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.
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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”.
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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.
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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.
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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".
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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.
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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.
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