A documentary crew followed Metallica for the better part of 2001-2003, a time of tension and release for the rock band, as they recorded their album St. Anger, fought bitterly, and sought the counsel of their on-call shrink.
In 2007 the legendary American duo White Stripes toured Canada. Besides playing the usual venues they challenged themselves and played in buses, cafés and for Indian tribal elders. Music ... See full summary »
Aging Cuban musicians whose talents had been virtually forgotten following Castro's takeover of Cuba, are brought out of retirement by Ry Cooder, who travelled to Havana in order to bring the musicians together, resulting in triumphant performances of extraordinary music, and resurrecting the musicians' careers.
Martin Scorsese and the Rolling Stones unite in "Shine A Light," a look at The Rolling Stones." Scorcese filmed the Stones over a two-day period at the intimate Beacon Theater in New York City in fall 2006. Cinematographers capture the raw energy of the legendary band. Written by
Legendary executive and co-founder of Atlantic Records, Ahmet Ertegun, died as a result of a head injury he sustained from falling backstage at the opening night of the two day concert series and their subsequent filming. The film closes with a dedication to him. Eerily enough, this is not the only death to result from an incident that took place during the filming of a Rolling Stones concert documentary. In 1969 a fan named Meredith Hunter was stabbed and beaten by members of the Hell's Angels who were hired as security at the now infamous free concert by the Rolling Stones at Altamont Speedway. This tragic event was captured during the filming of another famous Stones concert documentary, Gimme Shelter. See more »
Closing disclaimer: The preceding interviews and commentaries are for entertainment only. The views and opinions expressed therein are those of the of the individual speakers and do not necessarily represent the views and opinions of Paramount Classics, Shangri-La Entertainment, Concert Productions International or any of their respective affiliates or employees. See more »
Shine a Light displays, thrillingly and with the bombastic POP of a revisited 'happy place', why many love the Rolling Stones and many love the style of Martin Scorsese. It's mostly a concert movie shot over a period of two mights at the Beacon theater (as if doing a workhorse revival of thirty years ago, while Scorsese was busy shooting New York, New York in 76 and doing the Last Waltz concurrently, this time he shot the concert while finishing up the Departed), with some choice documentary footage interspersed in between some songs. On both fronts, however minor the (all archival) interview footage is, it's a big success, visually and musically, as good old rock and roll performance art (well, almost art, but I like it), and as visual virtuosity made incarnate.
It might be easy to adulate the Stones, as well as Scorsese. They've been around for so long, doing what they do, with each side rumored here and there to quit doing what they do (for the Stones it's every tour, much to their grinning bemusement, and for Scorsese it was a point in the 80s when he thought he'd have to leave Hollywood and make documentaries on saints). They're always acclaimed, usually big money-makers, and they've acquired a kind of nether-region between 'cult' audience and full-blown mainstream mayhem. It's this that is, in a way, the subtext for Shine a Light. While Scorsese stays mostly behind the scenes, the Stones are up and front and in center of a marvelous performance, and showcasing the energy and level of pizazz that quiets the naysayers. They sold out, and it doesn't get to them a single bit.
After some funny early footage of Scorsese (shot usually in black and white DV by Albert Maysles, who also appears here and there) getting into a minor tizzy about what the set-list is going to be, and getting some downtime with Bill Clinton, the show starts up like any good Stones show should- Jumpin' Jack Flash. Then onward come some given numbers (Shattered, Brown Sugar, Tumbling Dice), the masterpieces (Sympathy for the Devil, Loving Cup, featuring an awesome Jack White, and Champagne and Reefer with an equally awesome Buddy Guy), and a lot of unexpected tracks too (Live with Me with showy Aguilera, As Tears go By, some country song, and a kick-ass She Was Hot). For fans it's an amazing mix, and it allows for those who are just casual admirers to get their money's worth, primarily in IMAX. This is not just because of the quality of the music and the performances- which is, at its best, revelatory of what this band can do, at any age- but because of Scorsese's cameras, moving around in epic and roving fashion, edited with efficiency to not go all over the place or too slow, and, chiefly, to make it intimate like how many remember the Last Waltz to be (lots of neatly defined close-ups, lingering on to capture these hardened rockers).
And at the end, what is the point? Is it just another blah-blah Stones concert movie? Not necessarily. It doesn't have the heavy sociological context of Gimme Shelter, however it's not a little sloppy like Let's Spend the Night Together. Shine a Light celebrates its heroes, but it doesn't go completely overboard. Scorsese knows, as he did with Bob Dylan, not to get too cocky with these fogies. It's important to throw in those bits with the Stones getting interviewed, candid and without much overbearing ego present, and by the end you know there's still a place for them, firmly, in the public consciousness. They sold out in the most ironically good way in rock music history, with Scorsese now wonderfully in tow. A+
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