| SHINE A LIGHT |
 2008 - USADirector: Martin Scorsese
- Reviewed by Linda
Now let's get on with the ingredients of what should be the awesomest of awesome concert films, like, ever, in the world. Martin Scorsese directs (he just so happened to direct The Last Waltz, hailed by many as the best concert film of all time). The Rolling Stones star (hailed by many as one of the best live bands, and certainly one of the sturdiest bands ever). And pointing the cameras are a bevy of Oscar-winning directors of photography, including Robert Richardson (The Aviator), Andrew Lesnie (Lord of the Rings), Robert Elswit (There Will Be Blood), among others. Scorsese, as in many of his non-fiction films, is a noticeable presence, and the opening of Shine A Light is as much about him as it is about the Stones. Scorsese and the band argue over the set list for their performance that will be filmed at the Beacon Theater in New York City. Scorsese wants to know what the first song will be—he needs to know if the camera should be pointing at Keith for the opening strums, or perhaps Charlie Watts on drums? Mick and the boys are alarmed at the amount of hot bright lights around the stage needed for the film, as well as the potentially intrusive cameras. Supposedly seconds before the opening riff, Marty gets a copy of the revised set list slapped in front of him, and Keith kicks starts "Jumpin' Jack Flash". At this point, in IMAX at least, the screen image explodes in size, and buckle your seatbelt, because you are in for a full concert film experience. I don't know if it was that the cameras were truly confused at the beginning of the concert, but I found myself muttering, "If they don't calm down with these edits and shaking shots, I'm gonna puke." Luckily, (perhaps because of getting the set list?) everything falls into place after the wobbly opening song. Mick Jagger and Ronnie Wood are impossibly thin with their tiny butts and their skinny jeans, and Mick shakes, shimmies, and prances all over stage like time will never slow him down. Keith Richards seems to be truly having a great time, and is all smiles and rapport with the band. Charlie Watts is the only one who gives an inkling that performing may just be a little harder than it used to be when after the third song, he looks at the camera and give a sigh of fatigue. Their inherent energy is sparked also by great backup singers and a brass section, as well as the youthful and unabashedly excited guests Aguilera and Jack White joining for separate songs. But for me, the film came most alive when Buddy Guy joined the Stones on "Champagne & Reefer", with musical electricity crackling between Buddy's vocals dueting with Mick's harmonica. Hot stuff. I enjoyed Shine A Light, though I'm not the biggest Stones fan. Scorsese cut in to the live performance several times, with interview clips of the band over the years. Initially fun, it became kind of distracting... either stick to the concert, or make a full documentary about the band. The clips were too few and far between to warrant interrupting the performance at all. Also, the cameras were almost too intimate. Sometimes I felt, despite the cheering in the soundtrack, that it could have just been me alone in the theater watching them. Part of the joy of live music is the interaction between performers and audience. But those complaints are little. I'm sure fans of the Stones will get a big (no pun intended) kick out of seeing the boys in IMAX, and the rest of you dragged along for the show will probably find yourself having a good time as well. |
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Alright, alright... go ahead and get your old-geezer jokes out of the way. Remark and shudder about how no one wants to see Keith Richards—whom I couldn't help but think looks like a weather-beaten pirate-muppet, with his craggy face and coins dangling from his matted hair—blown up on to IMAX-screen proportions. Comment and twitter about how Mick Jagger seems to think he is 40 years younger than he is, right down to his bump and grind with twenty-something Christina Aguilera.
