A Sneak Peek of Peter Jackson’s New Beatles Documentary Get Back: Watch the New Trailer

In much the same way David Lynch gave us way more Twin Peaks than we’d ever hoped for in 2017, Peter Jack­son and the Bea­t­les are giv­ing us noth­ing like the lit­tle seen and quick­ly shelved Let It Be doc­u­men­tary from 1970, but a full six hours of the final musi­cal works of the Bea­t­les. Pre­mier­ing on Dis­ney Plus (yes, I know, you got­ta pay mon­ey to the Mouse) over three days after Thanks­giv­ing, this six-hour series is the big one fans of the var­i­ous remas­ters, repack­ages, and remix­es have been wait­ing for.

The Get Back ses­sions have long been a sour note in a career that was most­ly joy­ous. Appear­ing over and over again in boot­leg form, the var­i­ous jam ses­sions, cov­er ver­sions, and rehearsals through the songs that would turn up on Abbey Road and Let It Be can be grim lis­ten­ing. (I know, I’ve lis­tened to a lot of it. The Bea­t­les prac­tic­ing is just as tedious as any oth­er band work­ing through songs.) The gen­er­al nar­ra­tive is that the acri­mo­ny among the band mem­bers, the wraith-like pres­ence of Yoko Ono, and Paul’s relent­less­ly upbeat bad­ger­ing of every­body else caused the world’s most famous band to break up. Aban­don­ing the project, they per­formed some of the songs on a Sav­ille Row rooftop, and the rest was left up to the lawyers (and Phil Spec­tor) to sort out.

Jackson’s Get Back, made with the bless­ings of the sur­viv­ing Bea­t­les, intends to upend that nar­ra­tive.

“The thing is, when the film was released, The Bea­t­les were break­ing up, but they weren’t break­ing up when they were mak­ing Let It Be, which was record­ed a year ear­li­er,” Jack­son told GQ Mag­a­zine. “So I sup­pose it would have been odd to release a film where they are all enjoy­ing each other’s com­pa­ny.”

The acri­mo­ny only set in lat­er, when Allen Klein became their man­ag­er, he added.

This is Bea­t­les as a fam­i­ly, and fam­i­lies argue, joke about, and get down to fam­i­ly busi­ness.

Hon­ing the tech­niques Jack­son used to bring to life old World War I footage in They Shall Not Grow Old, the film takes the 57 hours of footage shot by Michael Lind­say-Hogg and makes it look like it was shot yes­ter­day. The col­ors you see in the trail­er, how­ev­er, have not been altered. “I mean, it does make you jeal­ous of the 1960s, because the cloth­ing is so fan­tas­tic,” Jack­son said.

The album Let It Be always had the shad­ow of a bad breakup over it, but for new­er gen­er­a­tions, that may no longer be the case after this doc­u­men­tary drops next month.

Relat­ed Con­tent:

The Bea­t­les’ 8 Pio­neer­ing Inno­va­tions: A Video Essay Explor­ing How the Fab Four Changed Pop Music

A Vir­tu­al Tour of Every Place Ref­er­enced in The Bea­t­les’ Lyrics: In 12 Min­utes, Trav­el 25,000 Miles Across Eng­land, France, Rus­sia, India & the US

How Peter Jack­son Made His State-of-the-Art World War I Doc­u­men­tary, They Shall Not Grow Old: An Inside Look

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

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