纪录片自媒体解说素材-新闻动态参考-为什么甲壳虫乐队的“恢复”可能是有史以来最好的摇滚文档（专栏）/Why the Beatles’ ‘Get Back’ May Stand as the Best Rock Doc Ever (Column)
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/10411adjoxq54wy.jpg为什么甲壳虫乐队的“恢复”可能是有史以来最好的摇滚文档（专栏）
Why the Beatles’ ‘Get Back’ May Stand as the Best Rock Doc Ever (Column)
请稍作沉默，因为“这是脊柱水龙头”，因为那个讽刺作品正式放弃了其标题，这是有史以来最好，最真实的电影关于在摇滚乐队中的表现。到目前为止，音乐家如何看待一个毫不掩饰的可怕群体的传奇，才能说：“是的，这是我们的故事。”天堂知道还有其他虚构的故事试图在每一个带来的尊严地对待岩石的同时，都试图实现同样的每一个故事，有些人有些成功（“你做的那件事！”），其他人则不是这样。这么多（大卫·蔡斯（David Chase）的“不消失”）。而且，我们已经看到了我们的摇滚纪录片，这些纪录片在一个奇异的时刻出色地捕捉了一位艺术家，并且/或希望解开包裹在谜团中的谜语（请参阅整个鲍勃·迪伦（Bob Dylan）电影学）。但是，一个电影项目使我们能够悠久地看着创作过程以及天才巨星的个性就像我们一样吗？在60年的流行音乐电影中，这是我们从未真正获得的。彼得·杰克逊（Peter Jackson）的“恢复”是您真正需要向外星人展示的唯一一个想了解摇滚乐的创造力和心理学的巨型电影，这些摇滚乐在跨维度的无线电波中播出。当然，您必须告诉他们：“停放您的碟子 - 这将需要一段时间。”杰克逊（Jackson）花了468分钟时间讲述了历史上最伟大的乐队一生中大约20天的故事。听起来很艰难，但是很难想到许多浪费的时间。我可能认为，如果没有彼得·塞勒斯（Peter Sellers）出现在录音会议上的场景中，这部史诗般的事情本来可以做到的。您可能会相信，如果没有整个约翰·列侬（John Lennon）和保罗·麦卡特尼（Paul McCartney）的整体练习，它可以通过紧握的牙齿唱歌，这本可以做到的，除了可能将ventriloquism视为备用职业之外，别无其他原因如果这个披头士乐队真的向南走。但是，让我们不要对我们中的几分钟都认为这可能会丢失。在八个小时的时间里，细节和心情积累，形成了一张涵盖神圣的灵感和制作工作，友情和冲突以及好主意和可怕的图片。它记录了可能为才华横溢和有福的乐队带来困扰的灵魂的黑暗之夜，而是在早晨出现欢乐，也许还有一个永久的Rolling Stone的500张最出色的专辑列表，或者只是本地辉煌。不好的标题是“婚姻场景”，因为这也是“恢复”的合适名称。好的，这将是一个可怕的标题，但是您会发现漂流。说“回头”是一个很棒的，也许是关于摇滚乐的最伟大的电影或系列是准确的，但略有减少。实际上可能的是谈判艺术……这意味着这也是关于在婚姻中生存所需的东西，FAM在音乐，电影或戏剧之上，我和商业。您不必参加乐队就可以与使“重新获得”迷人的动态联系起来，尽管这并没有伤害。您只需要与您一起下去的配偶，兄弟姐妹，老板或员工，以尝试到达每个人都获胜的地方。确实，您只需要拥有一个最好的朋友。一个小组表演的大多数音乐都是持续不断的妥协的产物。在1969年的甲壳虫乐队中，保罗·麦卡特尼（Paul McCartney）是总结的谈判代表，他知道他必须走来走去或砸碎的每个蛋壳才能取得伟大，或者只是为了完成粪便。也许始终不知道，否则乔治·哈里森（George Harrison）几天就不会退出乐队，建立了“ Get Back” Act-1末尾的悬崖。但是与甲壳虫乐队后日有时被他画的prissy图片相反，他出人意料地意识到周围的敏感性，如果有时有时事实发生后一两个节奏……他当然毫不意识地意识到自己要付费成为老板。他是乔治（George）和竞争对手/BFF/frenemy的统治者哥哥，现在他正在向所有人扮演事实经理 - 并不一定是因为他仅凭功绩就在乐队中占据了杆位，而是因为列侬突然投入了一个女人。比他参加世界上最伟大的男孩乐队。看到麦卡特尼认识并阐明了所有这些转变，而士兵在对他们有些难过时继续前进，这是“回来”的乐趣之一。如果您对保罗的钦佩不再钦佩，那么您可能会为John和Yoko及其行李般的袋装袋装，但这没关系。每个人都将成为您最喜欢的或最受尊敬的甲壳虫乐队，一段时间，您才能完成八个小时的重新挑战。关于他们感到无舵的罪CE经理布莱恩·爱泼斯坦（Brian Epstein）的去世。在与哈里森（Harrison）的参与者中，吉他手著名地说：“我会玩任何你想让我玩的东西，否则如果你不想让我玩，我根本不会玩。”麦卡特尼告诉整个小组，他知道转身进入爸爸，他不喜欢它：“我害怕那个……我是老板。我已经去过几年了 - 你们都没有假装。”在与约翰·列侬（John Lennon）谈论如何解决哈里森（Harrison）的情况的声音录音中，原始电影制片人秘密录制，并在花盆中有一个麦克风！ - 主题转向他们自己的关系：“你一直是老板，”麦卡特尼告诉列侬。 “现在我一直是次要老板。”列侬以诚实的方式回答：“我们对彼此之间的关系感到内gui。 ……我的目标，他们仍然是一样的 - 自我保护。”回到工作室，在等待列侬出现时，麦卡特尼谈论沙滩上的另一个转变：“这将是一件令人难以置信的可笑的事情，例如，在50年的时间内，您知道：'他们分手了'，因为洋子坐在放大器上。”（这样的行听起来很有先见之明，这是一件好事，铁杆粉丝已经有了这些巡回演出的盗版，所以没人能指责杰克逊制作并配音。故事片，跟进“艰难的一天的夜晚”和“帮助！”找到一个可以反映其成熟地位的剧本想法，而不仅仅是理查德·莱斯特·雷德（Richard Lester Redux），显然是难以捉摸的。但是，正如“回到”中持续阐述的想法和无休止的副手插科打s证明的那样，他们真正需要做的就是写自己的剧本，但是不经意间。如果他在星期二没有回来的话，我们会得到克拉普顿。”如果编剧将其写入电影草稿中您会说：E甲壳虫乐队：太虚假了，也是如此。但是是。考虑哈里森的离开本身：“我们要去午餐吗？”有人问。 “嗯，我想我现在要离开乐队，”哈里森说。 “什么时候？” “现在。”找到可以用如此鲜明，几乎可笑的简单性写出那个出口场景的戏剧家。 “我们的下一步是什么？”询问导演迈克尔·林赛·霍格（Michael Lindsay-Hogg）。 “我们拆分了乔治的乐器，”他是感性主义者列侬说道。令人震惊的是，列侬似乎对骑士和如此愤世嫉俗的方式似乎是如此。但这也许是因为他知道自己正在拍摄，而列侬（Lennon）也不是火花塞，几乎不是他在相机范围内的任何时间。当列侬和麦卡特尼去吃午餐时，他们不知道那个花盆里有一个麦克风时，他们可以更加温柔或真正担心：“这是哈里森的闹鬼伤口”，列侬能够承认，“并且昨天我们允许它更深入，甚至没有给他任何绷带。” Asid从甲壳虫乐队的跑步自我评估中，“ Get Back”也有一些纯电影的时刻。 （杰克逊（Jackson）与贾比兹·奥尔森（Jabez Olssen）一起编辑近60个小时的录像，以及被低估的林赛·霍格（Lindsay-Hogg）的杰克逊（Jabez Olssen）的整个房间，这是由于四年的全部信用，这是一个荣誉，他还没有获得甲壳虫乐队的足够的信誉来捕捉所有人这。一个单数。麦卡特尼（McCartney）要求约翰（John）和乔治（George）停止玩自己不喜欢的东西，但列侬（Lennon）可以让它从他的背上滚下来。哈里森（Harrison）没有那么奢侈，已经与麦卡特尼（McCartney）有话要说，并且在十年的大部分时间里一直处于相对仰卧的位置。杰克逊（Jackson）和奥尔森（Olssen）在约翰和保罗之间切断了面对面的约翰和保罗之间，像快乐的恋人一样对“我们两个”和《特写》和《 o》f哈里森的脸，在他的零件生气中汇集水，尤其是他可能想到的是如何，从现在起十年后，他仍然会觉得自己无法获得“万物必须通过”适当的雇用的手试镜。无论是在乐队，工作场所，朋友团体还是爱情三角形中，我们都在某个时候都成为乔治。而且，如果您去过那里，看着这个场景中纯粹在视觉上传达的内容只是令人心碎的。哈里森还没有回来，列侬也没有报告工作后，在洋子出场的场外会议之后。 “然后有两个。”他叹了口气，像哈里森（Harrison's）合并的坚忍眼中略微集中了水。麦卡特尼（McCartney）并没有对林戈·斯塔尔（Ringo Starr）和其他人聚集在一起的少数人说：“她很棒。她真的很好。他们只想彼此靠近。”麦卡特尼确实看起来确实如此要获得和接受列侬在工作室中的情感支持者的需求 - 也许是因为他别无选择，如果他不想出去白色专辑离开他一年或三年的时间要快乐。如果您在这部电影中观看McCartney谈论您的那天晚些时候ono，您甚至可能会惊讶地发现自己说：“他喜欢我。 （他真的很喜欢我。仍然是米娅（Mia），一个乐队离婚似乎比以往任何时候都更加明显，他们都对那个情感上充满活力，奇怪的时刻尖叫。）如果“回来”是一部关于个性冲突和决心的电影对大多数人都足够。但考虑到联合国如何，这对真正的粉丝来说是令人失望的发行了“ Let It Be”专辑，歌曲与“我有感觉”，“ Dig A Dig A Dig”，“ 909之后”，“我们两个”和B端“不要让我失望。这并不像音乐家彼此紧张的镜头是2021年的新颖性，无论它提供了很多电荷。我最近与导演埃德加·赖特（Edgar Wright）进行了交谈，埃德加·赖特（Edgar Wright）刚刚看到了整个“恢复”，并为此感到兴奋（当然，他最近的摇滚文档“ The Sparks Brothers”（Sparks Brothers）进行了另类的策略）。赖特告诉我，他是音乐纪录片的保障：“人际关系成为遗产的地方。就像我想到像Oasis这样的乐队时，我的第一个想法与音乐无关 - 更多地是关于兄弟讨厌彼此的胆量。或与警察一起，我对乐队中的争夺比对那个杀手目录进行了更多的思考，对此有多个纪录片。 “回来”设法两者都做 - 你请参阅一支乐队努力将其保持在一起的黑盒录音机，但同时您也从字面上看到他们在编写歌曲。对我来说，这是如此完美，因为我确切地知道现在的动态以及当您有内部和外部压力时的困难，但是您也可以看到人们实际写作。”音乐作为音乐纪录片的重点 - 什么概念。 “回头”，就像在盒装式的长度上一样演奏，充满了数十个创意突破的时刻，几乎与许多甲壳虫乐队受到阻碍。一些音乐发现确实是在紧张的第一部分中，但是一旦他们对他们将如何相互对待的理解（主要是在屏幕外渲染）的理解（大部分是在屏幕之外）爆炸。 “ Get Back”不是一部分手电影，而是一部充满了音乐化妆性爱的迷你剧。甚至该系列的官方不满，哈里森（Harrison）最终都随之而来。当他打破时在他的那个不完美的微笑中，一次又一次地发生了好音乐的事情，就像下半场发生的那样，这就像：太阳来了。从长期的合伙人马尔·埃文斯（Mal Evans）那里获得一些建议，在钢琴上方徘徊，以在“漫长而曲折的道路”中的某个时刻使用“站立”或“等待”一词。麦卡特尼补充说：“我当时正在考虑拥有天气障碍，”大声考虑将风暴作为一个比喻。 （如果听到与甲壳虫乐队经典有关的“天气障碍”一词并不能使您大声笑，这可能不是您的迷你剧。）埃文斯（Evans路上的障碍？”麦卡特尼突然对他的杰作征集了意见。他告诉埃文斯：“没有足够的障碍，而没有把它们（全部）放在歌曲中。”但是他说了一个不错的方式，您会在考虑这些家伙对艺术有多么非易事，并且随着协作过程在一位大量的工程师，握把，朋友和恋人面前进行的协作过程，他们对此发表评论。制作中的其他歌曲本来可能错了。哈里森仍然被困在“她的移动方式上的某种东西像石榴一样吸引我，经过六年的努力将水果从他的脑海中取出。麦卡特尼（McCartney）正在为“金色沉睡者”（Golden Slumbers）讲习班，而不是唱歌“一旦有办法”，而是在唱歌：“从前，有一个国王……”他大声说：“这应该像童话一样。”不，不应该！，您想在屏幕上大喊大叫，听到这个可怕的主意 - 但不用担心；他会斧头，并在同年晚些时候录制“修道院路”时使这首歌完全凄美。 “ Get Back”是观众从第一批源头到如此强大的河流发展的一首歌，它既打开又关闭E高潮屋顶性能。 “我不知道这是怎么回事。这是关于离开的，然后合唱是……回来。”麦卡特尼最初承认，不太诺言。有一次，它意外地变成了英国和美国的白人民族主义政治的笨拙讽刺 - “所有人都说我们不需要巴基斯坦 /男孩，你最好回家…… /不需要波多黎各人生活在美国，”他正在考虑的一些歌词。最终避免了主题性，明智地，这首歌最终是关于横衣和大麻的。莱昂（Lennon）比麦卡特尼（McCartney）或哈里森（McCartney）或哈里森（McCartney）或哈里森（McCartney）或哈里森（Harrison）的歌曲创作更少，但是通过他对保罗（Paul）的完全支持 - 诚实，诚实，诚实，诚实， 。麦卡特尼（McCartney）不断使列侬（Lennon）爆发出惊讶的笑容，这似乎与约翰在1970年官方分手后几年对保罗（Paul）的一些歌曲的轻蔑言论很不合时宜。这些gu的证明YS真的感觉到彼此的感觉比杰克逊放在屏幕上的镜头的布丁比在烈酒最低的时候互相说的。支持并没有开始描述这四个成员彼此所做的事情，最重要的是在音乐层面上。看到Lennon和McCartney在这里对彼此的歌曲进行了彻底的投资，尽管早些时候表达了感觉，但哈里森（Harrison）竭尽全力为两者提供出色的贡献，而斯塔尔（Starr）是有史以来最胶水的胶水……几乎没有方法可以比较他们的补充谦卑。除了想象柴可夫斯基一直在贝多芬的公寓里，他真的很想帮助安排使他的歌曲变得更好，这对其他人来说。哈里森（Harrison May）可能会或可能不会在秘密信息中偷偷摸摸，当他完成“我我的我的我”为“ Let It Be”专辑的最后一件事 - 在这部原始电影和这些录制会议结束后，他已经结束了。但是，看到甲壳虫乐队的热情洋溢，因为杰克逊（Jackson）作品的第二和第三部分的失败下巴夺走了胜利，这确实感觉就像：“我们，我们，我们，我们的。”甲壳虫乐队学到的是在不同种类的关系中适用的，有些可能仅适用于乐队。像：在婚姻失败的情况下，相信生孩子会解决您的问题是错误的。但是，如果是甲壳虫乐队在争吵，那么相信将比利·普雷斯顿（Billy Preston）作为家庭中的第五名成员绝对是正确的。杰克逊（Jackson）没有提供任何现代的谈话头，以使1969年1月的“让它成为”会议发生后发生的事情进行情境化，因此您必须关注嵌入式预兆。麦卡特尼说，他无法决定是否在“漫长而曲折的道路”中添加琴弦，您只能想到菲尔·斯佩克（Phil Spector）很快就会施加赛道，而甲壳虫乐队（Beatles）在1970年分手会分散注意力，以至于不知何故，尼克斯·斯佩克特（Nix）的派克式化将在未经麦卡特尼（McCartney）的认可的情况下滑倒并成为佳能。更不祥的是，列侬（Lennon）聊天，谈论他的新朋友，律师和甲壳虫乐队的经理艾伦·克莱因（Allen Klein），尽管格林·约翰斯（Glyn Johns）试图警告列侬（Lennon），他不值得信赖。这些使这部电影的屋顶大结局充满了一致，这使您一瞥，说这部电影会遇到麻烦。正是奥森·威尔斯（Orson Welles）说：“如果您想要一个幸福的结局，当然取决于您停止故事的地方”- 但是，杰克逊结束的地方，他确定的地方似乎是一个可以维持的地方，如果是艺术和艺术友谊胜过律师。也许“回来”即将以当代模因概括的恩典状态，这已经足够了：“今天不是今天，撒旦。不是今天。第二部分早期的闪光灯。甚至没有任何视频伴随；它发生在只有音频的“花盆”场景中，列侬和麦卡特尼自己一次召集了一次。麦卡特尼告诉列侬：“大概当我们很老的时候，我们都会彼此同意。我想我们都会一起唱歌。”这是一个预言，可能会使任何人的喉咙都陷入困境，因为他们不可避免地会思考：eff you，马克·戴维·查普曼（Mark David Chapman）。但是，谢谢你，彼得·杰克逊（Peter Jackson）拍摄了一部电影，其中甲壳虫乐队及时暂停，彼此同意并一起唱歌，甚至没有一些人预测的粉饰。这是乐队应得的巨大淡入淡入淡入白人，直到现在才真正得到。他们的记忆是一种祝福，对于许多年轻的乐队来说，现在可能坐下来观看“恢复”的年轻乐队，这是如何拍摄悲伤歌曲并使其变得更好的路线图。
A moment of silence, please, for “This Is Spinal Tap,” as that satire formally abdicates its title as the best and truest movie ever made about what it’s like to be in a rock ‘n’ roll band. There was something wonderful, silly and sad about how, up until now, musicians had to look to the fabricated saga of an unabashedly terrible group to be able to say, “Yes, this is our story.” Heaven knows there've been other fictional tales that tried to pull off that same kind of Everyband story while treating rock with a modicum of dignity, too — some with a bit of success (“That Thing You Do!”), others not so much so (David Chase’s “Not Fade Away”). And we've seen our share of rock documentaries that brilliantly captured an artist at a singular moment in time, and/or looked to unwrap a riddle wrapped in an enigma (see the entire Bob Dylan filmography). But a film project that lets us look in, at leisurely length, on the creative process as well as personalities of genius-superstars who really are Just Like Us? In 60 years' worth of pop music movies, that's something we've never really gotten.
Until now. Peter Jackson’s “Get Back” is the only mega-movie you’d really need to show to an alien wanting to understand the creativity and psychology of the rock ‘n’ roll that'd been coming through on radio waves across dimensions. Of course, you’d have to tell them, “Park your saucer — it’s going to be a while.” Jackson has taken 468 minutes to tell the story of roughly 20 days in the life of history’s greatest band. It sounds grueling, but it’s hard to think of many of those minutes that feel wasted. I may think this epic could have done without the scene where Peter Sellers shows up at the recording sessions doing nothing but anxiously grinning; you may in turn believe it could have done without an entire take of John Lennon and Paul McCartney singing "Two of Us" through clenched teeth, for no other reason than maybe considering ventriloquism as a backup career if this Beatles thing really goes south. But let's not quibble about which few minutes any of us think it could've lost. Over eight hours, details and moods accumulate to form a picture that encompasses divine inspiration and drudge work, camaraderie and conflict, and good ideas and horrible ones. It chronicles the dark nights of the soul that might trouble any band before — for the talented and blessed ones — joy comes in the morning, along with perhaps a permanent spot on Rolling Stone’s 500 Greatest Albums lists, or just a little local glory.
Too bad the title “Scenes From a Marriage” was taken, because that would’ve been a fitting name for “Get Back,” too. OK, it would have been a terrible title, but you catch the drift. To say "Get Back" is a great, maybe the greatest, movie or series about rock 'n' roll is accurate, but slightly reductive. What it might really be about is the art of negotiation … which means that it’s also kind of about what it takes to survive in marriage, family and business, on top of music, film or theater. You don’t have to have been in a band to relate to the dynamics that make “Get Back" fascinating, though it doesn't hurt. You just have to have had a spouse, sibling, boss or employee that you played mental chess with, to try to get to a place where everybody wins. Really, you just need to have had a best friend.
Most music performed by a group is the product of constant, gracious compromise. In the Beatles circa 1969, Paul McCartney is the negotiator-in-chief, and he’s aware of every eggshell he has to walk around or smash to achieve greatness or just to get shit done. Perhaps not hyper-aware, at all times, or else George Harrison wouldn’t have quit the band for a few days, setting up "Get Back's" Act-1-ending cliffhanger. But contrary to the prissy picture that’s sometimes been painted of him during the Beatles' latter days, he comes off as surprisingly aware of the minefield of sensitivities around him, if sometimes a beat or two after the fact… and he's certainly beyond aware that he’s paying a cost to be the boss. He's a domineering older brother to George and rival/BFF/frenemy to John, and now he's playing de facto manager to everyone — not necessarily because he's taken pole position in the band on merit alone, but because Lennon is suddenly more invested in a woman than he is in being in even the world's greatest boy band. Seeing McCartney recognize and articulate all these shifts, and soldier on while he gets a little bit sad about them, is one of the pleasures of “Get Back.” If you don’t come away from this with just a little more admiration for Paul, you may just be too in the bag for John and Yoko and their bag-ism, but that’s all right. Everybody is going to be your favorite or most admired Beatle, some time before you complete the eight-hour Get Back Challenge.
“Daddy’s gone away now, you know, and we’re on our own at the holiday camp,” McCartney says, about they’ve felt rudderless since the death of manager Brian Epstein. In the contretemps with Harrison where the guitarist famously says “I’ll play whatever you want me to play, or I won’t play at all if you don’t want me to play,” McCartney tells the whole group he’s aware of turning into dad, and he doesn’t like it: “I’m scared of that one… me being the boss. And I have been for, like, a couple of years – and we all have, you know, no pretending about that.” In a voice recording of a conversation with John Lennon about how to resolve the situation with Harrison — recorded surreptitiously by the original filmmakers, with a microphone in a flower pot! — the subject turns to their own relationship: “You have always been boss,” McCartney tells Lennon. “Now I’ve been sort of secondary boss.” Lennon replies, with bracing honesty: “We’re all guilty about our relationship to one another. … Me goals, they’re still the same – self-preservation.” Back at the studio, while waiting for Lennon to show up, McCartney talks about the other shift in the sands: “It’s going to be such an incredible sort of comical thing, like, in 50 years’ time, you know: ‘They broke up ‘cause Yoko sat on an amp.'” (A line like that sounds so prescient, it's a good thing hardcore fans already had their bootlegs of these convos, so no one can accuse Jackson making it up and dubbing it in.)
By 1969, the Beatles had wrestled for years with what would be their contractually mandated third feature film, to follow up "A Hard Day's Night" and “Help!" Finding a script idea that would reflect their matured status and not just be Richard Lester redux proved elusive, obviously. But as the ongoing articulation of ideas and unending series of offhand gags in "Get Back" proves, what they really needed to do was write their own screenplay, however inadvertently.
In the immediate wake of Harrison’s walk-out, Lennon coolly says: “If he doesn’t come back by Tuesday we get Clapton.” If a screenwriter had written that into a draft of a film about the Beatles, you’d say: too contrived, too on-the-money. But there it is. Consider Harrison’s departure, itself: “Shall we go to lunch?” someone asks. “Um, I think I’ll be leaving the band now," Harrison offers. “When?” “Now.” Find the dramaturgist who could have written that exit scene with such stark, almost comical simplicity. “What’s our next move?” asks director Michael Lindsay-Hogg. “We split George’s instruments,” quips Lennon, sentimentalist that he is. It's shocking how cavalier, and so quotably cynical, Lennon seems about this. But maybe that's because he knows he's being filmed, and Lennon is nothing if not a spark plug just about any time he's in range of a camera. When Lennon and McCartney go to lunch, and they aren’t aware there’s a microphone in that flower pot, they can react with more tenderness, or real concern: “It’s a festering wound" with Harrison, Lennon is able to admit, “and yesterday we allowed it to go even deeper, and we didn’t even give him any bandages.”
Aside from the Beatles’ running self-commentary, “Get Back” has some moments of pure cinema, too. (Full credit due to the four years Jackson spent more or less locked in a room with Jabez Olssen editing almost 60 hours of footage, and also to the underrated Lindsay-Hogg, who doesn’t get nearly enough credit from Beatles fans for capturing all this.) If you're a super-fan, you'll probably end up replaying the moments leading up to Harrison's departure like it's the Zapruder film, looking for a straw that broke the camel's back when there really doesn't seem to be a singular one. McCartney has asked both John and George to stop playing something he doesn't like, but Lennon can let it roll off his back. Harrison doesn't have that luxury, having already had words with McCartney, and having been in a relatively supine position for the better part of a decade now. Jackson and Olssen cut between John and Paul, who are facing each other, harmonizing on "Two of Us" like happy lovers, and closeups of Harrison's face, water pooling in his part-angry, part-dead eyes as he probably thinks about how, 10 years from now, he's still going to feel like the hired hand who can't get "All Things Must Pass" a proper audition. We've all been George at some point, whether it was in a band, a workplace, a friends' group or a love triangle. And if you've been there, watching what’s being conveyed purely visually in this scene is just heartbreaking.
McCartney gets something in his eye, too, before long. Harrison hasn't come back, and Lennon isn't reporting for work, either, after an off-site, off-camera meeting where Yoko came up. “And then there were two,” he sighs, water slightly pooling in his stoic eyes, just as it’d pooled in Harrison’s. Yet rather than wax resentful, McCartney delivers a short, sweet speech to Ringo Starr and the few others gathered around, saying of Ono, “She’s great. She really is all right. They just want to be near each other.” McCartney really does seem to get and accept Lennon’s need for Ono as an Emotional Support Person in the studio — maybe because he has no other choice if he doesn't want to go out on The White Album, but also, seemingly, because he wants the buddy who's bound to leave him in a year, or three, to be happy. If you were Ono at this late date watching McCartney talk about you in this film, you might even be surprised to find yourself saying, “He likes me. He really, really likes me.”
(One of the stranger fleeting highlights of the film is an Ono-fronted jam session after the couple happily surprises McCartney by returning to the studio, with Yoko caterwauling as Paul bashes away on the drums. With Harrison still MIA, and a band divorce seeming more palpable than it ever has, they’re all into primal screaming at that emotionally fraught, oddly fun moment.)
If “Get Back” were a film just about personality conflicts and resolution, that’d be enough for most. But it'd be a disappointment for the real fans, given how underrated the "Let It Be" album is, with songs as great as "I've Got a Feeling," "Dig a Pony," "One After 909," "Two of Us" and the B-side "Don't Let Me Down" that the faithful would still be left craving to hear come together. It’s not like footage of musicians getting on each other’s nerves is a novelty in 2021, however much of an electrical charge it provides. I spoke recently with director Edgar Wright, who'd just seen the entirety of “Get Back” and was thrilled about it (and of course took an offbeat tack with his own recent rock doc, "The Sparks Brothers"). Wright told me he's leery of music documentaries "where the inter-personal stuff becomes the legacy. Like when I think about a band like Oasis, my first thought isn't about the music — it's more about the brothers hating each other's guts. Or with the Police, I think more about the acrimony within the band than I do about that killer catalog, having seen more than one documentary about that. ‘Get Back' manages to do both — you see the black-box recorder of a band struggling to keep it together, but you also at the same time literally see them working out the songs. That, to me, is so perfect, because I know exactly what's going on now in terms of the dynamics and how difficult it is when you've got internal and external pressures, but you also get to see people actually writing.”
The making of music as the focus of a music documentary — what a concept. “Get Back,” playing out as it does at boxed-set length, is filled with dozens of moments of creative breakthroughs, and just about as many of the Beatles being stymied. Some of the musical discoveries do come in the tense first part, but things really explode once they come to some understandings (mostly rendered off-screen) about how they're going to treat each other. "Get Back" isn't a breakup movie — it's a miniseries filled with great musical makeup sex. And even the official malcontent of the series, Harrison, ends up going with the flow. When he breaks into that imperfect smile of his, again and again, as good musical things happen in the second half, it's like: Here comes the sun.
The Beatles are mostly taking input from one another, but I enjoyed little scenes like the one where McCartney is taking a little bit of advice from longtime associate Mal Evans, hovering genially above the piano, about whether to use the word “standing” or “waiting” at a certain point in “The Long and Winding Road.” McCartney adds, “I was thinking of having, like, the weather obstacle,” thinking aloud about putting a storm in the tune as a metaphor. (If hearing the phrase "the weather obstacle" in connection with a Beatles classic does not make you laugh out loud, this may not be the miniseries for you.) Evans picks up on this, and suggests more — “like, what about the obstacles on the road?” McCartney is suddenly done soliciting input on his masterpiece. “There’s enough obstacles without putting them (all) in the song,” he tells Evans. But he says it in a nice way, and you're left thinking about how un-precious these guys were with their art and who got to have a comment on it as the collaborative process unfolded in front of a gazillion engineers and grips and friends and lovers.
We see other songs in the making that could have gone very wrong. Harrison is still stuck on "Something in the way she moves attracts me like a pomegranate, after six years of trying to get the fruit out of his head. McCartney is workshopping “Golden Slumbers,” and instead of singing “Once there was a way,” he’s singing “Once upon a time, there was a king…” He states his intention aloud: “It should be like a fairy tale.” No, it shouldn’t!, you want to shout at the screen, hearing this awful idea — but not to worry; he’ll axe that and make the song perfectly poignant by the time "Abbey Road" is recorded later this same year. “Get Back” is the one song the audience gets to see develop from its first headwaters to a river so strong, it both opens and closes the climactic rooftop performance. “I don’t know what it’s about. It’s about going away, and then the chorus is... get back,” McCartney admits initially, not too promisingly. At one point, it unexpectedly turns into a clunky satire of white-nationalist politics in both the U.K. and America — “All the people said we don’t need Pakistanis / Boy, you better travel home… / Don’t need no Puerto Ricans living in the USA,” some of the lyrics he's considering go. Eventually topicality is eschewed and, sensibly, the song ends up being about cross-dressing and cannabis.
Lennon is on less of a songwriting bender than McCartney or Harrison, but what comes through is his utter supportiveness of Paul here — which is startling, honestly. McCartney is constantly making Lennon break out into a surprised, hearty laugh, which seems quite at odds with the contemptuous remarks that John would make about some of Paul's songs in the years after the official 1970 breakup. The proof of how these guys really felt about each other seems more in the pudding of the footage Jackson puts on screen here than whatever they had to say about each other when spirits were at their lowest later. Supportiveness doesn't begin to describe what the four members did for one another, most of all on a musical level. Seeing Lennon and McCartney invested so thoroughly in each other's songs here, and Harrison taking great pains to offer brilliant contributions to both despite the feelings expressed earlier, and Starr as the glue-iest glue of all time... there's little way to compare their complementary humility to anyone else's, other than to imagine that Tchaikovsky kept coming by Beethoven's flat because he really wanted to help out with the arrangement to make his songs better. Harrison may or may not have been sneaking in a secret message when he finished off “I Me Mine” as the last thing to be recorded for the “Let It Be” album — well after this original film and these recording sessions were over. But seeing the ebullience that clicks in for the Beatles as victory is snatched from the jaws of defeat in the second and third parts of Jackson's opus, it really does feels like: “We, Us, Ours.”
Some of the lessons that seem to be learned by the Beatles are applicable across different kinds of relationships, and some might be specific only to bands. Like: In a failing marriage, it's wrong to believe that having a baby will solve your problems. However, if it's the Beatles who are bickering, it is absolutely right to believe that bringing in Billy Preston as a fifth member of the family will make almost everything right again.
If only certain other people weren't also brought aboard. Jackson doesn't provide any modern talking heads to contextualize what happened after the "Let It Be" sessions in January 1969, so you have to be paying attention for the embedded portent. McCartney says he can't decide whether or not to add strings to "The Long and Winding Road," and all you can think of is how Phil Spector will soon schmaltz up the track, and the Beatles will be so distracted by breaking up in 1970 that somehow the nixed Spector-ization will slip out and become canon without McCartney's approval. More ominously, Lennon engages in chatter about how magnificent his new friend, the lawyer and would-be Beatles manager Allen Klein, is, even though Glyn Johns tries to warn Lennon that he's not to be trusted. These provide glimmers that there will be trouble after this movie's exuberantly-ever-after rooftop finale. It was Orson Welles who said, “If you want a happy ending, that depends, of course, on where you stop your story” — but the place where Jackson ends his sure seems like a place that could have been sustained, if art and friendship had trumped attorneys. Maybe it's enough that “Get Back” is about to end up in a state of grace that could be summed up in a contemporary meme: “Not today, Satan. Not today.”
Possibly the most bittersweet moment in “Get Back” goes by in a flash early in the second part. It’s not even accompanied by any video; it occurs during that audio-only "flowerpot" scene where Lennon and McCartney convene by themselves, for once, to hash things out. McCartney tells Lennon: “Probably when we’re very old, we’ll all agree with each other. And I think we’ll all sing together.” It’s a prophecy that could put a lump in just about anyone's throat as they inevitably drift to the thought: Eff you, Mark David Chapman. But thank you, Peter Jackson, for pulling together a movie in which the Beatles are suspended in time, agreeing with each other and singing together, and it’s not even the whitewash some predicted. It’s the great fade-to-white the band deserved and never really got until now. Their memory is a blessing, and, for a lot of young bands who might sit down to watch "Get Back" now, a road map to how to take a sad song and make it better.
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谢谢楼主分享，发现宝藏了。
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