Planet Notion - MARTIN SCORSESE and THE ROLLING STONES: 'SHINE A LIGHT'

25/03/2008

When we’re talking about the Rolling Stones we’re talking about the greatest, coolest and most definitive band in the history of rock ‘n’ roll. Sorry ladies and gents but that’s an indisputable fact. That’s not my opinion, it’s a given, like grass being green and shit being brown. I mean psychologists say that you only ever find true love once and I guess that’s kind of true because I used to love bananas. I know it’s a bit different, but I really REALLY loved ‘em. I think they’re a despicable fruit now, since mistaking banana fritter and potato croquettes for a plate of fish and chips. It was that taste of the unexpected; a real jolt to the system. Anyway, the point is, my banana affair wasn’t true love. If a band’s still doing global tours forty years after they first hit the road, that’s true love. The Rolling Stones have it with music. Martin Scorsese has it with film. Stick the two together and we’re not talking your usual run-of-the-mill rock ‘n’ roll documentary or concert film…

First a wee history lesson on Martin Scorsese’s ‘Shine a Light’. The film started with a Mick Jagger dream. It wasn’t wet and it wasn’t beyond the realms of possibility. At the time the Stones were on their worldwide ‘Bigger Bang’ tour preparing to play for two million Brazilians on Rio De Janeiro beach. Jagger wanted to shoot the show as a documentary film and had one of those “if we’re going to do this we may as well do it right” moments. One thing led to another and Martin ‘Marty’ Scorsese was on board. Let’s face it, Marty jumped at the chance and who wouldn’t? It’s the fucking Stones! Anyway, once on board Marty brought in a veritable crew of top producers; some had worked on Stones documentaries in the past; Victoria Pearman formed ‘Jagged Films’ with Jagger himself; we’re basically talking the best in the business.

Right: with all the ins and outs of “how Shine a Light came to be” out the way we’ll head to the Marty philosophy. Everyone’s seen footage of the Stones, right? Clips from ‘Cocksucker Blues’ on YouTube or ‘Gimme Shelter’ and all the rest of it. They’ve seen Keith strung out on heroin, they know about the Altamont tragedy, they know about Brian Jones’ death and Keith’s arrest et cetera et cetera. They know the Stones music whether it be in literary context (Sympathy for the Devil as a soundtrack to Fear and Loathing) or film (have you seen Mean Streets? “It’s a gas gas gas”). All that’s fine; well, legendary in rock ‘n’ roll folklore. It’s the Rolling fucking Stones! However, Marty succeeds in making something a little different via concentrating on four icons over the age of sixty, who have been touring for just as long, and the subsequent connection all four have on stage. That’s something rare. Something special. And something totally unexplored (more the fool) until one of the greatest director’s in the history of film took the project under his wing and made it his own. It’s also a direction that has come under criticism for being “just like any other concert film” but frankly that’s ludicrous. Some journalists are so far up their own arses they taste their shit before they smell it. Trust us, believe us: ‘Shine a Light’ has groundbreaking cinematography! Marty suggested shooting a concert in the more intimate surroundings of New York’s stunning Beacon Theatre, the venue where the final cut was taken.

The film kicks off with black and white footage of Marty’s preparations and backstage footage of the Stones, giving an insight into two sets of characters who have been, and arguably remain, at the very top of their game. It’s an interesting approach and Marty’s inclusion in the film emphasises his importance to the project, as well as the respect both parties have for one another. Quite refreshing, I’m sure you’ll agree. Anyway, the introduction provides an understanding of both Marty and the Stones creative limitations, Marty meticulously attempting to acquire the final set-list and Jagger announcing “We’ll be done Marty, on the night, an hour before the show”. The opposing forces of both the Stones and Marty creates some insightful points. The Stones want the set-list to be perfect for their more intimate surroundings, you can understand their deliberation, whilst Marty wants his production to be a-okay and is well aware that knowing the set-list in advance will help define guitar-solos, intros, outros, hooks, riffs et cetera to be caught perfectly on camera. Blink and you’ll miss it, but Marty and the Stones are no different when it comes to the care, attention and undoubted love for their professions. There’s also a hilarious section where the Stones meet the Clintons (it’s Bill’s birthday), including Hilary’s mum. Keith’s face is forever golden (you rarely see the human riff without a smile) but the relatively quiet Watts proves that he’s one hell of a funny fucker!

Anyway, rather than guide you through the film detail by tiny detail and song by song let’s cut to the chase. Marty’s sixteen strong camera crew - their every move controlled by the man himself - capture the Stones as never before. Even if Marty had known the set-list way in advance nothing could prepare him for the spontaneity between them, particularly Jagger, whose presence on stage defies his sixty-four years: leaping about with elegance and characteristic camp gesticulations. The man oozes sex appeal, something all too evident in an amazing ‘Live With Me’ duet with Christina Aguilera, the ageless star grinding against her whilst yelping suggestively. The music itself creates a real sense of nostalgia, and you can’t help but smile, something all four Stones do in abundance. A particular highlight is Jagger’s entrance for Sympathy for the Devil following a rare Richards solo. In black feathered coat, Jagger emerges like Beelzebub himself, a bright white light emitting from behind as he skips through the crowd ‘Woo-Wooing’ to the stage. Perhaps the most touching moment comes when Jagger and Richards share a mic during ‘Far Away Eyes’ the pair staring into one another’s eyes, arms round each others shoulders in a manly affection in context with the song. Buddy Guy and Jack White also guest on ‘Champagne and Reefer’ and ‘Loving Cup’ respectively, the Stones smiling in admiration at one and all of their guests - Guy being a particular highlight. But for all the brilliance of the Stones’ music, Marty deserves credit for the intricacy of his shots, highlighting the beauty of the band, the setting and the instruments in a direction never before caught on film.

Anyone could shoot a concert film but filming in such a way that does the band or artist justice is a different ball game altogether. Whether anyone other than Marty could have succeeded is certainly an interesting question, as many a director would have gone down the familiar route of drowning out concert footage with documentary overkill. If you were to do a

documentary on the Stones any justice it’d have to be an epic, with more twists, turns and chapters than Crime and fucking Punishment. By keeping the footage to a minimal, in context with the Stones’ music and united performance; Jagger’s abounding charisma, Keith and Ronnie’s overlapping guitar skills, Watts’ ability on the sticks and even the backing singers, musicians and bass player Darryl Jones, Marty’s arguably achieved far more in Shine a Light then any ordinary director could. Many would say that Shine a Light is the final chapter in documented footage of the Stones, but as the film suggests, the Rolling Stones continue to defy all odds. They remain as important now as ever, their music changing, blending and sometimes shaping situations through time whilst they remain ever consistent. Shine a Light kicks the doubters and critics that have labeled the band “dinosaurs” and “past it” straight in the bollocks with a steel-capped boot. As Keith would say “it’s one big trip, baby” and Marty takes you on the ride.

Martin Scorsese and The Rolling Stones ‘Shine a Light’ will be shown at selected IMAX Cinema’s nationwide, April 11th, certificate 12A. Visit: www.shinealightmovie.co.uk for further information, offers and updates. Words: Dave Dryden