The novelist Kurt Vonnegut he used to say in his lectures that “a plausible mission of the artist is to make people feel happy to be alive & rdquor ;. Then someone in the audience asked him if he knew of anyone who had succeeded. “The Beatles& rdquor ;, always answered the genius.
In the same way that we cannot bear to see someone we love cry, we are fascinated to discover how sad even who is capable of making us not be sad. Let whoever gives us direction feel lost. Let whoever possesses the formula of the refrain of euphoria quarrel with poor prose, routine yawning and the annoying noise of life.
The documentary ‘Get Back’ has just been released, where Peter Jackson has managed to edit eight hours of all that. In January 1969 the Beatles they were recorded for 56 hours, while they prepared the songs against the clock for an eventual return to the stage.
It happens with the Beatles that each of their years, like those of dogs, worth a few. At that time, only three have passed since they were still beaming, the suits and the smiles synchronized. But there each one leads a sweater of a different color and their reasons for being sad and tired are also diverse.
We are invited to the whole mess of the c processomposition of songs and of breakdown of a friendship. And we suffer for each one of them because they have made us happy on many occasions. It was also written by the experimental Thomas Pynchon: when they sing “she loves you, yeah & rdquor ;, that ‘you’ is half the known world.
We are interested in what we see, despite the dead times and yawning, because we know that to create something valuable (a song, a novel, a friendship) you have to get bored and because finally great songs will come out (Máximo Pradera explained it the other day: this movie is like those videos in Time Lapse, which compress the passage from winter to spring in a few seconds). But above all because, far and near, we believe that we know them.
We have all felt one and we have been another. Search your memory, you have them close. Paul is the genius craftsman and constant, the leader is not so reluctant that he considers that it is necessary to fight to be together because that way it will be possible to repeat what once happened. Ringo, the constant laughing, the wild card safe from complication, would pay rounds for us to stay together but more for being together than for what we could do. George is the shyest and the youngest, the one that perhaps at the time was the target of ridicule and that has grown, but the rest do not admit it and not even he does, so he wraps himself in a passive-aggressive mystery poncho. John is the charismatic, the dilettante genius with a bull of sarcasm, the one who considers that only has talent who is capable of wasting it, the one who is always late to the party (or, here, to the rehearsal) because he knows that there is no party without him.
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They survive because they make fun of themselves and what they do, because they can take the serious joke to find out if that serious thing (a beautiful song, a friendship of years) is worth it, because they can start playing the versions of the groups they discovered together, because they can, even tell each other what they feel.
We are all, too, Evil Evans, the ‘road manager’ of the Beatles. At one point, they let him play the hammer as a funny arrangement of a song. He puts on a child’s face, premiering a meccano on Three Kings Day. He is there, with his friends, although they do not consider it that way. He’s there with the Beatles, just like us. He doesn’t want that to ever end. He is glad to be alive.
Reference-www.elperiodico.com