The next best thing to seeing the Rolling Stones live in concert: Martin Scorsese’s Shine a Light, which follows the band over the course of two nights at the New York City’ intimate Beacon Theatre. In fact, it may be even better; rarely has a concert film brought you so close to the band. It’s been said before, but you truly feel like you’re up on the stage here.
We begin with behind-the-scenes footage (shot by Albert Maysles) of Scorsese and company preparing to shoot and setting up equipment at the Beacon Theatre, which included a front light so hot that Mick Jagger will burn if he stays in it too long.
Shortly thereafter, Bill Clinton introduces the Rolling Stones to an eclectic audience (look for Bruce Willis in a yellow hat), and Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts perform some 20-something classic hits and newer material, from Jumpin’ Jack Flash and Shattered through Sympathy for the Devil and Brown Sugar up to the title track, which is played over the closing credits.
A few guest stars join them for selected songs, including Jack White and Christina Aguilera (neither of whom matches up favorably against the Stones), before Buddy Guy steals the show during the concert’s most memorable tune, a riveting version of Champagne and Reefer.
Interspersed quite sparingly alongside the concert footage are interviews and behind-the-scenes footage of the band over the years, tracing their career trajectory from little-known to the most famous rock band on the planet.
The film is right up there with the best concert films ever produced, alongside Scorsese’s own The Last Waltz (featuring The Band and others) andJonathan Demme’s Stop Making Sense (Talking Heads); if it falls short on any level it has more to do with the band itself, who aren’t quite the same as they were 40 years ago: less gritty, perhaps less real than in, say, Albert & David Maysles’ Gimme Shelter.
They’re flashy, spectacular entertainers in Shine a Light, but the music has been better. Not that this affects what Scorsese had intended to capture; that the Rolling Stones still exist is nothing short of extraordinary. This film is an exceptional document of the band today and the years behind them.
This is one of the finest, most technically proficient documents of a specific time and place ever put to film. It doesn’t hurt that you’re watching the Rolling Stones.
A specially-designed IMAX print of the film was screened in the US, and received significant praise, though this hasn’t made it to Prague yet.