5/11/2023 0 Comments Sublime movieThe fact that she is not there to directly influence the band’s recordings only makes her behavior more ridiculous. Of course her appearance in the studio is obtrusive. Indeed, she is not the set’s most meddlesome interloper: That is Michael Lindsay-Hogg, the hapless director of the original documentary “Let It Be,” who keeps urging the band to stage a concert in an ancient amphitheater in Libya or perhaps at a hospital for children suffering from reassuringly minor ailments.Īnd yet there is something depressing about the recasting of Ono as a quiet, inconspicuous lump of a person. Her presence has been described as gentle, quiet and unimposing. ![]() When George Harrison walks off, briefly quitting the band, there is Ono, wailing inchoately into his microphone. Later, when the group squeezes into a control room at the studio, Ono is there, wedged between Lennon and Ringo Starr, wordlessly unwrapping a piece of chewing gum and working it between Lennon’s fingers. Lennon slips behind the piano and Ono is there, her head hovering above his shoulder. When the band starts into “Don’t Let Me Down,” Ono is there, reading a newspaper. When Paul McCartney starts to play “I’ve Got a Feeling,” Ono is there, stitching a furry object in her lap. She perches in reach of John Lennon, her bemused face oriented toward him like a plant growing to the light. ![]() Įarly in “The Beatles: Get Back,” Peter Jackson’s nearly eight-hour documentary about the making of the album “Let It Be,” the band forms a tight circle in the corner of a movie soundstage. ![]() To hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.
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