MCTShine a Light
Rating: 4/5
Starring: The Rolling Stones
Directed by: Martin Scorsese
Release Date: April 4, 2008
The moment Martin Scorsese drops the audience literally into New York City’s Beacon Theater for the first few notes of “Jumpin’ Jack Flash” is one of the most invigorating and stunning sequences in Scorsese’s long career. Even the energy of Keith Richards’ guitar and Mick Jagger’s growl cannot keep up with those of the filmmaker at points.
But, as the concert continues, the film becomes less about purely energetic filmmaking and rocking, although Jagger does seem to prance and dance at an inhuman constancy. Scorsese’s documentation of a Rolling Stones concert in 2006 is not really so far removed from his seminal concert film “The Last Waltz” from 30 years ago, when he captured the Band’s farewell concert; both films are about looking back on successful careers and focus on the shared intimacy and artifice of a rock concert.
And yet, in “Shine a Light” Martin Scorsese is filming a band that has been together for 45 years. Even now, Mick Jagger remains an entertainer of unparalleled charisma and attitude, Ron Wood is as skilled a musician as he was when he joined the band in the early ’70s, Charlie Watts is still shy, funny and filled with rhythm, and Keith Richards.well, what else can you say about him that hasn’t been already?
The guitarist with a thousand stories wanders about the beautifully appointed stage slowly enough that Marty’s team of top-notch cameramen (including four Oscar-winning cinematographers) can capture him in all of his rugged glory. His smile (almost certainly illegally enhanced) not only captures the joy Richards still finds in entertaining after so many years, but serves as emotional entrance to the band and the film.
We smile as well, not just because the Stones can still bring the house down with classics like “Tumbling Dice” and “Sympathy for the Devil,” but because we get the sense that they actually still want to be on the stage.
This shows through best in the three numbers featuring guest artists. While Christina Aguilera tries to oversing what is a delightfully dirty little number (“Live With Me”), she grinds believably enough with Mick that the song ends up working.
Jack White III (as he is calling himself these days) looks at Jagger with an almost scary adoration on “Loving Cup,” but adds enough of his own personality to make it more than just a modern rock and roller’s fantasy camp.
The truly inspired guest appearance is from Buddy Guy playing along on an old Muddy Waters blues wailer called “Champagne & Reefer.” His piercing vocals are quite stunning, as is his riffing with Richards. It is the latter, though, that highlights the entire performance and the most endearing aspect of the film. Neither Guy nor Richards actually bother to play all the notes.
Scorsese and his cameras capture rock and roll in its most emotionally pure form. The artists on the stage are either having a great time or, in Mick Jagger’s case, are totally within their element.
The Stones have sounded better before, and they’ve certainly looked better (the Imax format is not so friendly to the aging rock stars).
Even Scorsese cannot match the immediacy and power of “The Last Waltz.” But the parts of the film that are not concert footage (the hectic planning stages, the archival footage spanning the Stones’ career) all point to the Rolling Stones’ place as descending rock gods.
But it doesn’t indict them for it; in fact it celebrates their experiences and continued livelihood.
This is not the best concert film Martin Scorsese has made, but it does go beyond just the recording of a concert: he touches on the humanity of the musicians and the performance, while never letting the audience forget that whether on stage or in an interview, people as famous as the Rolling Stones rarely let their guard down.
It’s all a bit of a show for them, but after almost 50 years, it still hasn’t gotten old.