Scorsese sculpts a statue with aging stones

Patrick Gratton

If there was any filmmaker destined to bring British rock band the Rolling Stones to the big screen, it was Martin Scorsese. A renowned fan, Scorsese has featured the Stones’ greatest hits in his most prestigious projects, such as Goodfellas, Casino and the 2007 Academy Award-winning film The Departed. Giving the rock band the centre stage, Shine a Light offers Mick Jagger and group the opportunity to rock the socks off audience members in a luscious IMAX experience.

Following the lead of U2 3D and Hanna Montana/Miley Cyrus: Best of Both Worlds Tour, Shine A Light is staged around the Beacon Theater in New York City (where the Stones performed for a benefit concert aiding the Clinton Foundation) in the fall of ’06. Lead singer Mick Jagger, guitarist Keith Richards, Bassist Ron Wood and Drummer Charlie Watts lead the highly accessible concert film, while aided by appearances from Christina Aguilera, Jack White and Buddy Guy.

The film opens to a comical tongue-in-cheek skit, depicting Martin Scorsese frustrated over the concert’s uncertainty; days before the concert, he’s left with no official playlist. And while this intro is fluff in comparison to the big show, Scorsese makes the most of his cameo. In many ways, he’s portraying a comical, stereotypical version of himself. It’s all done in good taste but it would have worked better if Scorsese had spread the comedic bits throughout the film as intermission between the various musical sequences. Instead, the intermissions include various archive footage of the band’s fame throughout their 40-year-old career. The footage falls flat, lacking relevance and, most importantly, meaning; it simply halts the film’s energetic rhythm.

The film clearly reaches its prime when the Stones hit the stage. With beautiful cinematography by Academy Award winner Robert Richardson (The Aviator, JFK), the film’s crisp texture propels the illusion that the audience is indeed live at the Beacon Theater. The technical aspects (lighting, sound design and cinematography) take the film’s star. A mixture of crystal clear imagery and a heart-pounding soundtrack involves the audience, which gasps for air during the film’s more successful numbers, most specifically their rendition of the 1981 hit “Start Me Up.” I personally dare any audience member not to tap his or her foot or sing underneath his or her breath at least four times during the film’s duration.

Still, as relevant to the Stones’ work in general, much of the film’s joy is in seeing Jagger and Richards on-screen. As infamously known, Jagger’s onstage performance is a purely physical one. At the age of 63 (when the film was produced), Jagger hasn’t lost the ability to rock the crowd. With his excessive use of jumping and repetitive hand co-ordination, it’s a pleasure to watch Jagger perform even in low-key moments, like his duet with Aguilera on “Live With Me.” The pleasure is also ours when Richards takes centre stage singing “You Got The Silver” and “Connection.” The 63-year-old drug addict hasn’t lost his initial charisma, as he transcends a succession of soul into his work.

Shine a Light stands as a premium piece for most die-hard Stone fans, while those looking for an ambitious take on the Stones, like Scorsese’s No Direction Home: Bob Dylan, are better off staying at home. A soul-defining portrait this ain’t, while a delightfully joyous, rocking concert film this is.