Mannnn, I don’t know where to start. We watched Part 3 last night but I was so overwhelmed by the end that I couldn’t sit down and knock out a post like a did with the other two parts. It’s been so long since I’ve felt this way: giddy at the thought of Brand New Beatles Content and literally unable to think about anything else. I’m sad that it’s already over, but really hope that Peter Jackson eventually ends up releasing an even longer version, which sounds very possible.
Part 3 thoughts:
- The first 10 minutes are so joyous it’s almost unreal. George helping Ringo with “Octopus’s Garden” and everyone else gathering around and joining in is just SO WHOLESOME. And then Heather (Linda’s daughter) shows up and they just start jamming and letting her play along and it’s wonderful.
- Also, Heather observing Yoko’s *ahem* vocal stylings and then doing a spot-on impression while the Beatles jammed was a real kick. I loved John’s incredulous “Yoko!”
- George coming in with “Old Brown Shoe” and Ringo, Paul, and Billy proceeding to rock out with it was great. The look on George’s face when he realizes his mates are enjoying playing his song…made me so happy.
- Wow, I wish November 27 me could go back and tell November 26 me how much more George Martin content was yet to come!! GM playing the shaker on “Dig It”…GM troubleshooting the PA setup (“I’ll fix ya lads, I’ll fix ya” 🥰 )…GM helping them come up with the track list for the album. What a treat.
Sidebar: I know this is super uninteresting to most people, but I have a theory on George Martin’s presence in these sessions. When I hear demos and outtakes from the other albums, I always think of him as the man in the box—I know he would come down and work with the band, and play piano and other bits on their songs, but he always seemed like more of a schoolteacher presence, keeping the Beatles in line and calmly directing their chaos into focused recordings. That’s why it’s super cool to see him just chilling with the Beatles in the studio while Glyn Johns focuses on recording and mixing. Without his name attached to the album, it seems like he’s able to let loose a little and just hang out (obviously while still helping a lot with the equipment and production). I just think it’s neat to see him spending so much time with them and, having had so much history with them already, knowing best how to help when they need it.
- I’m not gonna talk about Allen Klein. In fact, we’re not gonna talk about Allen Klein at all.
- There’s a part where Paul leaves for an appointment and John runs rehearsal, and it’s really cool to see him saddle up and get serious about practicing, where in the first two parts he was much more passive/disinterested. I liked hearing him sing Paul’s parts for “I’ve Got A Feeling” and giving more time to George’s song. You get a glimpse of what it was probably like in early days when John was the undisputed leader of the band.
- I would pay to listen to 8 hours of “I Want You (She’s So Heavy)” jams, holy buckets.
- I can’t lie, even though George will always be my fave and I think a lot of his pissy attitude was justified, it must be said that he was a big buzzkill during most of the Let It Be sessions. There were several parts where the band was close to agreeing on a show venue or some other decision only for George to shut it down or make some passive aggressive comment about it being a dumb idea. :(
- But, George seems very self-aware and generally in better spirits in Part 3. It was cool to hear him talking to John about wanting to make his own album. John and Yoko were so supportive!
- When Ringo spoke up that he wanted to play on the roof, they should’ve just called it then and there. Ringo has an opinion on it?? DO IT, BOYS!
Rooftop concert day:
- I didn’t know there were so many cameras! I also lol’ed at George Martin immediately spotting the “hidden” camera in the reception area.
- The way Peter Jackson used the multiple camera angles was really neat. I feel like that’s the best thing he could’ve done, knowing that each camera had something worth seeing. Rather than cut back and forth between them all, why not just show three at once? (I think the Woodstock documentary did this too, maybe he was influenced by that.)
- Shout-out to everyone in the Beatles’ extended circle who tried to distract and/or delay the cops when they showed up. Debbie at the front desk pretending like she didn’t know what was going on, and Mal buying time by saying he’d go up and cut the PA (but not doing it?)—both were clutch. Unsung heroes.
- When film crew on the street started doing impromptu interviews with the people who had gathered around, they were asking the same questions reporters would ask in 1964 (“Who’s your favorite Beatle?” “Do you buy their records?”), but obviously the fans had grown up just like the Beatles. They weren’t screaming and ogling, they were just like “Yeah, I think what they’re doing is pretty cool.” I also really liked this gentleman’s comments.
- Poor Paul wanted to get arrested so bad. He kept talking about it in the earlier parts, and then when he sees the cops show up on the roof he’s positively giddy. Too bad the cops just stood in the back looking grumpy instead of doing anything.
- And POOR MAL was put in an impossible situation; you could tell he was trying everything in his power to stall before being forced to unplug George and John’s amps.
- I couldn’t suss out whether George was annoyed or actually enjoyed playing on the roof. But I enjoyed the Defiant Teenager Energy from him when he flipped his amp back on to keep playing. He knew the cops weren’t actually going to do anything, lol.
- I LOVED the footage of the band and crew and wives listening to the live recordings in the control room afterward. Mo’s energy is infectious!
- I felt a bit like Peter Jackson rushed the ending by not giving us full takes of the slow jams (“Let It Be”, “The Long and Winding Road”, “Two of Us”) on Day 22, but I guess that’s because those already exist on the original film? It certainly wasn’t because he was worried about the dang thing being too long. Maybe they’ll make it into the extended Director’s Cut, who knows.
- I did really love the “Let It Be” outtakes at the very end, and the little banter before “Two of Us” that melts my heart every time.
Would I recommend Get Back to non-Beatles fans? Part of me is convinced that Part 3 could be an accessible way to get to know them, and if you like that, then bring out the additional hours of footage. But I also know it’s not for everyone. Peter Jackson made this film for the fans, obviously. Sometimes even I got tired of hearing them start yet another take of “Get Back.” But seeing everything come together and all the happy joyous bits in between was more than I ever could have asked for. I still can’t quite believe we have this much footage of the Beatles working together in the studio, and in such incredible quality (sorry for not mentioning it until just now, but one million kudos to Peter Jackson and his team for restoring the film and audio!!!). It truly is a gift.
The Complete Get Back Drinking Game (revisions probable)
Take a drink when:
- Someone plays a song that ends up on a solo album
- The camera does a closeup of Mal Evans smiling 🤓
- John is late
- Yoko starts a new hobby
- Paul’s beard is mentioned
- The anvil makes an appearance
- Someone makes fun of Glyn Johns
- A Beatle drinks tea or eats toast
- Ringo plays that drum fill
- “And now, your host for this evening…”
- George Martin fixes a problem
- Glyn Johns looks like a fashionista
- The Beatles play a version of a song that ends up on the final Let It Be album
- Someone on the street thinks the rooftop concert is annoying
Take two drinks when:
- Someone gets electrocuted
- George and Paul have a row
- Paul does parkour
- Ringo introduces a Starkey original
- Yoko sings
- George leaves the band
- Paul calls Glyn Johns a f*ckface
- “Thanks, Mo.”