The life of George Harrison is illustrated in a moving portrait painted with affection by director Martin Scorsese.
Scorsese’s creativity complements the former Beatles’ life in such a way viewers are hypnotised by the majestic beauty of Harrison’s, seemingly, entire life condensed to three and a half hours.
The opening shot of ‘Living in a Material World’ captures the beauty and perfection George was searching for.
Red tulips symbolise Harrison’s playful demeanour and “journey”; two themes that the director captures with his trademark visual and sound editing and interviews with Harrison’s widow and friends.
His band-mate and close friend John Lennon said that he grew up in Hamburg not Liverpool. Scorsese uses archive footage of the Repperbahn intertwined with frank explanations of who George was as a 17 year-old by photographer Astrid Kirchherr and artist Klaus Voormann.
The death of Stuart Sutcliffe, Astrid’s lover and “the fifth Beatle” meant Harrison became a protector for fragile Lennon.
“He stood behind John as I photographed them where Stuart had been painting,” says Astrid.
George was a mediator between the two Lennon/McCartney personalities but his “sweetness” gave him a unique dimension and “aura” that intensified with a craving for something more.
When The Beatles broke up in April 1970, Harrison had already amassed an album’s worth of tracks. Harrison’s contribution had been great: the teaching of spirituality by Maharishi in the mid 1960’s culminated in the ground-breaking Sgt Pepper’s album.
But George’s friendship with sitar player Ravi Shankar was how he meditated and reached higher plains. Meditation was a preparation for George; he wanted to prepare himself for his death.
Always aware of the end death was not feared by George, it was another journey.
On his last holiday to Fiji, he told his wife Olivia he wanted to make a sunset. Olivia explains that to some that would have been impossible even in death. But, she says, that is how strongly
George felt about creation, beauty and his will to be more of spirit than of body and mind.
Interviews with close friend Eric Clapton - who explains the alleged “wife-swapping” incident after falling in love with Patty Harrison – Monty Python star Eric Idle, Billy Connelly, Terry Gilliam, jailed producer Phil Spector and son Dhani Harrison are blissfully weaved with home movies and photographs.
“He was beyond being a perfectionist,” remembers Spector on the long post-production period of his debut solo album ‘All Things Must Pass’.
Harrison was admired and adored by friends and fans alike. His contribution is unmatched by any artist of his generation or any now for that matter. But his role as a family man is presented with huge affection by Scorsese.
One of the most touching parts of the film is Dhani explaining that his dad said he didn’t have to go to school but could go on a yacht in the South Pacific instead.
“Some people say I was mad for not going,” said Dhani. “But going to school was my way of rebelling and it used to p*** him off that I had to wear a military uniform at school sometimes.”
George Harrison would not conform; he was a spiritual man with a sense of humour that was legendary even in the company of comedy greats like Idle and Gilliam.
On meeting Paul McCartney for a recording session, Harrison says: “Is that a vegetarian leather jacket?” embarrassing McCartney but raising a laugh from every audience member at FACT in Liverpool, where the first public screening was held.
‘Living in a Material World’ is breathtaking, funny and perfect. George would have wanted it that way.
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