What’s there to say about the new release of the old ‘Let it Be’ originally directed by Michael Lindsay-Hogg with enhancements by Peter Jackson (‘Get Back’)? If you’ve never seen the original, a lot. But for those who have had the chance, it can be considered a replay, but a joyous one. A long-time fan, I enjoyed the movie with its clean restoration which brought out the same vibrance we saw in ‘Get Back,’ though with still enough graininess to be tactile like an old record.
For those who haven’t seen the 1970-era ‘Let it Be,’ the experience is much like viewing an old Polaroid yet with echoes of history similar to current day: themes of protests and war, civil unrest and political power-play. When a darkly bearded Paul plaintively croons, eyes heavy with meaning, “Let it be, there will be an answer, let it be . . .” you feel it. You don’t have to be old or new, you just feel it down to your toes.
One particular highlight is the interview between Linsday-Hogg and Jackson which explains the process and motivation of bringing ‘Let it Be’ back to life. Jackson states that ‘Let it Be’ was the father of ‘Get Back’, a good description because after having watched both I can say that the latter is a much more enjoyable experience with lost footage to explain why Paul and George argued themselves into a full-on split (it wasn’t just about a guitar chord) and how they came upon doing a concert overlooking London’s busy Abbey Road. ‘Get Back’ also shows the coming together with a private conversation between John and Paul recorded in the canteen. Controversial, perhaps, but it's fun to decipher their gobbledygook Beatle-style of talking.
What to look for in ‘Let it Be’—a young Linday-Hogg arranging his four toys in a controlled, almost a zoo-type arena as if capturing hairy creatures mid-mud sling. Look at them sing, write, and dance. Isn’t it amazing? I’m capturing the real Beatles. Holy shit. The film shows how tired they are, tapped both high and low. We see they are better late morning, and worse after a few rounds. One of my favorite highlights is John and Yoko making out and then dancing a waltz to George’s ‘I Me Mine.’ But we also see Paul at the Piano playing a gothic tune, glossy-eyed Ringo next to him, almost slumping with tiredness. 'Let it Be' is a lot of this, which is why upon its release in 1970 John called it too painful to watch, much like a divorce on film.
But truly ‘Let it Be’ is worth seeing again because it is history, difficult or not. It’s part of their lineage as a band. It’s art in their name. It’s a heavy, heavy film which reflects a heavy, chaotic time. Vietnam still raged. Contemporaries were dying of heroin overdose. John was fresh off a drug bust, which would later turn into a deportation battle in the states. Yoko is in the mix, with her minimalistic wares and primal voice. Always watching, listening, and clinging. There’s much to argue about whether she should have been there or not. Yet it's the script that we all know as an important Beatle era . . . plus it just makes a great film.
‘Let it Be’ does not show the magical moment Paul writes the iconic hit, ‘Get Back’ from thin air and alchemy, but it does gift you with three other music videos, so to speak: the original theatric presentation of ‘Let it Be’ ‘Two of Us,’ and the beautifully edited Rooftop Concert--their first in years which was preserved on the LP, and last ever as a band. It’s such an euphoric moment any fan or music-lover can appreciate. For that reason alone, watch this film, even if you’ve seen it before.
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