THE BEATLES: GET BACK (2021, doc)

November 28, 2021

Greetings again from the darkness. It’s a lot of Beatles. The three episodes total more than 7 hours of run time. It will be likely be too much for most folks. Not for me. In fact, I envy Oscar-winning director Peter Jackson, who got to go through every minute of 60 hours of video and 150 hours of audio from the 1969 sessions that led to the “Let it Be” album and documentary, as well as the band’s infamous rooftop live performance atop Apple Studios. The 1970 film won the band an Oscar for best original music, but unfortunately, that 42 minutes on the rooftop would be their final public live performance as The Beatles.

For those who have seen the 1970 documentary LET IT BE, you are aware of the discord amongst the band members during the sessions, but Peter Jackson’s project shows us there was much more to the story: pressure, expectations, creative forces, doubt, friendship, young men changing, and plenty of laughter and joking. And cigarettes. An incredible number of cigarettes. Keep in mind that even though they were the biggest band in the world, these lads from Liverpool still only ranged in age from the youngest, George at 25, to the oldest, John at 28.

One thing we notice is that there was a very small group involved with the daily activities. Outside of the band members, the faces we see most are Music Producer George Martin, the band’s long-time assistant Mal Evans, and renowned Sound Engineer Glyn Johns. It’s not really discussed here, but despite all the work we see Mr. Johns perform over the 22 days, it was Phil Spector who ended up with the production credit on the album. The director of the LET IT BE documentary, Michael Lindsay-Hogg, is seen quite a bit in the first two episodes, although he’s not as funny as he seems to think he is. Film Producer Denis O’Dell initially sets the band up at Twickenham Film Studios, which he rented as the location for his upcoming zany comedy THE MAGIC CHRISTIAN starting Peter Sellers and, yes, Ringo Starr. It’s this movie that has the Beatles on such a tight schedule, and it’s at Twickenham where Peter Jackson’s film kicks off.

PART 1 (2 hours, 34 minutes) provides a quick history of the band, dating back to 1956 when John Lennon and Paul McCartney formed The Quarrymen and invited George Harrison to join as a guitarist. There is a clip of the band performing at The Cavern, and a note on how Brian Epstein became the band’s manager. It was 1963 when George Martin began producing the band and that’s they year they hit #1 in Britain, kicking off Beatlemania. The following year took them to the United States for the appearance on The Ed Sullivan Show, and it was 1966 when the band faced the backlash over John’s comment about “being more popular than Jesus.” That was also the year when the band decided against future tours, choosing instead to focus on studio work and albums. 1968 brought the death of Brian Epstein at age 32, and the infamous trip to India, where they spent time with Maharishi Mahesh Yogi. So here they are in January 1969, with the goal of writing, rehearsing, and recording 14 songs, and then performing live over about a three week period.

Director Jackson uses the 22 days as a framing structure, going day-by-day to track the progress. Day 1 is kind of a feeling-out day as the band checks out the studio. Day 2 finds Paul in business mode, as the other band members poke fun at the Fan Club publication. Day 3 delivers the familiar setting of George being “annoyed” by Paul, but it’s Day 4 where “Get Back” is born, “Across the Universe” is introduced, and a terrific then-and-now montage of “Rock and Roll Music”. Day 5 gives us “I Me Mine”, as the band discusses ideas for the live show, and we learn code names for Ringo (Russian) and George (France). Day 6 finds Linda Eastman (not yet married to Paul) snapping photos in the studio while the band works on “The Long and Winding Road”, and “Let it Be.”. Day 7 is critical, as we get more “Get Back”, numerous mentions of Eric Clapton, and George leaving the band with “See ya’ in the clubs.” This is when we are subjected to our first Yoko Ono banshee screams. She has been attached to John’s hip for most every minute.

This first episode provides us our first look as the band works out songs on the fly. Ringo keeps amazing rhythm, while remaining mostly quiet. George’s insecurity and annoyance with his role (and Paul’s bossing) is beyond obvious (resulting in his leaving), and the band’s uncertainty about the best direction for the live performance is a bit unsettling. Despite all of that, it’s truly fascinating and humbling to watch and listen as they create the rough early versions of songs that we now know so well.

PART 2 (2 hours, 12 minutes) is probably my favorite episode of the three. For Day 8, with George having quit the band, Ringo is the first to show up as flowers are delivered for George from the Hare Krishnas. We eavesdrop as Paul (with Linda in tow) analyze the John and Yoko relationship, and we are privy to a secret conversation between John and Paul regarding George and the band. The rest of the day is spent rehearsing 3 songs, including Paul and John brainstorming fine-tuning “Get Back” lyrics. Day 9 has Peter Sellers stopping by – and likely wondering what the heck kind of mess he’s wandered into. This is Paul’s day to be irritated and stating they can’t go on like this. Day 10 reports on the band’s meeting at George’s house, which results in his return to the band and a shift from Twickenham studios to the Apple Studios on Savile Row, This throws a delay into things, and makes Day 11 a lost day.

Day 12 has the four band members back recording, despite technological challenges and a scathing article on the band in local publications. It’s this day when we hear an amazing version of “I Dig a Pony”, followed by “I’ve Got a Feeling”, “Don’t Let Me Down”, and “She came in through the Bathroom Window” (which would end up on Abbey Road). On Day 13, John recalls the Martin Luther King Jr speech, and the band gets a jolt of energy from keyboardist Billy Preston. Watching them perform “I’ve Got a Feeling” is pure musical joy. Day 14 stars strangely with more Yoko banshee screams, and Maxwell’s anvil is in the middle of the room, while the band solidifies the “Get Back” single. Day 15 offers discussions of Billy Preston as the 5th Beatle, while we get a Pattie Harrison sighting, and performances of “Two of Us” and “Polythene Pam.” Day 16 includes flashbacks to the trip to India, George working on “For You Blue”, the band’s first look at the rooftop, and early work on “Let it Be”. Once again, watching the creativity in action is simply mesmerizing.

PART 3 (2 hours, 19 minutes) begins on Day 17, which is only 3 days until the rooftop performance. George is assisting Ringo with writing “Octopus’s Garden”, which will end up on the Abbey Road album. Linda’s young daughter Heather bounces around the studio, and we can all relate to her cringing at Yoko’s latest banshee scream. We see John go hard on “Dig it”, while the band spends a great deal of time jamming to their favorite classics. These are musicians collaborating on the music they love – and enjoying every bit. Day 18 has George running through “Old Brown Shoe”, and John and Yoko celebrate her divorce being final. With Alan Parsons in the booth, the band goes through many takes of “Get Back”. On Day 19, George begins early work on “Something”, which would be featured on the Abbey Road album, and they wrap up the “Don’t Let Me Down” recording. With the live performance scheduled for tomorrow, Paul and John have a serious discussion about the payoff for all of this work. Is an album and one live show enough, if there is no TV special? As Paul’s brother Michael watches, we can’t help but think Paul was really hoping for another tour – one that would never happen.

Day 21, January 30, is when the rooftop performance actually happens. There are 10 cameras in place, 5 of which are on the roof with the band. Most of us have seen these performances, but director Jackson includes some of the ‘second takes’. The band opens with two takes of “Get Back”, followed by “Don’t Let Me Down”, “I’ve Got a Feeling”, “One After 909”, “Dig a Pony”, and second takes of “I’ve Got a Feeling” and “Don’t Let Me Down”. Included here are some of the interviews from folks on the street, and we see the cops who are unsure how to handle the noise complaints. What’s obvious and thrilling is that John’s and Paul’s voices are in prime form, and the band is truly enjoying doing what they do better than any other band … despite the cold London weather. You can sense their pride as they head to the booth for the playback. Day 22 is the Final Day, and the band finishes the mostly acoustic recordings for the album.

Over the three episodes, we hear bits and pieces of more than 100 songs, and we witness the collaboration and tribulations of a band that reached heights of popularity previously unimaginable (remember Elvis never performed in the UK). It’s quite a privilege to witness artists at work during the creative process. Tension and disagreements are to be expected, and yes, they did occur. Perhaps those tensions drove the individuals to be even more creative and better at their craft. Regardless of your thoughts on this, one thing is certain … The Beatles “passed the audition”.

Now streaming on Disney+

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YELLOW SUBMARINE (1968, animation) revisited

July 7, 2018

 Greetings again from the darkness. “It was 50 years ago, Sgt Pepper taught the band to play”. OK, I know that’s not the lyric, but 50 fits better than 20 when we are talking about the latest re-mastered 4K version of the classic animated YELLOW SUBMARINE from The Beatles. Originally released in 1968, the story is by Lee Minoff and is based on the Lennon-McCartney song of the title. Additional dialogue and story elements were contributed by (at least) four other writers, including Erich Segal of LOVE STORY fame, and after all these years, the film not only remains quite entertaining, it has attained a certain legendary status.

Directed by George Dunning (animation producer), also instrumental in The Beatles “unaffiliated” animated TV series of the same era, the film requires a bit of historical perspective to bring the full picture into focus. This was the year before Woodstock, and the Beatles were no longer the four fresh faced lads from Liverpool. Their songs had not only changed the music world, it had changed them as individuals. Much of their charm had turned to cynicism, and drug use was prevalent. The band reluctantly agreed to allow production of this animated movie for the sole purpose of fulfilling their 3 film contract with United Artist (A HARD DAY’S NIGHT, HELP!). Other than the songs and a closing segment, they were barely involved … not even voicing their own characters.

The true legacy is what we see on screen, and after 50 years, it remains magical. The psychedelic pop art visuals were unlike anything most of us had ever seen. The colors and images seemed to explode in vibrancy and come alive before our eyes. Some have mistakenly credited pop artist Peter Max as the man behind the colorful images, and fans of Monty Python (especially Terry Gilliam) will easily recognize the stylistic influence. Sharp ears will pick up references to Beatles lyrics not included on the soundtrack, and much of the dialogue captures the droll tone of Lennon or the whimsy of McCartney. However, we never stop thinking about how much more effective this could have been with John, Paul, George and Ringo providing the voices.

An extended opening sequence provides the basics of the story – The Blue Meanies are coming (!) and they intend to expunge all music and color from Pepperland. The only way to stop them is with Beatles music. Once we ‘understand’ the story, we hear Ringo’s vocals kick off the title song over the opening credits. Through the adventure we meet some fascinating and creative characters, see an abundance of green apples (the logo for Apple Records), play spot the icon (with actual photographs), laugh along with Ringo and his “hole” in the pocket, and catch the essence of Beatles wit, though the dialogue is sometimes a bit muddled.

Of course, beyond the animation, it’s the music that matters. Two songs that stand out because of the corresponding animation are “Eleanor Rigby” and “Lucy in the Sky with Diamonds”.  Some of the 11 Beatles songs mish-mashed from various albums include:  “Sgt Pepper’s Lonely Hearts Club Band”, “All You Need is Love”, “All Together Now”, and “When I’m Sixty-Four”. There are also a couple of George Harrison songs that aren’t otherwise available, and a personal favorite, “Hey Bulldog”, which has its own sequence, and was originally only included in the UK movie version. We also notice the beautiful orchestra music composed by long-time Beatles producer George Martin.

At the time it was released, hippies would claim the movie looks better when you’re stoned, and it’s likely for those folks, that sentiment held true for most things in life. The message of the day and one present in much of the Beatles’ work, is that of Love. It’s a message that rings true today, and also part of why the film works so well for both kids and adults. Although we may be a bit disappointed that the fab four don’t provide the voices of their characters, the stunning visuals and classic songs make this a film for everyone. The short live action sequence at the end where we see the real John, Paul, George and Ringo is simply the cherry on top … or is that an Apple?

watch the (U.S.) trailer:


A HARD DAY’S NIGHT (1964) revisited

July 16, 2014

a hard days night Greetings again from the darkness. It’s the 50th anniversary and what a treat to see the re-mastered, restored film in a crowded theatre – many wearing their Beatles shirts. The quasi-documentary, cinema verite’ approach from director Richard Lester may not fit the traditional idea of a great movie, but at a minimum, it’s a fantastic pop culture artifact showing a world on the verge of change (and four of those partially responsible).

The Beatles first film shows them at the most innocent and fresh-faced we ever see them … it’s just a few months after their appearance on “the Ed Sullivan Show”. John Lennon is the most guarded, but his quick wit and distrust of the establishment are obvious. Paul McCartney is at his cutest and least arrogant, but still managing to pose on cue. George Harrison comes across most open and full of joy – before he became the most publicly withdrawn. Ringo Starr is self-deprecating and in full hang-dog mode.

For a stark contrast, watch the four lads a year later in HELP!, also directed by Mr. Lester. The luster of fame is clearly tarnished and they are quite aware of the power they wield. In contrast, during this shoot, we are almost “on set” as the boys are first experiencing Beatlemania! In addition to the Fab Four, British actor Wilfrid Brambill plays Paul’s Grandfather. The recurring gag of him being “very clean” is a play on Brambill’s long-running role as Albert Steptoe in “Steptoe & Son” where he is referred to as “a dirty old man“. Victor Spinetti plays the very anxious TV director wearing the infamous sweater. Mr. Spinetti also appeared in HELP! (1965) and The Magical Mystery Tour (1967). Richard Vernon played the grumpy old man sharing the train car with the boys. Mr. Vernon also appeared in Goldfinger that same year. Another James Bond link occurs when Ringo is invited to the Le Cercle Club … the same club James Bond first appears in Dr. No (1962). Lastly, Pattie Boyd is one of the giggly schoolgirls on the train and appears in 3 different scenes. 18 months later, she was married to George Harrison … and a few years later, she reiterated her attraction to lead guitarists by marrying Eric Clapton.

I was caught off guard by the frenetic pace of the film … it has been 3 decades since I last watched it. But mostly, I was stunned at the clean look of this restored version and was awed by the terrific sound, especially of the song restorations completed by Giles Martin, the son of Beatles record producer Sir George Martin … who was nominated for an Academy Award for his film score.

The film inspired the 1960’s TV show “The Monkees“, and of course, the soundtrack was a massive best seller and chart topper. “If I Fell” is one of my favorite Beatles songs and it’s a nice segment in the film, but the real climax is the performance of “She Loves You”, replete with terrific crowd shots. The impact and lasting impression of the film is every bit as recognizable as that stunning opening chord to the title track that opens the film.

watch the (new) trailer: