The “Get Back” documentary turns into the “Let It Be” film

On this day, Allen Klein hosted a private screening of Michael Lindsay-Hogg’s “Get Back” film for Paul McCartney, George Harrison, and Ringo Starr, accompanied by their wives. John Lennon and Yoko Ono did not attend.

The film, now edited down to approximately 100 minutes, had been revised since the rough cut The Beatles viewed in July 1969. At Klein’s request, the new version placed greater focus on the band itself. Paul, George, and Ringo rejected this version and film director Saul Swimmer would soon be brought in.

As the title track “Get Back” had already been released as a single in May 1969 and was considered old news, Klein proposed renaming the film “Let It Be,” after Paul’s then-unreleased song. The group briefly considered “The Long and Winding Road” before settling on “Let It Be.”

In retrospect, it is thought that the theatrical release of “Let It Be” was to fulfill The Beatles’ contractual obligation to deliver a third film to United Artists. However, the animated film “Yellow Submarine”, released in 1968, already satisfied that requirement.

Klein also suggested releasing a soundtrack album to coincide with the film’s release. Over dinner that evening, he floated the idea of bringing in Phil Spector to produce it. John had already approved the move, and the others — particularly George — were receptive. Although Paul was hesitant, he agreed to meet with Spector.

This occasion would mark the last time Allen Klein and Paul McCartney met in person.

Klein held another screening of the Get Back film. He invited the entire group and their wives, but Lennon and Ono did not attend. The movie now ran around 100 minutes, about half its original length, and McCartney, Harrison and Starkey agreed that it was fit to release. Klein claimed credit for suggesting that it should be retitled Let It Be, enabling the McCartney-penned song of that title to be issued as a single at the same time, alongside a soundtrack album. At dinner Klein told the three Beatles about another proposal, which Lennon had already approved: Apple Records should invite the American record producer Phil Spector to join its staff. The group had met Spector on several occasions in 1963 and 1964, and Harrison in particular was an admirer of his work. ‘They were all enthusiastic,’ Klein recalled.

From “You Never Give Me Your Money: The Beatles After the Breakup” by Peter Doggett, 2010

In November, Klein screened some of the footage in London for McCartney, Harrison, Starr, and their wives, and he sold them on the idea. Since the song “Get Back” had already been released as a single six months earlier, he suggested to McCartney that the film needed a new name, and they considered The Long and Winding Road before agreeing on Let It Be. Over dinner that evening Allen reminded Paul, George, and Ringo that UA was also entitled to the soundtrack album and said producer Phil Spector had unexpectedly come by ABKCO’s office in New York to pitch his services to the Beatles. Klein, at Eastman’s request, had had lunch in New York with another producer, Jim Guercio, best known for his work with Chicago, whom Eastman had represented. When Klein told Lennon of the two approaches, John wanted Spector. Now, over dinner, the others agreed to meet him as well. That dinner proved to be the last time Klein ever met face to face with McCartney.

From “Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones, and Transformed Rock & Roll” by Fred Goodman, 2015

Paul wondered whether blowing the 16 mm footage up to 35 mm for theatrical presentation would degrade its visual quality, Klein had a 35 mm copy made and showed that the quality was satisfactory. The Beatles rejected Klein’s second proposal—dumping Lindsay-Hogg and handing the project to Saul Swimmer, a director Klein was pushing.

From “The McCartney Legacy: Volume 1: 1969 – 73” by Allan Kozinn and Adrian Sinclair, 2022

Klein showed the footage to Saul Swimmer, the director he had worked with on Mrs. Brown, You’ve Got a Lovely Daughter and other films. Swimmer saw no technical reason the footage couldn’t be transferred from 16- to 35-millimeter film and released as a movie.

From “Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones, and Transformed Rock & Roll” by Fred Goodman, 2015

Allen Klein decided that the [Get Back] album was too bare, [that] it wasn’t commercial enough, so we ought to gloss it up a bit. None of us wanted to work on it, we’d had it with the whole project. So he brought Phil [Spector] in.

Paul McCartney – Audio interview with Johnny Black for Mojo magazine, March 6, 2003 – From “The McCartney Legacy: Volume 1: 1969 – 73” by Allan Kozinn and Adrian Sinclair, 2022

The [Beatles Cartoon] series ran for three years. During that time Brian made a deal with United Artists to make three pictures. He did A Hard Day’s Night and Help! But the third picture came up and the boys didn’t want to do it. They wanted to go to India. So I contacted UA and I suggested that I could do an animation and they could go to India and everybody would be happy. Brian consented and the deal got a little better for us.

Al Brodax – Producer of “Yellow Submarine” – From MOJO, October 1999

Going further

The Beatles Diary Volume 1: The Beatles Years

"With greatly expanded text, this is the most revealing and frank personal 30-year chronicle of the group ever written. Insider Barry Miles covers the Beatles story from childhood to the break-up of the group."

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