Movie Review: “Shine a Light” (2008)
BY JACQUELINE HLAVENKA
Academy-Award winning director Martin Scorsese always had a love affair with the Rolling Stones. In 2006’s cat-and-mouse mob thriller The Departed, the Stones’ “Let It Loose” from Exile on Main Street played through the burned-out streets of South Boston; “Jumpin’ Jack Flash” rocked 1973’s Mean Streets; the heavy “Gimmie Shelter” defined Goodfellas in the early 90s.
Scorsese’s latest rock-documentary, “Shine a Light” seems to be a natural move for him. By combining his love of the Stones and filmmaking, the film not only sheds light on Scorese’s passion for the band, but the Rolling Stones’ ability to maintain a 45-year performing career without burning out—or fading away.
“I wish I could create music, but I can’t,” Scorsese said in an interview with Rolling Stone magazine. “What I can do is put images and music together.”
When Scorsese first heard the Rolling Stones, it was 1965 while driving on the Long Island Expressway. Out of the mono speakers in his Volkswagon, he heard the opening licks to “Satisfaction” and became inspired to explore more of the Stones’ albums. He felt Jagger’s voice was a musical instrument, Keith Richard’s guitar like a motor—fueling the unremitting energy into films like Mean Streets and Taxi Driver.
Shine a Light works differently. It is by far no “Behind the Music” VH1 special or a complete documentary of their musical career—after all, that’s been done.
What Shine a Light lacks in visual acuity makes up for it in performance. Scorsese gives you the Stones in their purest form: up-close, energetic, still going strong.
The show was recorded over two nights—October 31st and November 1, 2006— at New York’s Beacon Theater for the Stones’ “A Bigger Bang” tour. The movie was originally slated for filming in Rio with one million people and fifty cameras, but Scorsese ultimately works better when there’s a sense of intimacy involved. What the viewer will feel is an intense connection between the Stones’ performance and the film itself—just like being front-row center.
All the classics are here: a lively version of “Some Girls”, “Sympathy For the Devil” and a revved-up “Brown Sugar” that closed out the show. Singer Mick Jagger paired-up with special guest Jack White on an acoustic version of “Lovin’ Cup”, legendary-blues guitarist Buddy Guy on “Champagne and Reefer” and even kept up with octave-shattering pop-star Christina Aguilera on a sexy version of “Live With Me.”
Showing where they’ve been, Scorsese gives the audience what it wants: vintage video clips of the band that contrast where they are now. Interviews with the Stones from the 1960s featured footage of a young, shaggy-haired Mick Jagger and Keith Richards in-between the performances. When asked by a British television reporter if they envisioned themselves playing rock music at age 60, Jagger simply answered “yes” without question or hesitation. And they still do.
Shine a Light confirms the Stones can play harder, longer and heavier than their youthful counterparts. But they’re not out to prove anyone wrong.
“I just want to go out there and play a good show,” Richards said.
Now that’s rock-and-roll—and I like it.
Grade: A
