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Lindsay-Hogg’s movie is a disconnected pastiche of images and sounds, with no real narrative or throughline beyond “here are the Beatles, who you know are making Let It Be, and have just broken up in the real world.” The band wanders from track to track, with some performances stitched from multiple rehearsals (Paul is sitting down, singing “I’ve Got a Feeling” suddenly he’s standing in front of a microphone, in a different outfit, with no lapse in audio). When I watched the companion film last week, using devious online methods, I was surprised to learn it doesn’t reveal much of anything. Instead, this notion has been passed down like a game of telephone. “Watching John, Paul, George, and Ringo work together, creating now-classic songs from scratch, is not only fascinating - it's funny, uplifting and surprisingly intimate.” Most stories about the project noted the original movie’s reputation The New York Times noted how it chronicled “the group’s tenuous relations leading to their breakup,” while NPR referenced the “prevailing narrative that tensions ran high during the creation of Let it Be.”īut the idea that Lindsay-Hogg’s movie actually captures the Beatles at a uniquely miserable crux in their professional relationship is simply not true.
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“I was relieved to discover the reality is very different to the myth,” he said. In 2019, when it was announced that director Peter Jackson would be reconstituting Lindsay-Hogg’s original footage into a new documentary about the recording of Let It Be, which would be eventually titled The Beatles: Get Back, Jackson explicitly framed his project as a sunny counterpoint. Today, this companion film cannot easily be viewed - it went out of print after the 1980s, and Paul and Ringo allegedly blocked a planned DVD release - but its contents loom large in the band’s mythology.
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Plus there’s the existence of a primary source capturing all this interpersonal tension: A companion film to Let It Be, shot by director Michael Lindsay-Hogg during the album’s tumultuous 1969 recording sessions. You don’t hear early solo songs like John’s acidic “How Do You Sleep?” (presumably aimed at Paul) and Paul’s smug “Too Many People” (presumably aimed at John) and George’s wistful “Isn’t It a Pity” (presumably aimed at everyone, even Ringo) and think, At least they’re exchanging Christmas cards. A band doesn’t call it quits, and immediately release a record titled Let It Be (lyrics of the title track: “When I find myself in times of trouble / Mother Mary comes to me / Speaking words of wisdom, ‘Let it be’”), if its members aren’t sick of the bullshit. I don’t know exactly where I picked up the idea that the Beatles hated each other by the time they broke up in 1970, but it intuitively feels true.