339 reviews
On May 13, 1970, in Redondo Beach, California, I stuffed a VW bus with my closest musician friends and drove to Hollywood to see the midnight premier showing of The Beatles: Let It Be. Like many musicians who were professionally involved in the swiftly emerging music industry in the 60s and 70s, John Lennon, Paul McCartney, George Harrison and Ringo Starr had helped to shape and define not only the rock and roll we performed, but also how we socially and culturally defined ourselves in the massive Counterculture Movement.
After screening the film, we drove back home in deafening silence. It was as if a global blackout had occurred, and when it was over, the music industry landscape had been transformed into a yawning, empty hole, one which would not begin to be filled in for another 51 years. It was true, there was little to say. We had just witnessed the depressing breakup of the world's greatest pop band, and the stunning finality of it all had been dutifully documented in Let It Be. To quote John Lennon: "The dream was over."
But thanks to director extraordinaire Peter Jackson, and the release of The Beatles: Get Back, the painful wound I thought would never heal was suddenly cleansed, dressed, stitched and repaired. The empty hole left by the original film began to fill in as the first few scenes of Get Back rolled across the television screen. Instead of mourning the demise of this iconic group, I found myself with a renewed sense of celebration, even relief, with the updated knowledge that the Beatles hadn't necessarily "gone down in flames" but rather, were subconsciously beginning the process of launching their solo careers, each of which would flourish for many years following their official breakup.
Most IMDb fans already know the full story behind Let It Be (1970) and The Beatles: Get Back (2021) so there is no need to duplicate descriptions and comparisons. In both films, it is still the music that efficiently carries the storyline as well as the strong creative processes the Beatles possessed when building new songs in the recording studio.
Peter Jackson's "retelling" allowed me to enjoy the film for what it was always meant to be: An upbeat and beautiful documentary best described by Greek philosopher Aristotle's timeless phrase, "The whole is greater than the sum of its parts."
No spoilers here as usual but I will reveal that the process of selecting and restoring the material for the film took New Zealander Peter Jackson a grueling four years.
After screening the film, we drove back home in deafening silence. It was as if a global blackout had occurred, and when it was over, the music industry landscape had been transformed into a yawning, empty hole, one which would not begin to be filled in for another 51 years. It was true, there was little to say. We had just witnessed the depressing breakup of the world's greatest pop band, and the stunning finality of it all had been dutifully documented in Let It Be. To quote John Lennon: "The dream was over."
But thanks to director extraordinaire Peter Jackson, and the release of The Beatles: Get Back, the painful wound I thought would never heal was suddenly cleansed, dressed, stitched and repaired. The empty hole left by the original film began to fill in as the first few scenes of Get Back rolled across the television screen. Instead of mourning the demise of this iconic group, I found myself with a renewed sense of celebration, even relief, with the updated knowledge that the Beatles hadn't necessarily "gone down in flames" but rather, were subconsciously beginning the process of launching their solo careers, each of which would flourish for many years following their official breakup.
Most IMDb fans already know the full story behind Let It Be (1970) and The Beatles: Get Back (2021) so there is no need to duplicate descriptions and comparisons. In both films, it is still the music that efficiently carries the storyline as well as the strong creative processes the Beatles possessed when building new songs in the recording studio.
Peter Jackson's "retelling" allowed me to enjoy the film for what it was always meant to be: An upbeat and beautiful documentary best described by Greek philosopher Aristotle's timeless phrase, "The whole is greater than the sum of its parts."
No spoilers here as usual but I will reveal that the process of selecting and restoring the material for the film took New Zealander Peter Jackson a grueling four years.
- Sunsphxsuns
- Nov 25, 2021
- Permalink
A historical treasure, masterpiece, call it what you will. All I know is that this will be admired not for years, but for centuries. Watching these compositions being created is truly staggering.
- theo-57528
- Nov 24, 2021
- Permalink
There's a reason for an 8-hour documentary about the recording of The Beatles final release. Back when, there was such a ruckus and hurled allegations from all quarters: the band members, the critics, the (mostly) stoned fans and interested parties. Today, all of that seems like manufactured craziness, but Peter Jackson recreated what may have happened, offering a correction of what people erroneously believed as a clash of inflating egos and tantrums caused by (1) Yoko Ono's presence and (2) the pulling apart of the group by domesticity. In fact, Jackson lets us witness the growth of 4 talented people ready to move on with their drive towards solo careers. The group was just too confining, the mind-meld between McCartney and Lennon too dominant for Harrison and Starkey. Seeing McCartney and Lennon create--almost wordlessly--is riveting, and watching Harrison's resentment over being ignored or dismissed, painful. But there's a tight deadline for the project. Starkey is under contract to begin a movie at month's end, and the planned project includes an album, a TV special, a film plus a live performance in just 3 weeks. So time puts enormous pressure on getting the work done.
The Beatles were a phenomenon unlike anything seen before primarily due to a growing interconnectedness of media that spread news (or rumor) with lighting speed. Reporting the most mundane morsel of what was going on with the group was its own industry. And, in the absence of any fact, the media could always make something up. Critics who were becoming a separate discipline, lying in wait to topple the successful, so they could gain respect and access...and influence. And The Beatles were a primary target for the mill. "Let It Be" was poorly received by the critics which today seems laughable. Take a dart and throw it at the eclectic track list, and you'd score an example of brilliance in both live recording, performing or writing. Sometimes all three. Phil Spector's odd postproduction edits only added to the critical fodder. Today, those additions make little difference. And, as McCartney remarks in the course of the film, Yoko Ono's presence--and any objection to it--also is inconsequential. It's too bad she didn't have the awareness of what her constant presence would give to her detractors.
I wouldn't urge anyone to see this film due to its length. Writing songs and rehearsing them is a repetitious process. You'll either be fascinated or bored stiff. But the restoration alone is a gift; the amount of time we get to spend watching the recording process of geniuses of the 20th Century is a privilege. The music still thrills and influences. Whether you want to stick around and watch how it was created, under self-imposed dire pressure is a personal choice.
Part 3 is the most accessible for the casual viewer. It contains things like a young Heather McCarthy upon hearing Yoko Ono's, unique wordless, guttural singing deciding to mimic her. We also get to move out of the claustrophobic confines of the yet-to-be-completed Apple studios and hear a relatively unrehearsed, rough shod performance (some used on the album). And the surprised inhabitants and passersby on Seville Row astonishment to hear The Beatles finally performing again. The constabulary are less impressed.
It can be argued that the Beatles changed society. Whether you want to say they simply led what was already underway or did it single-handedly is an open question. So, Peter Jackson with "The Beatles: Get Back" did a service by correcting a record. Yes, there were struggles and resentments inside the group. But the real culprit in their split was their maturing talent and a need to express beyond the four as a group. At the time, the break up was devasting to the public and apparently to the group itself; but watching the film today, we can celebrate that they were released to not only express themselves but to give even more to their legacy.
The Beatles were a phenomenon unlike anything seen before primarily due to a growing interconnectedness of media that spread news (or rumor) with lighting speed. Reporting the most mundane morsel of what was going on with the group was its own industry. And, in the absence of any fact, the media could always make something up. Critics who were becoming a separate discipline, lying in wait to topple the successful, so they could gain respect and access...and influence. And The Beatles were a primary target for the mill. "Let It Be" was poorly received by the critics which today seems laughable. Take a dart and throw it at the eclectic track list, and you'd score an example of brilliance in both live recording, performing or writing. Sometimes all three. Phil Spector's odd postproduction edits only added to the critical fodder. Today, those additions make little difference. And, as McCartney remarks in the course of the film, Yoko Ono's presence--and any objection to it--also is inconsequential. It's too bad she didn't have the awareness of what her constant presence would give to her detractors.
I wouldn't urge anyone to see this film due to its length. Writing songs and rehearsing them is a repetitious process. You'll either be fascinated or bored stiff. But the restoration alone is a gift; the amount of time we get to spend watching the recording process of geniuses of the 20th Century is a privilege. The music still thrills and influences. Whether you want to stick around and watch how it was created, under self-imposed dire pressure is a personal choice.
Part 3 is the most accessible for the casual viewer. It contains things like a young Heather McCarthy upon hearing Yoko Ono's, unique wordless, guttural singing deciding to mimic her. We also get to move out of the claustrophobic confines of the yet-to-be-completed Apple studios and hear a relatively unrehearsed, rough shod performance (some used on the album). And the surprised inhabitants and passersby on Seville Row astonishment to hear The Beatles finally performing again. The constabulary are less impressed.
It can be argued that the Beatles changed society. Whether you want to say they simply led what was already underway or did it single-handedly is an open question. So, Peter Jackson with "The Beatles: Get Back" did a service by correcting a record. Yes, there were struggles and resentments inside the group. But the real culprit in their split was their maturing talent and a need to express beyond the four as a group. At the time, the break up was devasting to the public and apparently to the group itself; but watching the film today, we can celebrate that they were released to not only express themselves but to give even more to their legacy.
- Michael Fargo
- Nov 27, 2021
- Permalink
One of the things about being a Beatles fan since the Ed Sullivan show was that it was fun to watch them do ANYTHING. We weren't inundated with celebrity footage like we are now, so even getting to watch them boil an egg was wonderful. I still feel that way.
One thing about this film: the Beatles just jamming is better than about half the music ever.
And even with any bickering, you can tell how much fun they had playing together.
It makes me sad all over again about John's life being cut so short.
One thing about this film: the Beatles just jamming is better than about half the music ever.
And even with any bickering, you can tell how much fun they had playing together.
It makes me sad all over again about John's life being cut so short.
What a treasure! If I could give this 20 stars I would. Some of my earliest memories are of the Beatles and I can still remember every word to every Beatle song even though other memories in my life have faded. This film is a gift to the world. A found item in the most magical of attics. To see the collaboration, the talent, the brotherhood in such intimate detail is truly wonderful. I loved every minute of it. Peter Jackson is also a gift and it must have been near impossible to decide what to leave in and what to exclude. Like LOTR he nails it, managing to honor the content without forcing himself of it. It will always be difficult to watch John knowing his unacceptable end but what a great tribute and memorial this is. And sweet George. While others screamed for Paul, I was always a George girl. If I could just go back in time and take the cigarette out of his hand I would. Alas it is the way of things. Thank you Peter Jackson for this most wonderful of gifts!!
- lee_eisenberg
- Nov 28, 2021
- Permalink
This is just incredible!!! I can't believe this existed for so long and we are just watching it now. I can imagine all the hours of footage that are left. Just create a serie with the tapes, no need to edit, we will all be happy just hear them talk about anything :D.
- florenciaactis23
- Nov 24, 2021
- Permalink
Perfect , masterful , and the best way to spend thanksgiving. Every Beatles fan should watch this ! It's so clear, it's liked they filmed it today . Masters are work and it feels like you're in the room with them.
- wardster-24336
- Nov 24, 2021
- Permalink
The climactic third segment of Peter Jackson's re-edit on Michael Lindsay-Hogg's raw footage for the original "Let It Be" feature in 1970. In the intervening 51 years, many of the significant characters here are no longer with us, most obviously Lennon and Harrison, but also George Martin, Billy Preston and Linda McCartney (then Eastman) to name but a few. Me, I'm glad I've lived long enough as a lifelong Beatles fan to see this up-close-and-personal glimpse of them in the studio and of course, in the end, playing live for the last time, on the roof of the Apple Studios building on Savile Row, London.
If the first film of the three showed the group not coping with being expected to work in the cavernous Twickenham Film Studio set to the extent of becoming fractious with one another and not getting a whole lot done and the second their reconciliation and rediscovery of their collective mojo boosted by the drafted-in guest appearance of keyboardist Billy Preston, then this last instalment showed the race against time to complete their elpee's worth of songs (at which they fail) and agreement to an almost ad-hoc suggestion that they perform their new material live above the mostly agog office and shop-workers below (at which they succeed).
I do hope now that the often upbeat nature of these films and the way they showed the band tightening up, in more ways than one, will replace the perception of these sessions, as portrayed in the original film, as negative and downbeat. Yes, there were disagreements and falling-outs along the way, but when their backs were against the wall, the band always came out fighting, as McCartney states they invariably did when the occasion called. While in the first hour, perhaps the odd extended jam or two could have been cut down or out, these are more than made up for with priceless scenes with the group chemistry very much in evidence, witness George asking for help with his lyric for "Sonething", his own helping of Ringo to knock "Octopus's Garden" into shape or John and Paul hilariously co-singing "Two Of Us" as if they were ventriloquists.
Best of all though was the music itself. Marvel at their prolific output, setting themselves a 14-song target, this, remember just a few months after they'd unleashed 30 newbies on "The White Album". Also dig how they individually and collectively pull a song together, not stopping until they get it right. Initially trepidatious at witnessing a perceived up-close disintegration of my favourite band, instead I got an insight into the years of gigging and recording which helped them stay together for so long. Yes, at times, it's clear the ends were fraying as they grew apart and would come loose for good after one final magnificent hurrah with "Abbey Road", but this extended window into their world only deepened my love and admiration for this most special band.
The highpoint of "Get Back" of course was the uncut 40 minutes or so of the rooftop show, again with Billy Preston as their side-man on keyboards, blasting out their new music over the streets of London prompting the attention of the stuffy, out-of-touch local plod to shut them down. All the sometimes ramshackle rehearsals and run-throughs forgotten, on a cold but sunny winter morning, they sing and play magnificently together one last time in a truly Olympian performance, to the mortals below.
And in the end, borrowing a phrase from a lesser but still very popular band, all I can say is thank you for the music, boys, you were the best.
If the first film of the three showed the group not coping with being expected to work in the cavernous Twickenham Film Studio set to the extent of becoming fractious with one another and not getting a whole lot done and the second their reconciliation and rediscovery of their collective mojo boosted by the drafted-in guest appearance of keyboardist Billy Preston, then this last instalment showed the race against time to complete their elpee's worth of songs (at which they fail) and agreement to an almost ad-hoc suggestion that they perform their new material live above the mostly agog office and shop-workers below (at which they succeed).
I do hope now that the often upbeat nature of these films and the way they showed the band tightening up, in more ways than one, will replace the perception of these sessions, as portrayed in the original film, as negative and downbeat. Yes, there were disagreements and falling-outs along the way, but when their backs were against the wall, the band always came out fighting, as McCartney states they invariably did when the occasion called. While in the first hour, perhaps the odd extended jam or two could have been cut down or out, these are more than made up for with priceless scenes with the group chemistry very much in evidence, witness George asking for help with his lyric for "Sonething", his own helping of Ringo to knock "Octopus's Garden" into shape or John and Paul hilariously co-singing "Two Of Us" as if they were ventriloquists.
Best of all though was the music itself. Marvel at their prolific output, setting themselves a 14-song target, this, remember just a few months after they'd unleashed 30 newbies on "The White Album". Also dig how they individually and collectively pull a song together, not stopping until they get it right. Initially trepidatious at witnessing a perceived up-close disintegration of my favourite band, instead I got an insight into the years of gigging and recording which helped them stay together for so long. Yes, at times, it's clear the ends were fraying as they grew apart and would come loose for good after one final magnificent hurrah with "Abbey Road", but this extended window into their world only deepened my love and admiration for this most special band.
The highpoint of "Get Back" of course was the uncut 40 minutes or so of the rooftop show, again with Billy Preston as their side-man on keyboards, blasting out their new music over the streets of London prompting the attention of the stuffy, out-of-touch local plod to shut them down. All the sometimes ramshackle rehearsals and run-throughs forgotten, on a cold but sunny winter morning, they sing and play magnificently together one last time in a truly Olympian performance, to the mortals below.
And in the end, borrowing a phrase from a lesser but still very popular band, all I can say is thank you for the music, boys, you were the best.
It really doesn't get any better than this. Over 50 yrs ago and I feel like I was in the room watching real magic with 4 magicians. I really don't know how anyone cannot be a Beatles fan.
- ferguson-6
- Nov 28, 2021
- Permalink
The most impressive aspect is the upscaled footage. How they were able to turn 50+ year old footage and audio into something this crisp and clear is kind blowing. But outside of that this is essential just long unfiltered and unedited footage of the Beatles in real time. Which is fine if you're someone who just wants to watch the Beatles chilling out, doing their thing, recording, and performing for 8 unfiltered hours.
But if you're looking for a documentary film, this is not it. And while I found it interesting, to me it's a bit boring and was expecting something with Peter Jackson's name to have more production to it. It doesn't seem like anything more than a YouTuber could put together with the footage (in a scenario where this high quality upscale already existed) and adobe premiere.
You do learn a lot more about the Beatles as people and to the let it be story, which played out differently than the public presentation (like Yoko was not the singular intrusive person and band reckoning force she was said to be).
And in some ways soured my view of the group, watching their exposed egos and oversensitivity at times wasn't enlightening but just a bit too typical for any mega famous artist. This is almost sycophantic we revere people so much that you can just splice 8 hours of footage with no narrative frame or production and it's celebrated.
But if you're looking for a documentary film, this is not it. And while I found it interesting, to me it's a bit boring and was expecting something with Peter Jackson's name to have more production to it. It doesn't seem like anything more than a YouTuber could put together with the footage (in a scenario where this high quality upscale already existed) and adobe premiere.
You do learn a lot more about the Beatles as people and to the let it be story, which played out differently than the public presentation (like Yoko was not the singular intrusive person and band reckoning force she was said to be).
And in some ways soured my view of the group, watching their exposed egos and oversensitivity at times wasn't enlightening but just a bit too typical for any mega famous artist. This is almost sycophantic we revere people so much that you can just splice 8 hours of footage with no narrative frame or production and it's celebrated.
I don't even know where to start. I subscribed to Disney+ just for this and it is a masterpiece. I've seen the "Let It Be" documentary (everybody knows the historic Paul and George argument and "I'll play anything you want me to play") but this is way beyond that. I related to every single rehearsal scene (from my experiences) and connected mostly with Paul (I don't want to be the leader and songwriter but someone has to do it). But oh Lord I wish I was Lennon. I knew he was hilarious but I had no idea he was the most hilarious human on the planet. (And a great soulful writer and singer, but we already knew that). There are scenes where Paul is trying to get the others to pay attention to some of his greatest songs in creation like Long and Winding Road, Get Back, and Let It Be...and no one cares. Until they do. And it's a really deep dive into the creative process and mumbling nonsense lyrics and playing total garbage until it all comes together. And drunken debauchery (along with other substances) until you have masterpiece level music. And I haven't even mentioned Linda's soulful eyes and camerawork, Ringo's sad silence before he's drawn into the songs, George's classic songs (like All Things Must Pass) that never made the record, the bizarre goofy blues jams, and Yoko. But I've already said too much. Just watch it.
After watching the first part of this documentary, I couldn't help but feel stressed out for the band as they put pressure on them selves to meet the deadline. A great job is done directing this and it's a true treasure of unseen footage. Just one thing.... Yoko is ALWAYS THERE!! Literally just sitting there saying nothing and staring.... All... the... time!! Wow... just wow. I guess we all have a friend whose spouse is always hovering lol. Anyway I'm excited for part 2. That's all.
- TheLastDon81
- Nov 25, 2021
- Permalink
"Get Back" tells the story of the end of The Beatles, sessions with the goal of a live performance, followed with a new album.
This was absolutely fantastic. To see the Fab Four intermingling, to witness the creative process, the dynamic between John and Paul, George's unhappiness with the group, was remarkable.
This was the brainchild of Michael Lindsay-Hogg, the son of actress Geraldine Fitzgerald and Sir Edward Lindsay-Hogg - except that it turned out that his father was really Orson Welles.
With the death of their manager, Paul McCartney reluctantly became the "head" of the band, intending to give them focus. Lennon was very involved with Yoko Ono (who sat next to John at all times); George was unhappy; and the affable Ringo seemed to be in the background, a friend to everyone.
When George says he's leaving - and leaves - there isn't much reaction. It's almost as if it dawns on them later as to what actually happened. "If he's not back by Tuesday, we'll get Clapton," John says. After two meetings with George, he returns, with the promise that they will continue working in Apple's studio rather than at Twickenham, and that all talk of live performance be shelved - permanently.
In a fascinating discussion between John and Paul, which was obtained by a hidden microphone, we learn more about their dynamic. Both are resentful of the other taking charge. Lennnon accuses McCartney of rejecting other peoples' ideas because -- "I'm Paul McCartney."
McCartney acknowledges, "You have always been boss, and I've been sort of secondary boss." With Epstein's gone, and Lennon involved with Ono, McCartney filled the void. That seemingly bothered Harrison, who would have been happier with Lennon.
It was finally decided that the Beatles would do a rooftop concert. Fascinating to see people walk by the building, stop, and realize what's going on. The group followed up with the album Let it Be. I'm not sure any of them ever did.
This was absolutely fantastic. To see the Fab Four intermingling, to witness the creative process, the dynamic between John and Paul, George's unhappiness with the group, was remarkable.
This was the brainchild of Michael Lindsay-Hogg, the son of actress Geraldine Fitzgerald and Sir Edward Lindsay-Hogg - except that it turned out that his father was really Orson Welles.
With the death of their manager, Paul McCartney reluctantly became the "head" of the band, intending to give them focus. Lennon was very involved with Yoko Ono (who sat next to John at all times); George was unhappy; and the affable Ringo seemed to be in the background, a friend to everyone.
When George says he's leaving - and leaves - there isn't much reaction. It's almost as if it dawns on them later as to what actually happened. "If he's not back by Tuesday, we'll get Clapton," John says. After two meetings with George, he returns, with the promise that they will continue working in Apple's studio rather than at Twickenham, and that all talk of live performance be shelved - permanently.
In a fascinating discussion between John and Paul, which was obtained by a hidden microphone, we learn more about their dynamic. Both are resentful of the other taking charge. Lennnon accuses McCartney of rejecting other peoples' ideas because -- "I'm Paul McCartney."
McCartney acknowledges, "You have always been boss, and I've been sort of secondary boss." With Epstein's gone, and Lennon involved with Ono, McCartney filled the void. That seemingly bothered Harrison, who would have been happier with Lennon.
It was finally decided that the Beatles would do a rooftop concert. Fascinating to see people walk by the building, stop, and realize what's going on. The group followed up with the album Let it Be. I'm not sure any of them ever did.
Greatest Band Of All Time Recording Some Of The Greatest Songs Of All Time Directed By One Of The Greatest Director Of All Time In One Of The Best Documentary Of All Time.
- HabibieHakim123
- Nov 28, 2021
- Permalink
When a moment in time is so perfect that it can't be recreated or revisited, it must be remembered. That's what Mr Jackson has done with "The Beatles: Get Back".
We're all familiar with the finished product, the songs the Beatles gave us. The songs that I've been listening to for almost 60 years now. What we aren't familiar with was the creative process that John, Paul, George, and Ringo went through to create their art. We remember that they broke up, with acrimony implied. What we never witnessed (until now) was how beautifully they complemented each other. As mere mortals, we could never imagine how four individuals could sync and dovetail, imagine and create, to give the world a taste of heaven.
This documentary isn't about "how the sausage is made". It's about how "Michelangelo sculpted David". Every step is in itself beautiful, enchanting, daring, and oftentimes very humorous. We see energy and creativity in action, the give and take. We also know the end result, and knowing that end result makes the process even more fascinating. I for one assumed that the creation of "Let it Be" would be the most interesting. I never suspected "Get Back" would take that honor.
Mr Jackson presents a wonder-full documentary of four young men creating music that is known to generations. The editing is superb as is the restored footage. All with a soundtrack that is truly beauty-full.
Thank you Mr Jackson.
We're all familiar with the finished product, the songs the Beatles gave us. The songs that I've been listening to for almost 60 years now. What we aren't familiar with was the creative process that John, Paul, George, and Ringo went through to create their art. We remember that they broke up, with acrimony implied. What we never witnessed (until now) was how beautifully they complemented each other. As mere mortals, we could never imagine how four individuals could sync and dovetail, imagine and create, to give the world a taste of heaven.
This documentary isn't about "how the sausage is made". It's about how "Michelangelo sculpted David". Every step is in itself beautiful, enchanting, daring, and oftentimes very humorous. We see energy and creativity in action, the give and take. We also know the end result, and knowing that end result makes the process even more fascinating. I for one assumed that the creation of "Let it Be" would be the most interesting. I never suspected "Get Back" would take that honor.
Mr Jackson presents a wonder-full documentary of four young men creating music that is known to generations. The editing is superb as is the restored footage. All with a soundtrack that is truly beauty-full.
Thank you Mr Jackson.
Fantastic to see the inner workings of the Fab Four and their creative process. Coming up with songs like let it be and get back on the hoof. Supremely talented. Also great to see the hierarchy of the group with Paul and John calling all of the shots. George being 'the quiet one' and Ringo just going along. Great insight.
- connjam5-381-425263
- Nov 25, 2021
- Permalink
As a big Beatles fan since I was a kid and the anticipation of a new Beatles album was still a reality, I was transported back in time. As you watch the 4 lads come up with new songs, seemingly out of thin air, you get the feeling these guys are pure geniuses. The one part that blew my mind was a scene from 1966 at Candlestick Park in San Francisco. It was just 3 years earlier yet the Beatles had changed so drastically, from 4 MopTops still in the thrall of Beatlemania ('66) to 4 transformed and more mature, wealthy individualists on the verge of solo careers ('69).
I just love this documentary.
I just love this documentary.
- deanbean317
- Nov 26, 2021
- Permalink
Let me start by saying that there were some great moments,but mostly I just found it slow and prodding.
It could have been cut by at least one episode and still not missed anything significant. It's a great view into how they constructed their songs, but lots of redundant "outtake" material could have been eliminated which would have moved things along.
I struggled and forced myself to watch the third episode, but at the end learned very little that I didn't already know about the The Beatles.
It could have been cut by at least one episode and still not missed anything significant. It's a great view into how they constructed their songs, but lots of redundant "outtake" material could have been eliminated which would have moved things along.
I struggled and forced myself to watch the third episode, but at the end learned very little that I didn't already know about the The Beatles.
This came available to me as a 3-disk DVD set from my public library, complete with Dolby soundtrack. The total running time is almost 8 hours and starting it I was very skeptical that I would view all of it. However as I got into it I was so fascinated with the content that I watched it all in several sessions over several days.
What is documented here took place in January of 1969. At that exact time I was a student in college and we were also preparing for a performance, a 4-week, 28-performance run of a musical to help commemorate Purdue's 100th anniversary. That connection in time stayed with me as I watched this film.
Although I never was a rabid Beatles fan I enjoyed their music. They changed the world of music but their prime concert run was rather short, from about 1961 through 1966. Then in 1969 they began preparation for a new album and a live performance. This documentary covers that month and is very frank, watching it you get the feel of being there. How the four invented lyrics, worked out chords, tried any number of different things.
Watching it I realized I had no clue what each of the four were really like. Ringo and George were pretty serious, not in a bad way, they went to rehearsals to work, to get on with their business. But John especially was a goofball, cutting up all the time, making silly voices into the microphone, in general seeming not to take any of it seriously. But once they recorded or performed live we see what a master of his craft he was. Paul seemed to be the glue that held everything together and had most input into how to move forward.
There is a day when George, perhaps feeling under appreciated, walks out and says he isn't coming back. The others don't panic, they even discuss who might replace him, "I guess we'll ask Clapton if George doesn't came back." But they all met and mended things.
The last 45 minutes or so of disk #3 is devoted to the unauthorized, impromptu, unannounced concert at the end of January. It was on the roof of the 5-story Apple Corps building in downtown London, around lunchtime. They were able to record enough for 5 songs on the eventual "Get Back" album before the cops shut them down for being too loud and for drawing too big a crowd that disrupted traffic. They had expected that.
So yes, it is long, but is a fascinating close look at the Beatles and what made them go.
What is documented here took place in January of 1969. At that exact time I was a student in college and we were also preparing for a performance, a 4-week, 28-performance run of a musical to help commemorate Purdue's 100th anniversary. That connection in time stayed with me as I watched this film.
Although I never was a rabid Beatles fan I enjoyed their music. They changed the world of music but their prime concert run was rather short, from about 1961 through 1966. Then in 1969 they began preparation for a new album and a live performance. This documentary covers that month and is very frank, watching it you get the feel of being there. How the four invented lyrics, worked out chords, tried any number of different things.
Watching it I realized I had no clue what each of the four were really like. Ringo and George were pretty serious, not in a bad way, they went to rehearsals to work, to get on with their business. But John especially was a goofball, cutting up all the time, making silly voices into the microphone, in general seeming not to take any of it seriously. But once they recorded or performed live we see what a master of his craft he was. Paul seemed to be the glue that held everything together and had most input into how to move forward.
There is a day when George, perhaps feeling under appreciated, walks out and says he isn't coming back. The others don't panic, they even discuss who might replace him, "I guess we'll ask Clapton if George doesn't came back." But they all met and mended things.
The last 45 minutes or so of disk #3 is devoted to the unauthorized, impromptu, unannounced concert at the end of January. It was on the roof of the 5-story Apple Corps building in downtown London, around lunchtime. They were able to record enough for 5 songs on the eventual "Get Back" album before the cops shut them down for being too loud and for drawing too big a crowd that disrupted traffic. They had expected that.
So yes, it is long, but is a fascinating close look at the Beatles and what made them go.
Ok it's the Beatles. There is no other group more or better then or since. The 4 rating is for the Fab 4.
All Beatle fans know the end products. What the mystery is, is their unique creative process. The last six minutes of this way too long 7 hour plod had more music crammed in than the first 6 hours. Yes Heather McCartney is a cute little girl. Devoting a draggy episode to a kid being a kid in a music studio was way too much. More song play and practice is what I was hoping for. A few slices of the hours long negotiations would have shortened the drag of this by at least an hour. I mean we all know that making sausage is a bloody business. Doesn't mean we need to or want to see every step of the process. Better editing sorely needed. Narration instead of a sentence super imposed saying this or that. And sorry, x'ing off days on a calendar is just corny and simplistic. The rooftop scene was ok but the 6 plus hours getting there was truly a long and winding road.
All Beatle fans know the end products. What the mystery is, is their unique creative process. The last six minutes of this way too long 7 hour plod had more music crammed in than the first 6 hours. Yes Heather McCartney is a cute little girl. Devoting a draggy episode to a kid being a kid in a music studio was way too much. More song play and practice is what I was hoping for. A few slices of the hours long negotiations would have shortened the drag of this by at least an hour. I mean we all know that making sausage is a bloody business. Doesn't mean we need to or want to see every step of the process. Better editing sorely needed. Narration instead of a sentence super imposed saying this or that. And sorry, x'ing off days on a calendar is just corny and simplistic. The rooftop scene was ok but the 6 plus hours getting there was truly a long and winding road.
A masterfully made documentary about a very interesting time in the Beatles history with never before seen footage? I'm all in.
As a Beatles fan for life , it doesn't get better than this.
As a Beatles fan for life , it doesn't get better than this.
- youssef-07180
- Nov 24, 2021
- Permalink