Paul McCartney: Man on the Run Film Review

Paul McCartney: Man on the Run delves into the depths of the man and the myth behind the Beatles and Wings frontman.

This new outing from acclaimed filmmaker Morgan Neville (Won’t You Be My Neighbor) tracks McCartney’s life from the Beatles’ infamous breakup to the formation and eventual success of Wings, the band McCartney formed with his wife, Linda. Neville guides his audience through the key events in that stretch of time, some serious (Paul’s withering relationship with John Lennon), some not so much (the “Paul is dead!” conspiracy theory). All throughout the 127-minute runtime, McCartney reveals his human nature, while Neville never fully pulls the curtain all the way back on the artist’s mystery.

Maybe what I’m most amazed by is Man on the Run’s ability to convey both sides of McCartney: his mythic status and his down-to-earth humanity. Early in the doc, McCartney describes his search for “personal peace.” The film’s unspooling shows his journey to achieve that peace, through his wife and kids and through his music. The movie attempts, as McCartney himself attempts, to find himself “grounded in an ordinary life,” as fellow rocker Mick Jagger states. On the other hand, the film also further mythologizes McCartney’s genius. His creative process and artistic risk-taking are clear from the start, as many famous images and video footage of Paul and his bands flash across the screen. We walk away feeling like we know a little more about Paul the person, while still recognizing the giant he was (and still is).

While we usually think of symbolism being confined to the pages of classic fiction, Neville is able to infuse it all throughout this very real depiction of McCartney’s life and career. This is especially true of the film’s use of color. The green pastures of McCartney’s Scotland farm home represent his humanity, his connection to his family, and his freedom. McCartney often occupies these frames alongside members of his family, again reminding us of the person behind the persona. Neville then uses black and white cinematography and stock footage to portray the mythic, cold, distance the life of an artist entails.  

Besides color, other symbols present themselves. Waves are sporadically shown, linking the disruptive chaos of the ocean to the confusion and turmoil of celebrity. Even the film’s composition and editing feel layered with deeper meaning. The cartoonish “paper puppet” effect used on Paul throughout asks us to consider Paul’s agency in his own life, and the scene transitions often utilizing a rippling technique reminds us of the same “rippling” effect our present actions may have on our futures. All these are subtle ideas Neville poses as he tracks McCartney through this small but significant section of his journey.

While presented as a film about McCartney’s Wings era, the film tackles much more. Because of this, it does feel jumbled at times. It attempts to bring together all the complexities of this era, both in Paul’s life and in the broader culture. This results in some unevenness, mostly occurring in the film’s middle section. However, Neville sticks the landing with a humorous but thematically relevant sequence involving the band (or possibly Paul himself) going to jail in Japan for marijuana possession. It may feel like a weird section to include, let alone with which to conclude the film, but this sequence ties the man/myth idea together quite nicely. Paul acknowledges, “I was an idiot,” while worrying about the future for his wife and kids. But the story itself simply added another layer to the singer’s mythic status.

There have been many examinations of the Beatles, of Wings, and of Paul himself, each tilting towards either humanity or myth. We needed one more, Man on the Run, to fully capture both.

Man on the Run will be available to stream globally on Prime Video from February 27, 2025. Read our review of The Beatles: Get Back.