It seems that biopics and musical documentaries are slowly becoming Scorsese's things as of late, the former represented by The Aviator and the rumoured upcoming Sinatra flick; the latter comprised of the 2005 Dylan picture No Direction Home, the also rumoured Bob Marley doc, and of course, Shine A Light. The Departed was Marty's rightful farewell to the mobster genre that he had so skilfully mastered over the years, leaving room for the venerated filmmaker to express his passion for music once more. Next up: The Rolling Stones.
For those who argue that Marty's talents are better employed making fictional feature films as opposed to music docs and concert films (an opinion belonging to my lecturer, who wasn't impressed by SAL, if you must know), the output doesn't prove them to be correct, nor does it condemn their wish for Scorsese to stick to the thrillers and gangster flicks they revere him for. Shine A Light will not please everyone (it won't convert non-Stones fans), though if you're into the music, and you're out to have a good time, it won't disappoint.
For those wondering whether this concert flick matches, or supersedes, the quality of 1978's The Last Waltz, I'll tell you now: it sure as hell doesn't. Although, for what it attempts, it very nearly succeeds to the best of its efforts. After all, Shine A Light has all the ingredients: the music, cinematography and onstage personalities all do good in carrying the film to its rockin' curtain call. The flaws that hold it back should be as evident as daylight, or to put it more bluntly, as evident as the deep wrinkles adorning the saggy, decrepit face of Keith Richards. Sorry, I had to go there.
The Rolling Stones do indeed look like animated corpses bouncing around on stage. Mick Jagger at least maintains his trademark swagger, strutting up and down the makeshift catwalk with confidence whilst the remaining members of the band do their thing in the background, drowned out by the sheer presence of their frontman. The camera stays on Jagger for the majority of the runtime, with second place going to Richards... and I don't even remember catching sight of Charlie Watts.
To combat the ghastly sight of The Rolling Stones looking like mouldy fruit, the filmmakers have cunningly decided to plant stupidly hot young females in the front row, just in case, y'know, we want to touch ourselves in the cinema. In all seriousness, I appreciate the sentiment, but putting actual Stones fans in the right places might have been an effective way to showcase an intimate communication between the band and their fans, instead of having to put up with a legion of clueless blonde girls feigning a sing-a-long mere inches away from Jagger's feet.
The placement of these 'fans' is the only significant qualm I have with Shine A Light, as the majority of the film is packed to breaking point with what you pay your money for: an expertly filmed concert featuring the very best of the Rolling Stones back catalogue. Some songs hit harder than others, particularly with the big songs popping up at the beginning (Jumpin' Jack Flash, Shattered) and end (Satisfaction, Start Me Up) of the set, though the middle space is occupied appropriately by collaborations with the likes of Jack White, Christina Aguilera and Buddy Guy, ensuring your attention never wavers.
All this is captured with some dazzling cinematography by a whole host of contributors, perfectly keeping up with the charismatic to-ing and fro-ing of Jagger; infusing the screen with as much colour as the exuberant tunes of the Stones.
The concert footage is intercut with archive footage of the musicians in their youth, consistently stating their ambitions for the band that always seem to revolve around how long they'll last. Well, they've lasted a hell of a long time, and in that respect, Shine A Light seems as though it has something to prove for the band.
Maybe it has something to prove for Scorsese, that he can still shoot a concert film to the best of his abilities. It isn't perfect, but so what? For the most part, Shine A Light does what it says on the tin, and delivers on its promises. And really, do most films these days succeed so admirably?
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