The Happiness of Get Back

The Ringer points out the happiness of Get Back, the repudiation project of the dreadful propaganda that was the unwatchable Let it Be of 50 years ago:

They shed brilliance like skin cells. They invent, oh, you know, just the sonic landscape of my/your/Peter Jackson’s/everyone’s lifetime, messing around as if they’re a bunch of kids coming up with some new rules for tag. (In some ways, they are.) Scraps of ideas wind their way into the annals of forevermore right before our eyes. “Is Tucson in Arizona?” Lennon asks at one point while McCarthy works on “Get Back,” and in another scene, he suggests that Harrison use “… attracts me like a cauliflower” as a lyrical placeholder in “Something.”

Not everything is perfect: The boys are also clearly weary and burned out and a little suspicious of their handlers. Harrison, feeling creatively stifled, quits for a few days and rejoins. We know, as viewers, that everyone’s time together is quickly barreling to a close. But what Jackson saw in his initial perusal was that there was still happiness in the ending, that not everything was the catastrophe it had developed a reputation for being.

Sprawling in its confinement and generous in its conflict, Get Back peers into what had been known as a dim and uncertain time for the Beatles. And what it finds gives ancient lore both new life and new light, in a shine-on-till-tomorrow kind of way.

 I. AM. COUNTING. DOWN. THE. MINUTES. FOR. THIS!!

"Fellas if we finish these songs then CHICK FIL A IS ON ME!!!"