press and public reaction for its brazen conceit — Beatles covers laid over archival World War II newsreels and studio film clips. Reviews were damning: the New York Daily News quipped that the PG rating must have stood for “Positively Ghastly,” the Los Angeles Times’ Kevin Thomas called it tasteless and offensive, and many critics complained that the film almost erased the deaths and atrocities of the war. In the wake of the negative reception and a rapid withdrawal from theaters by distributor 20th Century Fox, a rumor took hold in Hollywood and among film buffs that the studio had not merely shelved the picture but had physically destroyed all prints. That whisper of studio obliteration turned the title into cult lore — a supposedly exorcised cinematic embarrassment that you couldn’t even view if you wanted to.
The rumor persisted for decades despite contrary evidence. Although the original theatrical release was withdrawn and the film never received an official home-video release, prints have surfaced at occasional festival screenings and on cable, and the soundtrack (released October 25, 1976 by Riva Records) and later CD reissues kept the project in the public record. The film was even shown out of competition at Cannes in 1977. In 2016 Tony Palmer re-edited the concept with different footage and music into The Beatles and WWII, and Gonzo Multimedia issued a 2016 box set that included Palmer’s DVD. Given the film’s continued sightings, releases of the soundtrack, and a verified 2016 re-edit, the apocalyptic claim that Fox destroyed every print is best classified as a debunked myth born of the film’s ignominious withdrawal and the peculiar embarrassment it caused within studio ranks.
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