7 juillet 1969, enregistrement de ce qui est sans doute la chanson la plus connue de George Harrison. Non seulement c'est la plus célèbre au sein des Beatles mais aussi de toute sa carrière.
Ce titre est ni plus ni moins un chef-d'œuvre intemporel. Le monde entier le connaît à l'instar de Let It Be, Hey Jude, Help, Yesterday, Come Together,...
Ça y est, Harrison fait des compositions du même niveau que les meilleures de ses deux monstrueux camarades. Vous avez d'ailleurs là, l'une des explications de la carrière si courte des Beatles. Comment vouliez-vous que trois songwriters géniaux cohabitent très longtemps ? Ils étaient trop forts pour cela. Dans un groupe, il faut une hiérarchie claire et acceptée par tous. Elle était claire mais Harrison avait le droit de ne pas l'accepter et de s'offrir sa liberté.
En 1969 et en 1970, Harrison est à son apogée. Il offrira deux chefs-d'œuvre à Abbey Road et par la suite des véritables trésors de chansons dans son triple album solo. Bien sûr, sa carrière solo dans son ensemble n'atteindra pas celle de McCartney, la machine à records. La hiérarchie a évidemment duré au-delà des Beatles. Mais George Harrison était un homme libre.
"Here Comes The Sun", The Beatles, 1969.
There’s a great moment in The Town: right after robbing an armored truck, the crew is switching cars when they suddenly come face-to-face with a lone cop. He sees them — then looks away. According to Ben Affleck, this was based on a real story. He explains:
“For The Town, I went down and just went through all the prisons out there in Massachusetts — federal prisons, state prisons — and sat down and talked to guys who robbed trucks and banks…
I’m in Walpole, or I’m in the prison in Dedham or whatever, and some guy said - after talking for two hours - I was like, “Has anything just fucking weird ever happened? Or fucked up? Anything you remember?”
And he was like, “Yeah, one time, we were coming out of this thing. We robbed this truck, and we had the switch car. We drove around the corner, and we pull up and we get out — fucking guns and the masks, the whole thing — and we look over and there’s this cop sitting there doing construction duty.”
I was like, “Oh shit. What happened?”
“You know, he looked at us, we looked at him, he looked the other way.”
And I was like, “Really?”
He goes, “Yeah. He didn’t want to end up on the wall at the VFW.”
I was like, “I’m putting that in the movie - He didn’t want to end up on the wall at the VFW.”
It was a great line. It was such a simple explanation for, “What do you think he did?” And why. That’s exactly what it would have been. That guy, next day, his picture would have been up at the wall at the VFW. He knew it, and everybody knew it.”
Breaking the fourth wall is one of my favorite devices in Cinema. It occurs when a fictional character acknowledges the audience, the camera, or their own existence within a story. The character literally breaks through & reaches the audience. When I think of breaking the fourth wall, I think of Goodfellas. How can you not? That said, I would love to hear your favorite examples of the fourth wall being broken in Cinema.