Shine a Light | Joe Zad saw | DONNE TEMPO
Shine a Light
August/16/08 10:18 PM Filed in: Joe Zad saw
Unfortunately, instead of an insider’s view of life as a one of rock’s perennial bad boys, Scorsese ends up delivering a routine concert documentary.
Documentary is too strong of a word, perhaps.
Unfortunately, Mr. Scorsese is not able recreate the magic of his fantastic work on "The Band: The Last Waltz" or "Bob Dylan: No Direction Home."
Even using an all-star cast of cinematographers acting, as cameramen did not help.
Robert Elswit ("There Will Be Blood") and John Toll ("Braveheart”) did nothing to live up to their well-deserved reputations, instead it seems that they enjoyed the simplicity of the direction while watching the show.
The band does deliver the hits and Mick Jagger struts and mugs his way into the audience's hearts as spryly as he has done for the past four decades.
The pretty familiar song list offered
Jumpin' Jack Flash
Shattered
She Was Hot
All Down the Line
Loving Cup with Jack White
As Tears Go By
Some Girls
Just My Imagination
Far Away Eyes
Champagne & Reefer with Buddy Guy
Tumbling Dice
You Got the Silver - lead rasping by Keith Richards
Connection lead rasping by Keith Richards
Sympathy for the Devil
Live with Me with Christina Aguilera
Start Me Up
Brown Sugar
(I Can't Get No) Satisfaction
The moment this blues legend took the stage to perform “Champagne & Reefer,” a marvelous classic blues tune, the Rolling Stones turned into just another back-up band.
Throughout the fun two hour romp, Ron Wood and Keith Richards act as feisty gargoyles whose familiar riffs still seduce the audience.
Drummer Charlie Watts is an anchor to the hijinks and pounds away only occasionally looking at the camera to mug or take a deep breath.
Other than the music, viewers are treated to little back stage insight into the band. One would think they might have something new to say, but alas it isn’t really so.
There were none of the magical moments enjoyed in " The Last Waltz" that made one feel they were participating in something special. Reliance on archival interviews with the boys from the 1960s blabbering about how long they can, and have performed together, whose the better guitarist - Keith or Ron and well it just become blah, blah, yadda, yadda all over again.
Really, have we not all seen it, heard it and quite possibly lived it already? This vintage footage may have merit, but I was left with a “been there, done that” feeling.
The films best moment overall was Mr. Scorsese not getting a set list, enabling him to set up the cameras and flow of the film, until the band took the stage.
It was as if this directorial giant was not given the script until minutes before shooting begins and the only thing he knows is the characters, and their unpredictability. I must admit it is fun to watch him sweat.
I am not sure I cared anymore than the Stones did.
Overall, I'll take "Gimme Shelter," "Let's Spend the Night Together" or "Rock and Roll Circus" to appreciate the often reckless Stones.
The goods is the bads: One band I have no interest in seeing that close up, and in high definition, is the Rolling Stones. It's not a pretty sight; especially Mr. Richards whose face wears every drug he ever ingested while his stance shows every night's sleep lost to debauchery.
And, for goodness sake, stop singing Keith. His version of "Connection" and "Little T&A" are just train wrecks
The Mandatory Extras: Not near enough folks. Around 15-minutes of extra behind the scenes and rehearsal footage is pretty much useless. I'll take and appreciate the four extra performances of "Paint it Black," "Undercover of the Night," "I'm Free," "Paint it Black" and "Little T&A" (Richards is completely off his coconut tree while singing it).
Above and Beyond: Nothing for the true fan. No extended optional commentary track from Mr. Scorsese, no sing along lyrics, no interactive timeline and zippo on the Blue-ray interactive online front that could help celebrate the Rolling Stones' legacy.