![]() Linda then-Eastman does confirm that Yoko may have been speaking inappropriately during the meeting with George, insinuating that John may not have agreed with her. The worst he can say is that “they’re going overboard with it.” But then, he has to acknowledge that’s just the way John does everything. Paul, at one point, flat out declares, “she’s alright” and makes the joke about the band breaking up because she sat on an amp. “Well,” she said reassuringly, “I guess we’ll talk to George Wednesday.” Yoko’s only two “lines” were an innocuous question to George Martin about where one can buy a piano score, and the reassuring statement when the others realize that George had gone to Liverpool and wouldn’t be back for two days. And when Linda’s daughter imitates Yoko, it’s hilarious. ![]() But tellingly, Paul is wailing on the drums, clearly enjoying it as much as John. Yoko does her patented vocals on a couple of short jams. There’s a nice smooch during a loose rehearsal of “Oh Darling,” when they learn that Yoko’s divorce was finalized a supportive snuggle after the rooftop performance and the dancing a waltz during “I Me Mine,” that they saw as a potential performance piece for the TV show. While we see Harrison kissing his girl her only time on screen, and McCartney holds Linda’s hand like a schoolboy, John and Yoko are pretty damn cool. In fact, one wouldn’t have blamed Yoko if she said to John after a day of filming, “why should I go in there with you if you’re just going to ignore me.” For the most part, he acts like she’s not even there. What’s actually stunning is how little Ono appears to influence John Lennon. ![]() Jackson’s document reveals that to be, as Jenkins put it, “bullshit.” A few critics including Wilson and Craig Jenkins in his Vulture review effectively revealed one of them – that Yoko Ono’s presence somehow negatively influenced the Beatle’s creative process or led to their breakup. This movie undoes so many false myths that have long populated Beatles lore. And we get to see and hear it in joyous color and sparkling sound as if it all just happened, can we say it, yesterday.īut that’s only the half of it. The motif of Peter Jackson’s curation of the video and audio footage is that the lads still found joy in making music together despite how hard it was to live up to who they were. Whatever actually caused the lads to call it quits, it didn’t happen in January 1969.Īnd so long as we are busting myths, let’s get the obvious one out of the way. At this point, none of the four seem to believe the Beatles story was about to end. On the contrary, he says it would strengthen them. John does not react as if such a thing would presage the end of the Beatles. Toward the end of Part 3, George talks with John and Yoko about recording a solo album. Like many myths from that time, the Get Back documentary busts that myth. As they begin to rehearse new songs, the stresses of the task trigger latent animosities/insecurities.īecause the band broke up 10 months later and the original Let It Be movie suggested a connection between these sessions and that breakup, everyone – perhaps even the Beatles themselves – have assumed that the January 1969 footage reveals the disintegration process. ![]() The Beatles fraying at the edges agree to record a live television broadcast. If you don’t know the story, you’re not Rock & Roll. On his way to writing perhaps the best review of Peter Jackson’s documentary Get Back for Slate, Carl Wilson wrote that “it’s an act of witness and recovery of misplaced history, though this time from a tale that has been in a sense too well known for even the people involved to comprehend.” A Different Take on Get Back – The Beatles Documentary
0 Comments
Leave a Reply. |