Tonight at 10 PM, Lincoln Hall will present the Chicago premiere of a fine documentary about singer-songwriter Harry Nilsson, who burst into the mass consciousness with his rendition of “Everybody’s Talkin'” on the soundtrack of Midnight Cowboy (1969) and went on to make a series of eclectic albums, most notably the multiple-Grammy-winner Nilsson Schmilsson (1971). My own enthusiasm for Nilsson centers mostly on his first two albums, Pandemonium Shadow Show (1967) and Aerial Ballet (1968), both made while he was an obscure darling of the Beatles (they named him as their “favorite American group”) and was dishing out great numbers for Three Dog Night (“One”) and the Monkees (“Cuddly Toy,” “Daddy’s Song”). Back then Nilsson had it all: good looks, a voice like honey, indelible melodies, penetrating lyrics. He was one of the most prodigiously talented artists in the music business, and the movie is a sad, careful measurement of how much that talent was squandered as the 60s wore on into the 70s.