The Beatles: "Get Back"
John, Paul, George and Ringo emerge again in the 21st century, this time in Peter Jackson's expansive (and very long) Disney-Plus documentary
Note: This assumes you know The Beatles -- John Lennon, Paul McCartney, George Harrison and Ringo Starr. Appropriately, this critique identifies them by first names only. .
“Get Back” -- the long-awaited documentary featuring The Beatles famous (infamous?) recording sessions for the 1970 album “Let It Be” — debuted on Disney+ over the weekend. Produced and directed by Peter Jackson, the celebrated director of the Lord of the Rings trilogy, “Get Back” is a Beatles binge-watching marathon, nearly eight hours across three episodes, culminating with the group’s farewell live rooftop performance atop the Apple Corps building in downtown London.
The documentary is quite a departure for the New Zealand-born Jackson, known for his extravagant vision of J.R. Tolkien’s tale of heroic journeys, panoramic landscapes and mystical characters. Conversely, in “Get Back” Jackson’s subjects are heroes, but very human, captured in stark isolation of basement studios, trying to conjure magic from within. No luxurious panoramas, high-octane action, CGI magic or sweeping symphonic soundtracks; rather, a claustrophobic milieu accompanied by a soundtrack of fractious, often incoherent bits and pieces of music. In this world, Gandolf, Bilbo, Frodo and Sam are replaced by the very human John, Paul, George and Ringo.
This is a story created for Beatlemaniacs, pop music historians, esoteric geeks interested in the artist’s creative process, and Boomer sentimentalists … providing an intimate peek at a 20th century cultural phenomenon. If that’s your thing, “Get Back” is fascinating. However, interest is perhaps limited to the above demographics. Unless you possess an aberrant curiosity about four 20-somethings conducting business in their work environment for hours on end, find a superhero movie.
Backstory
After the tsunami-like madness of 1962-66 (“Beatlemania”), world tours, intense scrutiny and the echoes of millions screaming nubiles, The Beatles ceased touring in 1966 and devoted themselves solely to studio production. Thus triggered a creative spurt that forever transformed the world of modern music. First, the iconic “Sgt. Pepper’s Lonely Hearts Club Band” (1967) followed by the farcical film-album “Magical Mystery Tour” (1967-68). Finally came the more insular and solo-oriented double-LP “White Album” (1968). In between came releases of their most popular singles Strawberry Fields Forever, Penny Lane and Hey, Jude!, considered by many the finest work in the Beatles catalog.
After that, the group floated into an period of what Ringo jokingly calls “the doldrums,” and went about their lives and individual pursuits.
The Unnamed Project
This album was to be different. Its predecessors were crafted through imagination and technological innovation -- intricate arrangements, delicate harmonies, unique instrumentation and sound effects, layered overdubs and other studio gizmos. As such, they were synthetic and phonic by design, forfeiting any consideration for live performance. However, this project was to be fully collaborative: four musicians, face-to-face, writing, rehearsing and recording 14 songs in 14 days in January -- without studio enhancement -- and intended for live performance.
This organic approach was complicated by a number of factors: 1) the choice of Twickenham Studios, a cavernous empty soundstage rather than the familiarity of EMI Studios (later renamed Abbey Road), 2) a new producer, Glyn Johns, whose laissez-faire approach was a massive departure from the patriarchal, musically-accomplished George Martin, their producer at EMI, 3) a dearth of fresh and readily available ideas, 4) the Big Brother-like presence of 16 mm cameras which obviously affected interactions between members.
Also obvious is the absence Brian Epstein, who “discovered” the group in Liverpool seven years prior. His vision and authoritarian guidance brought them to unparalleled heights. But the ambitious young manager died of a drug overdose in August, 1967. It was Epstein who brought the band discipline and structure, something Paul openly admits on film. So without Epstein and Martin, the “four lads” are often unfocused and indecisive.
The Original “Let It Be”
Jackson, at the behest of surviving members Paul and Ringo, rescued 56 hours of mostly unused film footage of these same sessions which had been stored in a vault for almost 50 years. Some reels had previously been used in the production “Let It Be,’ a 1970 documentary on the same sessions. Unfortunately, “Let It Be” was conspicuously poorly produced and offered a narrative of a dysfunctional band in deteriorating relationships which ultimately led to their breakup two years later. That narrative carried on for half a century.
Jackson’s vision presents an entirely different view of The Beatles. “Get Back” reveals four young men who achieved unparalleled stardom through the social turmoil of the 60s, evolved musically, matured individually, but are reunited for a common purpose, as would brothers. They are much closer and more caring than previously depicted. And despite incessant mind-wandering and distractions, chain-smoking and inane noodling, Jackson uncovers moments of Beatles magic and simultaneously dispels the myth of their contentious divorce.
Episode 1
The group convenes at Twickenham and immediately comment on vastness and inadequacy of the sound stage. Still, they soldier on, with Paul patiently assuming ad hoc leadership.
In Episode 1 we see the genesis of songs that will eventually appear on the album: Don’t Let Me Down, I’ve Got a Feeling and Two of Us. It also has breathtaking moments that demonstrate why The Beatles became the most popular band in rock history.
As the group awaits John’s arrival, Paul begins strumming his famous 1963 500/1 violin bass guitar, seen so many times in early concerts. The riff is fast and aggressive for about 45 seconds, first a galloping A (key) … then he hops to G and D chords, a 5-4-1 progression. A now familiar melody takes shape. George and Ringo watch as Paul works the riff. Just as quickly comes a lyrical shooting star …
“Get back! Get back! Get back to where you once belonged.
Sweet Loretta Mart(in) thought she was a woman
But she was another man”
The epiphany is astonishing, the two-minute birth of Get Back! Rock history captured at the moment of conception
Later, another magical sequence, once again from Paul. Amidst the studio cacophony on Day 4, Paul sits at a piano. In the background, almost lost in studio buzz, we hear the first hymnal chords of Let It Be. The scene cuts to an overhead shot of Paul at the piano … a celestial view from above … as if God is granting Paul permission to proceed.
“When I find myself in times of trouble/Mother Mary comes to me/
Speaking words of wisdom/Let It Be”
Later, McCartney reveals the song came to him in a dream … his long-deceased mother, Mary, telling him everything is going to be alright. It is a defining moment, even to the most hardened cynic, as Let It Be eventually would become a universal prayer of hope to humanity.
Episode 1 ends with a bit of acrimony, as George, fed up with his role, walks out in the middle of rehearsal. The remaining Beatles sit in stunned silence.
Episode 2
The episode begins with the entire project in doubt. Ringo arrives, then Paul, then … nobody. In a discussion with the crew, Paul becomes emotional, as he realizes the project, and perhaps the group’s future, is collapsing. Paul’s reflection is poignant. He cares. At the same time, it speaks incontrovertibly as to his being the heart and soul of The Beatles.
Episode 2 sees the origins of tracks that would not appear on the “Let It Be” album, but would eventually be included on the penultimate Beatles LP, Abbey Road. We hear the births of tracks such as Oh! Darling, Golden Slumbers, Carry That Weight, Maxwell Silver Hammer, She Came in Through the Bathroom Window and Mean Mr. Mustard.
Eventually, the group meets with George in private, and he agrees to return with an agreement that the project be modified. The live concert is discussed, with grandiose plans of the band performing in exotic locations such as an ancient Roman Amphitheater near Tripoli, Libya, even the Egyptian pyramids. More importantly, sessions are moved from Twickenham to the much more sound friendly basement studio at Apple Corps, the Beatles’ business headquarters, in London’s business district. Even with the more inviting surroundings, the sessions are long and mentally taxing.
Meantime, at George’s request, The Beatles bring in jazz/funk keyboardist Billy Preston, a protege of Ray Charles, whom they had met years before in Hamburg, Germany. Preston’s upbeat energy and ebullient personality clearly raises everyone’s spirits.
Episode 3: The Rooftop Concert
Rehearsals intensify as reality sets in. The band pares down a set list from the original target of 14 down to the six most polished tracks. George, inspired after his return, introduces songs he wrote the previous nights, such as I Me Mine, For You Blue, Something, and even an early version of All Things Must Pass, which would bypass The Beatles and appear as the title track on his first solo album.
Finally, the day arrives for the rooftop concert. That afternoon, The Beatles prove they can still pull together into the tight, energetic performers reminiscent of their early days at the Cavern Club. Without announcement, they open with a spirited version of Get Back. Their amps are boosted by Apple’s portable Public Address system. The sudden explosion of loud rock music surprises the busy district, unaware of the group’s impromptu show. Necks crane from the streets below, searching for the source. Windows around the area open. Surprise is tempered by equal amounts of curiosity and confusion.
Paul and John are lively and animated as they deliver Don’t Let Me Down, I’ve Got a Feeling, One After 909, I Dig a Pony, and finish with retakes of the first three. George, though not as animated, is clearly in sync. Ringo’s drumming is impeccable.
They are, once again, The Fab Four.
Takeaways from “Get Back”
First, the technical part of building this expansive documentary is not explained. Jackson’s task of sorting through 56 hours of 16 mm tapes and converting them to modern audio and video platforms is not addressed. But the importance of this process for this film cannot be underestimated. Jackson has revealed in interviews that a special tracking technology had to be invented specifically to extract quality sound from aging, archaic analogue tapes.
“Get Back” also dispels the longstanding myth that Yoko Ono was the cause of the band’s demise. She is a constant fixture in the film, seated quietly next to John. But that’s it. No arguments, no contention. At one point, Paul acknowledges her presence to crew and others, but rather than complaining he instead defends her.
Jackson has said in publicity interviews that he wanted to capture the full essence and spirit of the group. However, “Get Back” includes extended periods of inane prattle and directionless jamming. If his intentions were to show the often excruciating parts of the process, he was successful. Even the most ardent fan would admit a more streamlined end product would have been more engaging.
Interestingly, Jackson sneaks in a stealth theme. During breaks, members take turns reading aloud from British tabloids, gossip columns and fan magazines. All accounts and rumors about them are either hyperbolic, superficial or just plain blatant lies. Accustomed to the printed claptrap, they laugh it off. All of it. By including these scenes, Jackson shows the band has risen above media nonsense.
They’re just four ordinary lads from Liverpool … but with extraordinary talent.
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