The Beatles: Get Back

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.

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.

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.

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.

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.