For those who have seen Martin Scorsese’s The Last Waltz (1978) and Bob Dylan: No Direction Home (2005)- it should come as no shock that George Harrison- Living in the Material World (2011) is a wonderful and introspective addition to the famed director’s other music docs (his 4th music doc- Rolling Thunder Revue: A Bob Dylan Story is coming June, 2019).
Scorsese’s Harrison doc is a mature, well-paced (a 208 minute running time races by when Scorsese’s at the helm) portrait of a world-famous musician actively engaged in a constant search for meaning and/or spirituality in an imperfect (material) world. Much of the film’s spark comes from the arsenal of footage and photography Harrison’s widow, Olivia, provided Scorsese with. The doc plays like a moving photo album (w/excellent previously unseen footage as well). It’s as if the photos were taken ages ago by some eccentric uncle w/an eye for inspiring and original imagery (simply marvelous photos in the film). Scorsese’s affection for Harrison’s journey and the director’s decision to employ some uncharacteristic objectivity (straightforward interviews almost entirely absent interviewers) smooth out any frayed edges a skeptical cinephile may detect (I find some movie lovers/filmmakers/critics need to find fault with Scorsese- a curious activity that usually indicates envy).
Most of us with at least two plus decades as living humanoids are aware of an enduring cultural phenomenon known as- The Beatles. Their rapid ascent to fame in the early 60′s has rarely (never?) been replicated. The delirium/near madness they instilled in the feminine psyche is certainly without equal (“Beatle-mania”). The music the “Fab Four” created transformed the medium and paved the way for many musicians to come. The Beatles were and are, undoubtedly, one of the most influential bands of all time. They advanced from one of the first popular bubble gum bands into the wildly imaginative, LSD laden explorers of the late 60′s (Magical Mystery Tours abound!). These boisterous Liverpool lads seamlessly went (with barely a blink it seems) from “I Want to Hold your Hand” to “I Am the Walrus.” It was always my understanding the radical transformation of the band was largely due to John Lennon’s restless talent and hungry, unpredictable ego. Scorsese’s film suggests otherwise. It may have been Harrison who propelled the group into different artistic directions. The film implies that Harrison had a deep impact on Lennon (and vice versa I’m sure). George’s interests sort of floated John’s way by osmosis. The doc skates the surface of an ambitious artist who was extremely motivated; or as Phil Spector (eclectic record producer and notable strangeling) says in the film- “George was beyond a perfectionist.”
A terrific young guitarist (w/a great haircut- according to Paul McCartney) and an unimposing arrogance- destiny led Harrison to The Beatles. From 1961 to 1967 the world was theirs for the taking. After the four went their separate ways in 1970 (McCartney says in the film- “It’s like a marriage, you love each other, but you get on each other’s nerves as well.”) Harrison immediately looked into revealing a treasure trove of his songs (material not accepted by the other three? not put on Beatles’ albums). It’s no surprise a man as thoughtful, intense and meditative as Harrison had some tunes collecting dust in his attic- many of them solid and unforgettable- My Sweet Lord, What is Life? and I’d Have You Anytime.
Scorsese handles Harrison’s tale w/admirable taste (Lennon’s 1980 murder is addressed perfectly) and much of the credit must go to Olivia Harrison. The artist’s widow is a vivid presence in the movie and her perspective plays with formidable strength on camera. You sense nobody knew Harrison like she did (outside of The Beatles). The film might not have been made without her total cooperation. For Olivia- speaking of her late husband is serious business. We see in her eyes that George was very much a saint and a sinner (or as McCartney puts it, “He was a red-blooded male.”). Scorsese’s camera surveys Olivia Harrison with a different prudence than Phil Spector, Ringo Starr, Tom Petty, Terry Gilliam, Eric Idle or McCartney (other interviewees in the film). The camera approaches her w/a particular, internal pulse as she speaks of her late husband. A significant contrast is the way Scorsese’s camera feels skeptical (stark and static) of Eric Clapton as he relays the now infamous story of swiping Harrison’s first wife (Patti Boyd). The triangle between Harrison, Boyd and Clapton (slightly oafish and unapologetic) is mentioned (as inspiration for the Derek and the Dominoes' classic, Layla)- but not dwelt upon. Soap Opera, tabloid fodder anecdotes are not Scorsese’s aim. The director is not concerned with earthly deviations/trivialities any more than Harrison was (Harrison supposedly shrugged off his freshman wife’s infidelity and Clapton’s overt betrayal).
Scorsese is interested in Harrison’s spiritual quest, his desire to “eventually vacate the body with dignity”- and his obsession w/Indian/Sitar music (very prominent in the movie). Harrison lived in the material world and spent a great deal of time making peace with the pain and sacrifice it entailed. His obsessions are not unlike those revealed in Scorsese’s cinema (past films). Both men are interested in the battered arena of the male soul, the sin strewn paths to salvation, the traps and labyrinths of adulthood, the perils of violence and the passionate creative impulse driven by human emotion.
Scorsese has always been fascinated with ritual (as it is lacking in American society?) whether it’s the actual history/tenets of Christianity (The Last Temptation of Christ- 1988), street hoodlums navigating cathedrals (Mean Streets- 1973), Buddhist Monks (Kundun- 1997), mobsters ordained in bloodbaths (Goodfellas- 1990, Casino- 1995), morally ambiguous Boston cops and robbers (The Departed- 2006), or Jesuits in a long-gone century (Silence- 2016). Even Rupert Pupkin (The King of Comedy- 1983) is ritualistic and somewhat martyred in his relentless self-obsession. In George Harrison: Living in the Material World- one can discern Scorsese’s precise focus on Harrison’s desire for a meaningful (untainted by this world?) transformation of pure artistic obsession into sacred, life-fulfilling ritual.
The “Quiet” Beatle, as he was sometimes called, spoke volumes through his journey toward salvation and reconciliation with his “Sweet Lord.” George Harrison died (cancer) at the age of 58 in 2001.
In the most moving scene in the film- Ringo Starr tells of the time his daughter was in the hospital and he informed Harrison (also hospitalized at the time). Harrison’s response to Starr effectively summarizes the culmination and evolution of George Harrison’s life (see the film- I won’t spoil this moment). It seems Harrison succeeded in his earthly goals and managed to leave us with some inspired and enduring music. Scorsese frames, documents, and interprets Harrison’s life with the love, care and indisputable expertise we’ve come to expect from him.