(FYI/as of Feb. 13, both DVD and Blu-Ray sold out within a week on Amazons !)
‘Twas quite focused on the Beatles’ relationships. John comments, in passing, that Ringo had previously been unhappy (when he offered to leave the group which surprised the other 3).
On the other hand, Paul’s influence and quality songs, through Revolver, Sgt. Pepper’s, and Magical Mystery, were definitely keeping things afloat after Epstein’s death. The songs are mostly his with the odd “I Am the Walrus” by John and better George songs now being available for use.
He even admits that he feels like he’s been taking charge and you can see it in the original Let It Be film and this one. It is very hard to imagine those 4 albums plus Let It Be and Abbey Road without Paul’s many memorable songs.
By this point, Ringo and George recognize they’re second bananas to Lennon-McCartney.
Ringo looks bored and remains patient, accepting all. George has new songs which Paul and John are not giving a fair listen to. And Paul keeps suggesting to him what he might play.
Eric Clapton, a better guitarist than George becomes an instant possible replacement (and George knows his friend is a better player–later he would use him on Cream’s “Badge” and Clapton would marry Patty/”Layla”, G’s first wife). He feels the olde democratic group feeling is disappearing or gone. He does not accept the changing dynamic, questioning it all the way.
So the dam, predictably, bursts, George quietly and firmly exits, and at the end of part 1, we learn that there was no resolution after the other 3 visited him at home.
That all said, the whole process of completing this project within a certain time frame (they always had worked that way before with every previous project–Epstein and Martin kept them hopping), working in a cold winter barn of a building with inferior equipment and Martin no longer in charge of the recordings, quickly wears on them as they flop around trying to dig up and create material for the show. (Martin did not produce this album BTW–Phil Spector took over with John’s approval and nobody else’s–more conflict plus the lawyers’ conflicts)
Lots of dead ends, and growing unhappiness, anger, and frustration. There is a certain truth to the original feel and surfaces of the Let It Be film.
Slowly, though, the album’s songs start emerging in raw forms, but the standouts come more prominently from Paul, starting with “Get Back” (which nearly became a politics-of-the-day song!), “Let It Be” (which he noodles away on in the background as others talk oblivious a masterpiece is emerging), “The Long and Winding Road” (being worked out as Paul talks to the equipment mgr./go-fer Mal), and “Two of Us” (the best of the old LM songs)–the 4 bona-fide classics from the album.
It is fascinating to see Paul work through his songs, literally ad libbing and giving birth to them on camera. And it is fun to see the guys (especially L and M) really enjoying themselves and each other as a close-up duo.
Right there is the core of their connection, success, and evolution as songwriters and performers. Right there is the core of The Beatles, though George and Ringo always made major contributions, performances, and enhancements.
But about a few things, Paul was very right: you need a vision, you need to keep pluggin’ away till you get the results you want, and the best tunes will eventually emerge. And they do, eventually, for the Let It Be film and album.
Very interesting overall, I got my money’s worth on creative process and behind-the-scenes Beatles live. What I didn’t bargain on was the painstaking detail about a group breaking up, Paul and George’s conflicts (Paul even questions the grammar of one of George’s lines! Woh!), and how little distraction Yoko actually created on set (it was like she wasn’t there as far as the other 3 guys were concerned).