The acting is good, and the firecracker script has some excellent ideas.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Loving the Beatles, loving George Harrison and his individual music and him as the separate artist from the Fab Four and loving Martin Scorsese and his method of directing is what this documentary sums up to me. There is such awe in watching old clips of George and the Fab Four sewn together with some never seen before footages to produce this special . But this also clearly shows that George , like many old school rocker is past the money and fame wagon but is more on to a higher ground of spiritual search for enlightenment. On a parallel level, the story about the evolution of the FF4 is also told, with recollections from Paul McCartney and Ringo Starr. Indeed in one part, the narration has focused on the lyrics of the song While My Guitar Gently Weeps, because for me it is a bullseye description of how the four of them must have felt for each other when they tried to pick up where they left., as I tried imagining being in their shoes countless times. There is no turning back and two of them FF4 are long gone. For documentaries, rock and roll nostalgia and legendary music lovers, this is a highly recommended watch.

It's a little hard to watch this if you've lived through the period when the Beatles were churning out one astonishingly well-done album after another because, after all, two of the four are dead now, and the remaining two are old. I expect it's difficult for younger fans of pop music to understand what a revolution the Beatles were part of. Only a few years after Lennon's death, I heard a youngster in a shop exclaim, "Oh, look, Paul McCartney was in a band BEFORE "Wings." Directed by Martin Scorsese, it's a four-hour long documentary with nothing more than talking heads (including McCartney and Star) and newsreel footage and video clips of the group itself. It's aimed at adults mainly, so there is no narration telling us in chronological detail of the rise and ultimate disintegration of the bad. Pete Best's name is mention, but only in passing, and only once, so you either know who he was or you skip it. The names of albums hardly crop up.The central figure, of course, is George Harrison, the third in line, in almost all respects. He was quiet rather than outrageous, and not a goofy clown like Ringo. He was hired because he was a good man on the guitar, the best of the three, and could write songs too. ("Because", for instance.) Someone slipped him LSD as a joke and it appears to have turned Harrison eastward. He became spiritual in the broadest since, learned to play a modest sitar under Pandit Ravi Shankar, and introduced a strain of mysticism into some of the albums ("Within You and Without You").It's not a gossipy fan-magazine story. You'll never find out here who was responsible for the jaw-dropping combing of the Beatles' long hair from backwards to forward. Instead, you'll get a feel for what it was like to perform for peanuts in the Kaiser Keller in Hamburg on the roughest street in town.I didn't think I'd be able to watch it because I try not to think about the Beatles too much these days. It reminds me of happier times, when there was splendor in their costumes and fun in their irreverent wisecracks. It's painful to put any effort into researching time lost. But I was caught up in this. The interviewees include just about everyone who has anything of importance to say, and what they say isn't just interesting but deserves to be part of the historical record, the chronicle of a moment in the evolution of vernacular culture that we're going to have to wait a while before we see again.

I can't claim direct knowledge of the topics addressed by many reviewers here, but I can say that I have read just about every significant book published about The Beatles in general, and Harrison in particular. I totally understand the issues people express about this film: long without being either balanced or comprehensive; curiously silent on some key events (perhaps Olivia Harrison's wishes are a factor here?); missing some key points of view (though getting Dylan, for example, to talk about anything in a useful way is notoriously difficult). But I feel I must address a couple of points raised. 1. Re: Concert for Bangladesh. The amount raised by the concert itself was about a quarter of a million dollars. Sales of the iterations of the album and the movie raised about 12 million, to be administered by UNICEF. The money DID go to refugee relief, BUT was delayed by 11 years because of the failure of organizers to apply for tax-exempt status. So... bad planning, but not a scam or a failure. 2. Re: Harrison's relative contribution to the Beatles. On the one hand, the evidence is quite clear that Ringo was far more crucial to the Beatles sound in the studio than Harrison - the band simply did not function well with any other drummer (rumors of McCartney sitting in are based on photos, not the meticulous records kept by Abbey Road; when Ringo quit for 6 weeks in 1968, numerous replacements including Ginger Baker were tried, and no one was able to provide the subtle and generous and dare I say feminine approach that the Beatles suddenly discovered was a key ingredient in their process, causing them to beg for his return). Harrison was great at coming up with carefully planned, often double-tracked parts, which added beauty and flavor at a higher level than McCartney or Lennon could offer (the 15 seconds or so of Harrison on Getting Better, e.g., truly makes the recording). But he was an indifferent electric rhythm guitar player in my opinion. His songs were only occasionally as good as L&M's, however there is no denying the fact, attested to by Martin, Parsons, and others, that Harrison got short shrift in studio time to realize his ideas. It is essential to keep in mind that L&M were given INCREDIBLE amounts of time for the era, virtually unlimited takes after 1965, to get the basic tracks right, and then to try dozens of approaches to the sweetening and vocals. Harrison was never given this opportunity until the last two real albums produced (White Album and Abbey Road), and suddenly his work shows a massive uptick in quality, both of writing and execution (Savoy Truffle, Piggies, Something, Long Long Long, Here Comes the Sun, While My Guitar Gently Weeps - all of these outclass his earlier work by miles). It can't be a coincidence that once the Beatles essentially stopped being a team and became each others' session players, Harrison flourished. Also worth noting that he produced the first truly satisfying album as a solo artist, All Things Must Pass - overly long, but a big hit and a good listen, using in part songs he had been carrying around for a few years. With regard to the contradictions between his lifestyle and his purported spiritual values - in what way is this unusual or even notable? Seems like standard operating procedure for entertainment celebrities to either need a frame of self-justification, or to have trouble avoiding the temptations of riches, or both. I obviously appreciate Harrison's work, but I'm not an uncritical fan - his "middle period" of solo work is pretty awful, just a few songs are keepers; and even Cloud Nine is really a few good songs surrounded by oddly paced, indifferently written material. His last album, Brainwashed, is weird but really interesting, and at a higher level lyrically than anything he had done since All Things Must Pass. He was who he was: not a genius on the level of L&M, but an ingredient in their recorded output that would be sorely missed were we somehow able to remove it. And there is an argument that his presence and his influence enriched the Beatles philosophically, lyrically and musically. They were very competitive: if George was spiritual, well by jove they were going to be spiritual too. A thin veneer of spirituality perhaps, on lives that were primarily about fame and money and art, but again an ingredient that, if not present, would have made the Beatles a very different band.

Martin Scorsese's 4 hour documentary on George Harrison bears very few of Scorsese's fingerprints. It is assembled from familiar Beatles footage, Anthology interview outtakes, previously unseen personal footage and photographs, and fresh interviews with certain individuals (Olivia Harrison, Clapton, and Ringo all have meaty interviews).For the non-Beatle enthusiast, this will be overkill with a vengeance. For the casual Beatle enthusiast, it is probably just about perfect. For the die-hard, it is an experience which is rewarding and frustrating in equal measure. It is rewarding for two reasons: one, there are some lovely moments (chief among which are two anecdotes, one from Olivia and one from Ringo, which illuminate George's mordant sense of humour in the face of adversity) and, two there are some terrific musical moments which had previously been kept under wraps - indeed, I think I detected some unheard elements in Beatles mixes.This is also one of the frustrations because, as is so often the case with this sort of project (Anthology was just the same) none of the musical items is seen through to completion - everything is cut short. Also, there are some major omissions, of which the Cloud 9 album is the most notable.Even so, you come to the end of this feeling George's loss very keenly.