Martin Scorsese, Shine A Light (Part 2)

by Chris Flippo
04/13/2008

Does the world need another Rolling Stones documentary? On the evidence we are presented with in Shine A Light, the new concert film by Martin Scorsese, the answer just might be, "Yes." Though this is indeed the same Stones that people have known for years, it is that fact alone that justifies the film’s existence. Not many bands make it to their fifth anniversary, much less their fortieth. If this milestone is not worth capturing on celluoid, then what musical achievements are?

Of all the filmmakers to try to capture the Rolling Stones, there are perhaps few more up to this challenge than Scorsese. A fan of the Stones for years, it is doubtful any other director would have been able to match Scorsese for sheer passion, making the partnership a natural fit (watch any Scorsese film and odds are that “Gimme Shelter” is featured). Besides, doesn’t Scorsese do for film making what the Stones are for music? Though in his sixties, he creates films with the energy and vigor of a man half his age. Is there any part of The Departed or The Aviator that seems to suggest his age?

Scorsese has crafted an unabashed Rolling Stones tribute, but that isn’t to say Shine A Light works on only one level. Since Scorsese puts himself out there alongside the famous rockers, the film becomes about so much more: it's also about the precision of film making versus the improvisation of music. Here we are presented with two sets of artists at the top of their game, but we begin to realize that their respective successes are due to two very different philosophies. There is an early tension in Shine A Light where the audience isn’t entirely sure that their styles will mesh.

Scorsese isn’t content to merely lock the camera down and let the Stones do the work. He has the concert hall filled to the brim with every sort of camera, rig, dolly, and steadicam money can buy. As Mick Jagger does his trademark aerobatics across the stage, Scorsese and his cameramen are there for every step. The editing and camera movements vary, depending on the tempo of the song. Its an odd thing to describe, but the audience becomes an active participant in the music.

One of the great joys of Shine A Light is the feeling that this is really just a large celebration of the band and its storied legacy. This feeling is complemented by the numerous special guests that pop in over the course of the film’s running time. The appearances work quite well, always complementing the Stones. I wouldn’t dare spoil the surprises, but one exchange between Keith Richards and a former President is almost worth the price of admission by itself. No matter the audience, Keith Richards is always Keith Richards. Enough said.

I will admit that those looking for a crash course or even a brief history of the group are going to be disappointed. The majority of the film is devoted to showing the group doing what they do best: performing live. I touched on this last week, but the Stones, like Scorsese, operate with all the energy of men in their twenties; all of the naysayers unconvinced of the Stones’ importance may very well sing a different song by film’s end.

Shine A Light is one of the most joyous documentaries to come along in awhile. Though a familiarity with the Stones is encouraged, I don’t believe its required since you will most likely be won over by film’s end anyway. Shine A Light is so well-made that it is not only a find for the band’s devoted fans, but for fans of great films in general.

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Shine A Light Martin Scorsese Rolling Stones Concert Movie Film Keith Richards Mick Jagger

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