Peter Jackson waded through 60 hours of film and another 150 of audio recorded during the Beatles' last collaboration, in January, 1969. Part 1 of his resulting documentary is 157 minutes, Part 2 is 173, and Part 3 is 138, a total of nearly 8 hours. He has given us an exploration of the creative process, as the foursome write several songs in the course of the three weeks leading up to a concert date. They’re also trying to sort out the kind of concert that will be, and by the way, release an album.
Whether you will enjoy this depends on your interest in a group so popular that surely everything to know about them has already been revealed, and it was such a long time ago. Maybe they seem self-indulgent, and caught in the whirl of fame. It’s useful to remember that when this footage was shot, John and Ringo were twenty-eight, Paul was twenty-six, and George twenty-five, after six demanding years together in a blinding spotlight.
As they practice, the rifts are evident, but so is the camaraderie, the humor that made Richard Lester’s brilliant films A Hard Day’s Night and Help! such delights. Watch these today: you will still feel the excitement of a moment when the world seemed new. By 1969 the pace has eased up, and with chances to step back and consider their prospects, they have the mental space to wonder. Yoko Ono is often blamed for the breakup of the Beatles, but her presence was only one factor in their changing chemistry – Jackson makes clear that they have all grown different directions, and this gig is their last.
At the end of Part 1, George walks out. “See you around the clubs,” he says, his exit having more to do with Paul than John.
After he’s gone, the remaining three talk over what to do – should they tap Eric Clapton for the performance? The larger question is whether, without George, they can continue as the Beatles. Bands add and subtract members, but they were an entity. Many fans have a favorite Beatle they followed after the breakup. For me, none were appealing on their own: John was too ingrown, losing much of his songwriting edge; Paul was too mushy; George got narrow; Ringo couldn’t carry that weight himself. The whole was always greater than the sum of its parts.
Their rehearsals tread the same ground over and over – add a line, lose a line, smoke so many cigarettes I choked just watching. Then Billy Preston, in London for a gig, stops by Apple Studios, and his contributions on keyboard and guitar change the dynamics, lifting them past their logjam. Enough joy sneaks back to help them answer the questions before them: how public will the performance be, can they finish enough songs to cut a record? Once they settle on playing on the roof for cameras, the path ahead is clear.
I was entertained to hear interviews with Beatles fans down on the street listening, who didn’t know who was playing up there. I hope I haven’t given away too much – the whole film is well worth watching. If you’ve seen the movie Let It Be, you may think you know how it all went down. But the insights culled from all those hours of footage to create Get Back offer a fuller picture.
