One to One: John & Yoko Cuts Through the Beatles-Industrial Complex

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As a devoted movie buff reminiscing about music history, let me share my take on the iconic event known as “One to One.” This was the title given to the two shows John Lennon and Yoko Ono performed at Madison Square Garden in August 1972, during their single day concert. Post-Beatles, these shows represented the sole full concert Lennon offered as a solo artist throughout his career. The pair had recently moved to New York and became deeply immersed in antiwar protests and various activist causes, which even prompted the Nixon administration to attempt deporting Lennon for several years.

This concert was like a heartfelt thank you to our beloved city, taking place shortly after the release of their controversial double album “Some Time in New York City,” which dropped in June that year. A live recording of this concert would only be released posthumously in 1986, along with a complete video documentation of the performance.

The footage from various shows serves as the backbone for Kevin MacDonald’s latest documentary, “One to One: John & Yoko“, which initially appears to be a typical concert movie but reveals itself as something unique. The film weaves together quick snippets of news broadcasts, advertisements, TV programs, contemporary interviews, and recently discovered phone conversations, providing a fast-paced tour through the cultural and political turmoil that John Lennon and Yoko Ono might have encountered during their efforts to navigate their times. Over the years, there have been numerous films about the Beatles, but “One to One” manages to bypass the Beatles’ commercial machine, placing viewers squarely in the midst of Lennon’s anger, bewilderment, ardor, and apprehension. By shifting some focus away from him, it offers a fresh perspective on him once more.

The film “One to One” isn’t just a great concert documentary, it’s also being released in Imax before its broader theater release, making it an immersive experience with improved visuals and remastered music. However, the filmmakers cleverly rejuvenate the songs, many of which had become repetitive over time. The movie is structured as if viewers are flipping through channels, capturing the essence of life in 1972. Initially, the rapid succession of images might seem disjointed, but the filmmakers skillfully capture significant connections. For instance, when Lennon speaks about bringing soldiers and war equipment back from Vietnam, they transition to a vibrant advertisement for a new washer and dryer on “The Price Is Right.” A conversation about paranoia and surveillance is followed by news reports of the early Watergate break-in.

Through their manipulation, MacDonald and Rice-Edwards present us a world where chaos lurks beneath the surface, intertwining individuals and objects more closely than they may appear. Machines, whether they are bombers or washers, seem to be gaining control over us rather than vice versa. The pervasive fear that would ultimately lead to Nixon’s downfall has already spread throughout society. Additionally, we catch glimpses of A.J. Weberman, a die-hard Bob Dylan fan and infamous Dylanologist, who felt so deceived by Dylan’s commercial success and shift away from protest music, he began stalking the musician, digging through his trash to identify the products he used (which Weberman believed were evidence of Dylan betraying his revolutionary ideals). This strange connection mirrors the era’s confusion and paranoia, characterized by unbridled consumerism, a sense that corporations had developed a consciousness of their own, and the unsettling role celebrity plays in it all.

An intricate portrayal of Lennon and Ono’s relationship unfolds amidst a tumultuous backdrop of footage. In conversations over the phone, Yoko discusses the sexist behavior she encountered during the Beatles’ later years and their eventual breakup. She appears as the more astute of the two, a seasoned artist who handles her assistants, peers, and media with great precision. Scenes of a youthful John performing in some of Yoko’s installations sometimes resemble a curious child at school, exploring a new realm of activism and artistic exploration alongside his worldly, avant-garde girlfriend. She guides him, indeed, but he eagerly follows her lead. Despite being one of the most renowned figures globally — a “monument,” as Yoko refers to him — John also seems restless, bewildered, and desperate to make a greater impact and convey deeper meaning.

Beneath Yoko’s stern demeanor lies a deep sorrow. She has grown distant from her daughter Kyoko, who was suddenly taken away by her father; one reason Lennon and Ono moved to America was to be near Kyoko. One of the most moving moments in the film is Yoko’s emotional rendition of “Don’t Worry Kyoko” at the One to One concert, and later her performance of “Looking Over From My Hotel Window” at a feminist convention, which is shown in pixelated black-and-white video footage. This gives a sense of Yoko and John, a dreamy glimpse into what is yet to be lost.

Yoko’s sorrow over losing her child adds depth to the emotional impact of the movie’s concluding part, as it reveals more about the One to One concert. This event is significant because it was inspired by a TV documentary exposing the deplorable conditions at Willowbrook Hospital on Staten Island. John Lennon and Yoko Ono were moved to act after witnessing this, and they organized a benefit concert for these mentally disabled children who were living in squalor. This newfound knowledge about the concert’s origin changes our perspective of Lennon’s activism during that time. It shows how his scattered and passionate activism coalesced into a focused, impactful action with real-life effects. Thus, the documentary “One to One: John & Yoko” transforms from being merely a poignant historical account to a timely and healing one.

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2025-04-10 20:54