Stubs - Second Look - Let It Be

Let it Be (1970, re-released 2024) starring John Lennon, Paul McCartney, George Harrison, Ringo Starr. Directed by Michael Lindsay-Hogg Produced by Neil Aspinall Run time: 88 minutes (originally 80 minutes) Color, United Kingdom, Music, Documentary

Having waited nearly 50 years to rewatch Let It Be, your first reaction may very well be, what was all the fuss about? There is a mythology surrounding the film, perhaps more to do with what had happened soon before its release in May 1970, The Beatles' breakup, rather than what actually happens in the film itself.

Having more recently seen the longer, Peter Jackson version, Get Back, it is hard not to compare the two. The original film was intended to be a television documentary about The Beatles doing their first live concert since the Cow Palace on August 29, 1966. The film turned into a documentary of the group working, but still ended with a live performance, the unannounced, free, rooftop concert on January 30, 1969.

Compared with Get Back, which rather leisurely takes you through the events of January 1969, the timeframe the group had to work in, Let it Be provides no real context to what happens and, in actuality, doesn’t really tell you the whole story. Of course, decisions had to be made, but there is so much that you don’t know from watching the film. To begin with, George leaves the group pretty much as soon as the filming begins.

The Beatles at Twickenham studios.

The incident happens while the group is filming rehearsals/recording at Twickenham Studios. For a group that has gotten used to late night recording sessions, getting up and working normal hours in a strange place was not a great creative environment, though we do see the band working through several songs including, “Maxwell’s Silver Hammer”, “I Me Mine”, and a piano piece, "Paul's Piano Intro”, which is apparently based on Samuel Barber’s “Adagio for Strings”.

The Beatles with Billy Preston back at Apple.

The next third of the film takes place in the makeshift basement studio at the group’s Apple headquarters, 3 Savile Row in London. There unannounced, and joining in on the recording sessions, is Billy Preston. Again, none of this is explained, but The Beatles are there as a compromise and Preston is there at George’s invitation; brought in to keep the others in line, so to speak.

At this point, the group seems to get down to work, running through numerous songs, including “One After 909”, “Let It Be”, “Two of Us”, “Dig it”, “For You Blue”, as well as first takes on Ringo’s  “Octopus’s Garden”, medleys of rock and roll classics “Rip it Up” and “Shake, Rattle and Roll”; and “Kansas City”, “Miss Ann” and “Lawdy Miss Clawdy”. There is also a re-take of John’s ”Across the Universe,” which had mostly been recorded the year before, but would appear later in the year on a charity album, No One's Gonna Change Our World.

Paul, Ringo and John on the roof of Apple.

The last third of the film is the rooftop concert, including “Get Back,” “Don’t Let me Down,” “I’ve Got a Feeling,” and “One After 909”, most of which are run through more than once until the police come and tell them to shut it down. The film ends with John Lennon speaking into the mike at the end, “I’d like to thank you on behalf of the group and ourselves and I hope we passed the audition.”

One of the things I find remarkable about the rooftop performance is the fact that after three years away from an audience, their first and only show is all new material. There was no need for them to play anything from their previous shows for people, those on the streets and adjoining rooftops, to know it’s The Beatles playing.

There are some scenes of discontent in the film, the infamous exchange between Paul and George, in which the latter claims, “I'll play anything you want me to play, or I won't play at all, if you don't want me to. Whatever it is that would please you, I'll do it,” the only exchange that also makes it into Get Back. But there don’t seem to be other moments like it.

Yoko Ono is ever-present, but there never is any discussion of her being a distraction, though if you know the whole story, she really is one. For the most part, she seems bored while sitting next to John. At one point, Paul’s wife Linda and daughter Mary come to a session, which might be a reaction to Yoko’s presence.

Billy Preston is a steady presence, but he never seems to say anything in the film. However, he is talented enough to fit in.

Ringo Starr

Ringo comes off as an affable man, who seems to get along with everyone. We see him working independently with Paul on the brief "Jazz Piano Song" and showing George an early version of "Octopus’s Garden".

George Harrison

George, after his discontent early on, seems to be enjoying himself. We don’t see them working on his solo hit “My Sweet Lord” or his talking about writing “Something”, but he does get two songs on the album that came from the movie and he seems to be a full participant in everything else.

John Lennon

John, who seems somewhat preoccupied with Yoko, also seems to be enjoying himself, even trying his hand at the drums during Ringo’s “Octopus’s Garden.” But the one-time leader of the band, he seems to have passed that on to Paul.

Paul McCartney

Let It Be is a showcase for Paul, both good and bad. His talent is clearly on display; the most iconic songs from the film seem to be his, including “Get Back,” “The Long and Winding Road” and “Let It Be.” He is clearly the driving force and comes off as a bit bossy. More than once, he seems to be the one pushing the others forward, even if they seem reluctant to follow his lead.

Since its initial release, the film has been near impossible to watch. You would think it would be full of fist fights, as it seemed to be hidden away, as if it would damage the mythology around the band if it ever got out. It took on a mystique akin to Metallica’s Some Kind of Monster (2004), which shows the thrash metal band going through personal and professional turmoil. But unlike The Beatles, Metallica had released that film, warts, and all. Comparatively speaking, Let It Be is fairly devoid of outward turmoil.

Of course, it’s not the complete story of The Beatles in January 1969. There is no way an 80-minute film can adequately capture a month’s worth of recording, rehearsals, and folderol. That would wait for the epic Get Back, which was released 51 years later. Lindsay-Hogg was at a bit of a disadvantage as the subject of his film changed while he was making it. But the film cuts out so much that it doesn’t really cover the story it is supposed to be covering.

As stated in our first review of the film, you can’t really use the soundtrack as a guide to the movie, as they are somewhat unconnected. Most of the songs on it were recorded during the sessions, I don’t believe “Across the Universe” was, but Phil Spector added his patented wall of sound to the rather stripped-down recordings, making more out of them than what was needed. As an example, “The Long and Winding Road” on the album is overproduced, while the film version is more palatable.

The additional runtime between the original release and the Disney+ re-release is from a pre-film conversation between Peter Jackson and Michael Lindsay-Hogg, and some additional credits which now includes a listing of all of the songs in the film, as well as those involved with the 2024 version.

Unlike A Hard Day’s Night, Let It Be is not an instant classic, nor should this be anyone’s first look at the band on film. That said, as a Beatles fan, I would very much recommend watching the film, especially before watching Get Back, which is a sort of appendices to this film. You definitely do learn the whole story in that miniseries, if you have the eight hours necessary to watch it. For all of its problems, Let It Be is fairly well-paced, full of music and full of The Beatles. I wish we hadn't had to wait 50 years to see it again.