Shine a Light Review
by Jerry Saravia (Faust668 AT msn DOT com)December 10th, 2008
SHINE A LIGHT (2008)
Reviewed by Jerry Saravia
RATING: Four stars
"Shine a Light" is a smashing entertainment - an electrifying concert film that will rev you up and make your eyeballs pop out of your head. The fact that it is the Rolling Stones performing should be enough to keep you elated but the fact that Martin Scorsese directs it is more than just praise - it was inevitable these two forces of rock and roll would come together.
The film was shot over two nights at the Beacon Theatre in New York City in late October 2006, as a benefit for the Clinton Foundation (Bill and Hillary Clinton can be seen briefly). Reportedly, the theatre was so small for a filmed concert that certain seats from the front had to be cut out so the cameras could fit (someone who attended the concert told me this was the case and a matter of inconvenience for the patrons). Nevertheless, what was filmed is truly spectacular. The Stones come on stage with an unabashed fury and resonance that I didn't see before in any prior Stones film. The 63-year-old singer Mick Jagger struts and dances and runs across the stage and through a catwalk-of-sorts that is a sight to see - a man in his sixties doing such voluminous body language is actually inspiring. Keith Richards picks that guitar and plays it like a demon, as does Ron Wood who both admit they play badly when they are not playing together. And it is wonderful to see straight-faced Charlie Watts playing the drums and even winking slightly to the camera. These performances are awe- inspiring and proof that this band is unstoppable and as spry as ever. They have also maintained their humor, especially craggy-faced Keith who quips to the audience: "It's good to see you all. It is good to see anyone!"
Just as demonic and ferocious in his fast-talking, humorous ways is Martin Scorsese. Seen briefly in the opening backstage scenes, trying to figure out what the playlist selections will be so he knows where to position the cameras (or knowing something as important as when Keith Richards will start riffing on his guitar in any opening number), Scorsese seems nervous yet cocksure - this is the Stones and he has used their music in his films. He has many cameras (sixteen of them) that will swoop up and down and come from the sides as furiously as the Stones will be on stage.
"Shine a Light" is not a medidation on a band like Scorsese's "The Last Waltz" was on The Band. In fact, whereas "Last Waltz" was melancholic and had the occasional energy of a depleted band performing one last hurrah, "Shine a Light" is quixotic and a huge rush of caffeinated energy, with dazzling, dizzying camera shots from overhead and at low-angles, all cut together seamlessly. Not one inch of the stage is uncovered, not one performer is left out, not one close-up is omitted - this film is highly energized in its filmmaking, and it is actually up to the Stones to catch up with the cameras.
Occasionally, the film cuts to old documentary footage of the band, especially to some prophetic words from Mick Jagger as to whether they will be performing in their sixties. "Shine a Light's" chief concerns are with the glorious Stones, and showing them perform with gusto and verve. I would not say this film is better than the chilling "Gimme Shelter" or that it is as awesome in its staging as in "At the Max" (if you have never seen it, do check it out). And yet, because of the show-stopping tunes and the showstopping band giving it 110% in ways never quite captured before on film, and using the intimate Beacon theatre as its stage, "Shine a Light" may well be the definitive, modern Rolling Stones concert film.
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