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Thread: The Beatles

  1. #211
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    It’s a bit of a slog undoubtedly but I felt there was a reward at the end with how it all came together. I had a really na´ve notion of their fame that it was somehow the nicest version of being held hostage as possible. But then Ringo makes a joke about taking over London after the show and it somehow felt less na´ve because the underbelly of what they engendered was already peaking at sunlight. That by somehow plugging up and making an actual nuisance of themselves was a cathartic act against the limitations that success put on their personal lives. Paul McCartney shows the whole breadth of human emotion and none was more satisfying as a fan to see the look on his face and the reaction to the cops showing up. It’s miles away from the trauma that comes over him at the beginning of the 2nd episode when he is realizing this may be it. That’s a word I don’t throw around easy but it’s the best way to describe what I was seeing in that footage from a distant time when he was on the cusp of full-blown adulthood. You could feel the youth fade away in his posture and of course in his eyes. It’s a powerful moment.

  2. #212
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    I have trouble with the way Jackson frames many of the scenes, like when he pairs footage with audio that don't belong together. Or, say, a Beatle says something, cut to another one looking serious, implying he's critical of what has been said. How do I know it happened that way? How do I know it's not made to look a certain way?

  3. #213
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    Quote Originally Posted by r_z View Post
    I have trouble with the way Jackson frames many of the scenes, like when he pairs footage with audio that don't belong together. Or, say, a Beatle says something, cut to another one looking serious, implying he's critical of what has been said. How do I know it happened that way? How do I know it's not made to look a certain way?
    Yeah, I felt the same way. I'd rather just have still pics on the parts where he used audio only and did notice he maybe manipulated their expressions in parts.

    At the same time, I'm a massive Beatles fan who's known about all this footage for so many years that I'll take what I can get. I do have tons of bootleg audio from these sessions that I noticed weren't even included.

  4. #214
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    Quote Originally Posted by r_z View Post
    I have trouble with the way Jackson frames many of the scenes, like when he pairs footage with audio that don't belong together. Or, say, a Beatle says something, cut to another one looking serious, implying he's critical of what has been said. How do I know it happened that way? How do I know it's not made to look a certain way?
    That's one of the documentary storytelling's 101s though. You can't just show people things and expect them to automatically get interested. You're still creating a story to tell, even if only subtly through editing.

    People may like it or hate it but as long as you can see though it, what's the harm?

  5. #215
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    My best friend who’s a major Lennon guy bought a Fender VI a few years ago. I bet those will become more popular now.

  6. #216
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    Quote Originally Posted by fillow View Post
    People may like it or hate it but as long as you can see though it, what's the harm?
    I just resent being manipulated, I guess. I want the real thing. And I'm not even sure it was necessary to do this here.

  7. #217
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    Quote Originally Posted by r_z View Post
    I just resent being manipulated, I guess. I want the real thing. And I'm not even sure it was necessary to do this here.
    Well, the unedited tapes have been out there in circulation for about twenty years. Go and listen to those, if you want the unvarnished account. Yes, Jackson does use visuals that don't match up with audio in some cases (particularly in Twickenham), but it was just a more expedient way to tell the story of what happened. They didn't have more than one or maybe two cameras on close-ups until the rooftop, and so missed lots of stuff that the audio tape (which was constantly rolling) captured, so you couldn't just only ever have live camera sync'd exactly to audio... there would be loads of important conversations missing.

    Basically, the whole aftermath of that one month's work... I've always looked at it as a giant salvage job. From Glyn Johns' initial album assembly to the editing of the film, and finally drafting in Phil Spector... they basically spent the next twelve months chipping away at it. There's lots of great info about how the original film/album was made in this comprehensive article: https://www.soundandvision.com/conte...ksons-get-back
    Last edited by botley; 12-06-2021 at 02:43 PM.

  8. #218
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    Anybody know the first song that's playing over the credits from part 2? Shit rocks.

  9. #219
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    Quote Originally Posted by r_z View Post
    Anybody know the first song that's playing over the credits from part 2? Shit rocks.
    I forget but typically if you put the subtitles on it'll say what song it is. Pretty sure Part 1 ended with Isn't It A Pity by George, if I remember correctly.

  10. #220
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    i enjoyed the Get Back series. I had never seen the original Let it Be doc, and had always wanted to. a couple thoughts and quibbles about the series though:


    i really think Jackson should have mad a couple different versions of this. probably there is a really good 2 or 3 hour movie hiding in here for the more casual fan who won't watch all 8 or so hours of this. could have done one like that and then the long one for completists (which i would have watched either way).


    there were definitely a few goosebump moments, like Paul pulling the bones of Get Back out of the ether while waiting for John to arrive, seeing Billy arrive and change the whole vibe, etc.


    wish the final day was treated a little differently. would have loved to see the performances from that day get better care than just cut in amongst the credits. I mean i don't need to see all of the takes but i ended up buying the 1+ blu ray over the weekend just to see complete videos of Let it Be and Long and Winding Road. would have ben great to see similar full edits (using the beautifully restored footage) of the takes of Two of Us, Long and Winding Road and Let it Be that made various versions of the album.


    I'm hoping someday there is a blu ray release of this but i won't hold my breath. I'd hope for that to include some bonus of the rooftop concert with a full edit of the performances only, skipping the on-the-street interviews and police in the lobby stuff. it sucks when these streaming services get an exclusive that we often miss out on a home video release (like the Coen Brothers' Ballad of Buster Scruggs, which should have a place on my shelf with their others).


    Speaking of the rooftop, it's too bad there weren't a few more shots of Billy, i guess expected but still too bad. Also wondering why the full rooftop audio wasn't included on the Superdeluxe Let it Be album reissue. seems like a no brainer to put that on there. Also feel like they missed out on including a few numbers like The Castle Of The King Of The Birds which featured in the end credits of one of the episodes.

  11. #221
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    Quote Originally Posted by r_z View Post
    Anybody know the first song that's playing over the credits from part 2? Shit rocks.
    It's just called "Blues Jam" in the credits. Billy's organ lines on it are really cool!

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