![]() ![]() (Except George Harrison’s pink pinstriped suit, which remains fully superhuman.) Like Todd Haynes’ recent Velvet Underground documentary, Get Back is a time machine that yields no space for after-the-fact, talking-head explanations or testimonies. Jackson makes these four young men look, for the first time, both contemporary and fully human to me. Above all, though, using every modern technique of digital restoration, Get Back becomes an act of necromancy, bringing the Beatles back to life out of those dusty cinematic tombs in its rich color and sound, it seems almost like it could have been filmed yesterday. Jackson’s landmark music documentary, reconstructed from 60 hours of footage shot for Let It Be and 150 more hours of audio, is not primarily a narrative or an argument, but it does answer that crowd’s question of how this odd spectacle came to be. ![]() Send me updates about Slate special offers. If the band is up there making a film, can’t they just dub in the sound later? As he laments from the depths of his prudent English guts, “Surely, this can’t be necessary, is it?” There’ve been 30 noise complaints down at the station already, PC Dagg repeatedly moans. But only now do we get to hear the ganglier one-I think he’s PC Ray Dagg, and the other PC Ray Shayler-haggling at length with Apple staff in the office’s front hall, his helmet strap dangling awkwardly at his chin. He’s one of the two officers who come to Apple Records HQ on Savile Row to try, and mostly fail, to shut down the legendary January 30, 1969, rooftop performance that climaxes both films. The chubby-cheeked London copper, who can’t be much past 21, was previously glimpsed in the footage of Let It Be, 1970’s original behind-the-scenes look at the creation of what became the Beatles’ final album. The Baby-Faced Bobbie is one of the many indelible additions to Beatles lore to be found in director Peter Jackson’s new documentary Get Back, which premiered in three parts over the Thanksgiving weekend on Disney+. ![]()
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