ma nova verzija filma.
„To je kao vremeplov koji nas prevozi do 1969. godine. Sedimo u studiju i gledamo kako ova četvori- ca prijatelja zajedno prave odličnu muziku“, izjavio je režiser. Snimci grupe koja stvara album prvobitno su snimljene za televizijski dokumentarac, ali je projekt evolu- irao u dugometražni film koji je na- kratko prikazan u bioskopima pre nego što je nestao i postao redak ko- lekcionarski snimak na VHS-u. „Posle pregledanja svih snima- ka koje je Majkl Lindsi Hog napra- vio 18 meseci pre nego što su se ra- zišli, to je jednostavno neverovatna istorijska riznica“, primetio je oska- rovac Piter Džekson i najavio da će film biti smešan, uzbudljiv i iznena- đujuće intiman. Biće to film kom se već sada raduju svi koji su ikada vo- leli Bitlse , i to iz mnogo razloga. Pre svega, taj projekat je bio izgubljen, nikada nije bio dostu- pan ni u jednoj tehnologiji nastaloj posle VHS-a. Nećete ga naći ni na DVD-u niti na Netfliksu , kao da su ga preživeli članovi benda pustili da izbledi i prepustili ga zaboravu. Nije ni čudo, jer je svedočanstvo o njihovim najgorim danima, sadrži svađe Harisona i Makartnija, ko- ji je snimanje nazvao paklenim i najnesrećnijim na svetu. Naravno, to se sve nije našlo u originalnoj verziji, pa će biti uzbudljivo gleda- ti njihove prave odnose. Osim ako Makartni ne nagovori Džeksona da to ipak ne prikaže i da se kon- centriše na izvođenje forenzičke studije o procesu muzičkog stva- ranja. I jedno i drugo biće fasci- nantno, zar ne? Osim toga, još nismo videli pola koncerta na krovu! Poslednja svirka Bitlsa jedna je od najlegendarnijih izvedbi uživo ikad, ali je od 42 mi- nuta originalni film sadržao tek 21. Džeksonov film morao bi da obu- hvati svaki sekund snimka, od ka- da zakorače na krov do trenutka kad ih policija sa njega skida silom! Le- gendarno. Kao da sve to već nije dovoljno da jedva čekamo novi Let it be , po- stoji mogućnost da u filmu čujemo Lenona kako peva I Lost My Little Girl , prvu pesmu koju je Makartni ikada napisao, kada mu je bilo sa- mo 14. Još jedan do sada izgublje- ni snimak. Ima li boljeg načina da prosla- vimo 50. godišnjicu? Neka bude!
Jedna od retkih fotografija iz filma One of the rare stills from the film
ing the band members had already had se- rious disputes and dilemmas about their continued co-existence. The lm material is rich with the passionate creative enthu- siasm of the musicians and spontaneous jokes during hours of creating and social- ising, but even the editing couldn’t conceal their deeper divisions. The story, which was directed by Michael Lindsay-Hogg, also in- cludes their famous concert on the rooftop of the Apple Studio in London on 30 th Jan- uary 1969. It is inscribed as one of the best ever rock‘n’roll moments, and remains re- membered as the last joint performance of The Beatles, which was interrupted by the police after 42 minutes. The initial idea was for the lm to be broadcast as a TV documentary with which they would announce a campaign for their concerts. After the members snapped the last clapperboard on the group, instead of a promotional lm about upcoming per- formances, the lm remained as a record of their nal creative period. And it seems that, in the meantime, Paul McCartney’s view of the lm has changed after 50 years.“Because it was shot so close to the breakup of The Beatles, that docu- mentary was always primarily a sad mo- ment for me,” McCartney admitted previ-
greatest bands of all time. It was record- ed at London’s Twickenham Film Studio in January 1969 as part of a documentary on The Beatles. Legend has it that it was cold in the studio due to poor heating, but also frosty relationships. The song found itself, in a slightly modi ed version, on their 12 th studio album of the same name. The album was supposed to convey a completely di erent message from the outset. The idea was for it to be called ‘Get Back’and recorded live in front of a television audience. It was supposed to be The Beat- les returning to their roots and performing raw, live music instead of tormenting them- selves in a studio as they’d done when re- cording the White Album. Soon, though, it was clear that nothing would come of that, and George Harrison abandoned lming. When he returned, they’d given up on live gigs and decided to use the TV recording as their last lm. As the lm was being cut, they released Abbey Road, and then they parted ways forever. The album Let It Be was released on 8 th May 1970, when The Beat- les were already no more and when it had become clear that the title was more ap- propriate than the original one – Get Back. The documentary lm of the same name was put on hold, because during lm-
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