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.
