Get Back Rewatch 55 Years On: Day 16
Not the Love Actually India footage! https://archiveofourown.org/works/40600110/chapters/101720886 by @inspiteallthedanger is a favorite I should revisit after this painful day.
“Yes, what Were we doing?” Literally, why did you start this conversation, Paul? What did you think John and George were going to do? Just let you have your little casual chat about the footage? Come on, you know them better than that. “In your room?” “Yeah, right. I remember, yeah.” You set yourself up for this, babe.
I would LOVE to know the real context for John’s mic-job. Because yes, that is real. He really did do that while staring like That at Paul. But it wasn’t after he said, “I don’t regret anything. Ever.” What was the real moment where John decided that was his move? And did Paul really just keep talking right over all of that? Beatles tumblr deserves access to all that footage just for all the obsessing we do.
It is noteworthy, certainly, that we know for a fact that a good chunk of John’s India footage is just Paul, but in how much of that footage, I wonder, is Paul also focused on John?
We all know Paul approves, but why did we have to use valuable time to show monkey sex? I did not need to see that.
“I have all the tapes, too.” Those laughs. You guys aren’t as sneaky as you think you are. Also, @ Lennon estate you won't release the tapes. Chickens.
George is just SO sick of their shit. “Because that was the purpose of going there was to try and find who yourself is.” AKA ‘I took your dumb asses on this beautiful spiritual retreat and you had to make it about your stupid psychosexual obsession just like you do with everything else.’ “And if you were really yourself, you wouldn’t be any of who we are now.” AKA ‘if you two would stop fucking hiding, we – me and Ringo too, you’ve dragged us down with you – wouldn’t be in this hellish mess.’ And here’s the thing. He’s pissed off. And rightly so. But he’s still going along with their veils and secrecy. A callback to his strumming over Paul ranting at him. He’ll still protect them even when he fundamentally disagrees. George is such a beautiful person and so underrated by people like me.
Paul’s appreciative little look as John finally ends the difficult conversation.
"Bye, Bye Love” is DEFINITELY *meaningful*
John calling Two of Us “Four of Us” is so sweet. Like saying to George and Ringo, “You are important too. Just because we don’t have weird thoughts about your physical adjacency to Elvis Presley, doesn't mean we don’t love you.”
I think John’s willingness to be taught is also an underrated leadership quality of his. All the old men obsessed with Leader Lennon won’t acknowledge it, but that’s what it is. It’s humility and a recognition of other’s strength and it’s leadership.
Literally everyone else: Just don’t look and it’ll go away. John: what? Don’t look at Paul? I don’t know how to do that.
George and Ringo honestly had the patience of saints to just sit there and play through Two of Us eight million times so John and Paul could do their little accents and silly voices.
And then John can also do the traditional leadership, too. “Start again, ey. Shh, don’t talk when he’s playing there, gang.” And really, he’s the best of the four for that job by far.But it’s far from acerbic or cutting. Get Back John is certainly almost undiluted Lovely John.
Quick reminder to anyone who may have forgotten: those boots George is wearing are literally Paul’s hand-me-downs. Earlier on the nagra reels, George was describing a kind of boots he’d like a pair of and Paul was like “I’ve got some you could have.” Permanent baby brother status.
“That’s a good idea, John.” “Yeah, well I’m full of ideas like that, I’m famous for ‘em. Literary Beatle, you know.” Puhlease. I know fics with more realistic dialogue.
“The things that’ve worked out best for us haven’t really been planned any more than this has, it’s just. You know, you just go into something and it just does it itself.” Yeah, George. Because of Brian.
Paul really wants to do a big Thing at the end, because he loves performing, yeah. But what’s this about John and Yoko’s black bag? Does he think that performing together will remind John that being a Beatle with Paul is what he loves? Or does he just want closure before everything falls apart?
He really does hate to see him upset, doesn’t he. Like, I think he does a lot of things purposely to get a reaction out of Paul. And sometimes he needs to see him hurt to know he even cares. But from the way he’s watching Paul chewing his nails and rocking, you’d think Paul’s worries affected John physically. And then he breaks into “I Lost My Little Girl” almost as a sort of knee-jerk comfort instinct.
These two shots are comedic gold.
My cabaret boys again. Heck, maybe I’ll write it just for myself. Honestly though I love that the two Beatles who loved performing and who would’ve been performers in any life (would’ve been performing circus elephants if they’d been reincarnated as animals) got to continue doing it into their eighties. One of the few happinesses in the end of the Beatles.
Get Back really is such a great character study, though. George hands John a drink. John takes it without looking at George, let alone the drink, and gulps. George hands Paul a drink. Paul smiles at him, then proceeds to sniff it and swirl it and inspect it like it might be poison before he gives it a taste.
John chewing the mic. I hope you didn’t do That to Paul’s dick in India. What if that’s all that happened?
Bitching and gossiping: top requirements in the job description for John Lennon’s Codependent Special Person.
In these last few minutes of the day, I’m relating more and more to George. I’m sick of John and Paul and all their drama and stupidity. John suggests they write another verse of Let it Be together, and Paul looks frankly horrified at the idea.
So John lays his head in Yoko’s lap, reminding me painfully of that “ . . . except you can go to bed with it and it can pet your head without . . .” quote.
And then a few minutes later, Paul’s spiraling again and asks to go home to which John responds with a tease. “I’m just tryna get the group working, you know,” and “You’re gonna have to be strict, Paul.” And it’s just dizzying and frustrating at this point. Where are they possibly going to go at this rate?
83 notes
·
View notes
I was listening to John's demo of now and then and I just know that if they'd left in the more explicitly romantic parts of the song (that 'sweet darling' line) none of these male journalists would feel comfortable saying it was about Paul. Like because the new version is just vague enough they can write screeds about their 'very intense and tempestuous' (but non-sexual!) relationship but if there was any hint of romantic feelings no one would be saying shit.
I understand its controversial but I don't get how as a journalist you could look at the facts of the situation: A man who has been rumoured since the 60s (and in fact confirmed by his wife) to be bisexual, writing a deeply tender song yearning for the presence of his former best friend (whom he got married 8 days apart from) and not have any instinct to question if there was anything deeper going on there.
Realistically I know its because Paul's still here and he wouldn't approve but man it's just frustrating to feel like you're still crazy even when highly respected mainstream publications are filled with conclusions you and hundreds of other people came to when you where teenaged girls.
147 notes
·
View notes