![]() (If Lennon’s distancing from the band was influenced by his desire to explore other pursuits, including his personal and creative relationship with Ono, that was his choice.) But she got involved. ![]() ‘Drive my car’: In this quiet Japanese masterpiece, a widower travels to Hiroshima to direct an experimental version of Chekhov’s “Uncle Vanya”.‘Pass’: Set in the 1920s, the film revolves around two African American women, childhood friends who can and do present themselves as white.‘Spencer’: Kristen Stewart plays a tortured, rebellious Princess Diana in Pablo Larraín’s answer to “The Crown”.‘Summer of the Soul’: Stevie Wonder, Mahalia Jackson, Mavis Staples and others shine in Questlove’s documentary about the Harlem Cultural Festival.I was watching intimate, long-lost footage of the world’s most famous band preparing for their final gig and I couldn’t stop watching Yoko Ono sit around doing nothing. My attention kept wandering to her corner of the picture. But as the hours passed and Ono stayed – painting at an easel, chewing a pastry, flipping through a Lennon fan magazine – I was impressed with her perseverance, then intrigued by the provocation of her existence, and finally blinded by her performance. Why is she there? I begged my television. The huge set only highlights the ridiculousness of their proximity. When George Harrison goes away and leaves the band for a short time, Ono is there, who restlessly whines into his microphone.Īt first I found Ono’s omnipresence in documentary films bizarre, even unsettling. Later, when the group squeezes into a recording booth, Ono is there, wedged between Lennon and Ringo Starr, wordlessly unwrapping a piece of chewing gum and working it between Lennon’s fingers. Lennon slips behind the piano and Ono is there, her head hanging over his shoulder. ![]() When the band begins “Don’t Let Me Down”, Ono is there reading a newspaper. When Paul McCartney starts playing “I’ve Got a Feeling”, Ono is there sewing a furry item in her lap. She crouches within reach of John Lennon, her puzzled face turned to him like a plant growing to light. At the beginning of “The Beatles: Get Back”, Peter Jackson’s almost eight-hour documentary about the creation of the album “Let It Be”, the band forms a tight circle in the corner of a film soundstage. ![]()
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