From Thursday 10 to Sunday 13 February, just four days, you will be able to live for an hour and in IMAX format the experience of last beatles concertwhich despite having been a substitute for the show they projected, and which never came to be, had very little that was improvised.
We realize when we see the five cameras up and another three on the streetthe large production team and an amplification system that led to numerous calls to the police and a visit by agents to the Apple Corps building, plus a recording with enough quality to reach the studio and that some of those interpretations were part of the album let it be (1970).
In 60 minutes, the winner of three Oscars Peter Jackson presents the complete concert (with audio digitally remastered and optimized for the big screen, as he believes it always deserved to be), with its multiple takes, rehearsals and incidents, and pays homage to various aspects of those hours of recording, and one of them is the work of Michael Lindsay-Hoggtoday 81 years old and still active, director of that session recorded on January 30, 1969, and also of the Beatles documentary, Let It Be.
Lindsay-Hogg was the one who with great precision, more sense of humor and daring, ordered that they cameras in the building across from Apple Corps (apparently without notifying the owner, who also makes an appearance to claim a few seconds for himself on the big screen).
In addition, he dedicated a good part of the footage to two people without much musical inclination at that time, the two young London policemen that, without suspecting what was happening, they were sent to stop the recording (or at least get the speakers to turn off). Their suffering, projected side by side with the fun that occurs on the terrace, takes center stage in the film, time in which they spend locked up in the reception, wondering what to do and warning again and again (with kindness, yes) that there will probably be arrests. It’s a certain way, it brings to mind the four Beatles fleeing from law enforcement officers in their first films, after some of their occurrences.
And although we hardly see her, she has her thing receptionist Debbie, who holds them up for most of the sessiontelling them that she is not sure what is going on, that she would let them in, but the terrace door is surely locked, that it is all part of the production of a big movie and that she does not advise them to go up because “there is already too much weight” (the latter was perhaps true).
Jackson’s contribution to Get Back: The Last Concertin addition to spending hundreds of hours with the material produced by Lindsay-Hogg and her team, has been to get the most out of the format IMAX and capturing the fidelity of the original sound so that viewers sit momentarily on the terrace and then on Saville Row, dividing their attention between the different frames when the director makes use of the triple screen.
But also, the New Zealander has been dedicated to ridding this screening hour of the load of drama often attached to the band’s latest reunions., and recover humor and irreverence, the pleasure of playing together and being heard. McCartney, Lennon, Harrison and Starr laugh, make fun of each other, and each other, they are delighted to hear each other in the open air, improvising when they don’t know the words of some recent song and joking with the audience they can’t see all the time. time, but whom they imagine a few meters below them.
Their wives and friends remain close, but the mood of the tape does not wane there either. They are, but framed by music.
The first special screening of get-back took place on the anniversary of the concert, on January 30. Is it possible to see it without going to the cinema? Of course. The last concert follows from Jackson’s other currently available work, the docuseries The Beatles: Get Backwhich is on Disney+.
The difference is that can’t replicate IMAX visual and sound experience. It is completely different to listen to live performances of Get Back, Don’t Let Me Down Y I’ve Got a Feeling the way their creators wanted them to be heard: so loud that the police come, and with them so loud that they don’t care about the noise or the extreme closeness of their fans, one of the reasons they stopped playing live.
Towards the end, together, reviewing the result of their adventure, the four musicians (who were accompanied at all times by the keyboard of Billy Preston) get excited imagining the dimensions of what they have done: a world of public and free concerts, spontaneous and simultaneousshared among various bands, replicated from terrace to terrace, heard throughout the city. (AND)
Source: Eluniverso
Paul is a talented author and journalist with a passion for entertainment and general news. He currently works as a writer at the 247 News Agency, where he has established herself as a respected voice in the industry.
