Questlove tells the band’s story, and Maurice White’s story, in a way that’s at once thrilling and haunting. He captures their rightful place in the pop cosmos.

John, in “The Last Interview,” comes off as just about the happiest he has ever been. But he’s so high on the life he’s leading that he’s also at his most messianic. And a little of that goes a long way.

In his Army jacket and lollipop-blue round sunglasses, with shaggy long sideburns, Lennon gives off a fascinating air of self-involved indifference, which is expressed in the fact that he’s chewing gum for the entire concert. Maybe that was his way of calming his nerves, but the upshot was to give him a disaffected air that’s almost Lou Reed adjacent. He and Yoko and the band perform 15 songs, and in certain ones he’s doggedly sincere, yet he’s also got the Lennon cheek (“Welcome to the rehearsal,” he warns the audience at the afternoon show), and also the Lennon detachment, that underlying vibe of “Who gives a fuck, really?”

if you zero in on what’s routine about “Michael” or what the movie leaves out, you may miss the compelling urgency of what it gets in: Michael Jackson’s journey to become himself by freeing himself from the past. I think audiences are going to embrace that journey, and “Michael” itself, in a major way.