Directed by Martin Scorsese, Shine a Light is a concert-documentary film that chronicles the band’s performance at the Beacon Theatre in New York City in 2006 during the Bigger Bang tour as it includes archival footage from other films and backstage footage. The film showcases the band celebrating their longevity as they’re joined by special guests in Jack White of the White Stripes, Christina Aguilera, and blues legend Buddy Guy. The result is an enthralling and lively film from Martin Scorsese.
On October 29 and November 1, 2006, the Rolling Stones played two shows at the Beacon Theatre in New York City as the second show was filmed by Martin Scorsese who wants to present the ultimate concert film of one of his all-time favorite bands. While it is mainly a film that shows the band playing some of their hits as well as some beloved album cuts, it does show footage behind the scenes where the band and Scorsese talk about how to film the concert as well as including footage from the past as it relates to the band’s notoriety. Scorsese would appear early in the film through black-and-white footage of scenes backstage about the staging and how to light the show as he and cinematographer Robert Richardson discuss what to do.
Much of the concert footage is shot on digital with Richardson leading the way with an array of esteemed cinematographers as camera operators such as Emmanuel Lubezki, Ellen Kuras, and John Toll as well as filmmaker Albert Maysles being an onstage cameraman. There is an air of excitement in the performances with vocalist Mick Jagger displaying a ferocity in how he moves which is astonishing for someone who was in his 60s during the performance. Guitarists Keith Richards and Ron Wood are also displaying a sense of energy into their performance while drummer Charlie Watts remains this strong force on the drums. Aided by other musicians such as keyboardist Chuck Leavell, bassist Daryl Jones, saxophonist Bobby Keys, backing vocalists Lisa Fischer and Bernard Fowler, and a few others. The Stones prove that they still have that sense of power as their music is aided by the masterful sound mixing of Bob Clearmountain who is aided by sound editors Fred Rosenberg and Philip Stockton for the audio cuts to mix in with some of the archival footage.
The guest performances from Jack White on Loving Cup, Buddy Guy on Champagne & Reefer, and Christina Aguilera on Live with Me are among some of the highlights while the film also features an appearance from former U.S. President Bill Clinton, his wife Hilary, and family who had the two shows used as a benefit for Clinton’s charity in the Clinton Foundation as they’re joined by Poland’s then-president Aleksander Kwasniewski for the concerts.
Editor David Tideschi does excellent work in capturing the energy of the shows while allowing the chance to not delve too much into some fast-cutting style that is common with music videos in order to get a sense of what is happening on the stage. The visual effects work of Sam Khorshid does nice work on the lone visual effects which are these crane shots towards the exterior of the Beacon Theatre and out for the ending which features the Stones’ logo as the moon.
Shine a Light is a spectacular concert film from Martin Scorsese. Not only is it an entertaining film with great music and performances but it also captures the Rolling Stones still managing to play incredible music at a time when many artists in their age group would’ve retired or slow themselves down. In the end, Shine a Light is a phenomenal film from Martin Scorsese.
Related: Sympathy for the Devil (One Plus One) - Gimme Shelter - The Rolling Stones Rock and Roll Circus - Crossfire Hurricane
Martin Scorsese Films: (Who’s That Knocking on My Door?) – (Street Scenes) – Boxcar Bertha – (Mean Streets) – Italianamerican – Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York – American Boy: A Profile of Steven Prince - (The Last Waltz) – Raging Bull - The King of Comedy - After Hours – The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas – Cape Fear (1991 film) - The Age of Innocence (1993 film) - (A Personal Journey with Martin Scorsese Through American Movies) – (Casino) – (Kundun) – (My Voyage to Italy) – Bringing Out the Dead - (The Blues-Feel Like Going Home) – Gangs of New York - (The Aviator) – No Direction Home – The Departed - Shutter Island - (A Letter to Elia) – (Public Speaking) - George Harrison: Living in the Material World - Hugo (2011 film) - The Wolf of Wall Street - (The Fifty Year Argument) – Silence (2016 film) – (The Irishman (2019 film)) - Killers of the Flower Moon - (An Afternoon with SCTV)
© thevoid99 2017
Directed by Michael Lindsay-Hogg, The Rolling Stones Rock and Roll Circus is a concert film showcasing the Rolling Stones playing a show on December 11, 1968 as the show would also include performances from Jethro Tull, the Who, Taj Mahal, Marianne Faithfull, and John Lennon in a super-group with future-wife Yoko Ono, Eric Clapton, and Mitch Mitchell of the Jimi Hendrix Experience. Released in 1996, the film chronicles a period in the career of the Rolling Stones which would feature one of their final performances with founding member in guitarist Brian Jones. The result is a fascinating and entertaining film from Michael Lindsay-Hogg.
The film is simply a concert film during a tumultuous year in world history as people would come together to attend a circus hosted by the Rolling Stones. The concert wouldn’t just feature a few circus performances but also performances from other musical acts such as Jethro Tull, the Who, Taj Mahal, Marianne Faithfull, and a one-time only supergroup featuring John Lennon, Eric Clapton, Mitch Mitchell, Yoko Ono, and the Stones’ Keith Richards on bass called the Dirty Mac. It is a film that showcases a period in the career of the Rolling Stones at a time when they were becoming one of the premier acts in rock n’ roll yet it is also a crucial period as it would show the dwindling role of band co-founder in guitarist Brian Jones who would die several months later after the concert as the film shows him in one of his final performances with the group.
Michael Lindsay-Hogg’s direction is quite simple as it would feature some close-ups of the performances as well as reaction from the audience that include some of the performers as there are a couple of circus performances that come in between the musical performances. Jethro Tull would have the performance for A Song for Jeffrey that would feature future Black Sabbath guitarist/co-founder Tony Iommi miming Mick Abrahams’ guitar as most of the performances in the film is live such as the Who doing A Quick One While He’s Away, Taj Mahal in the song Ain’t That a Lot of Love, and Marianne Faithfull performing Something’s Better. Yet, it is the Who’s performance that is a real standout as it showcases a band that was about to become very big just a year before they would make their magnum opus that is the rock opera Tommy.
The performance of the Dirty Mac led by John Lennon marks an interesting footnote of history for Lennon as it is his first public performance as a solo artist just around the time he was still in the Beatles who were to disband more than a year later. The performance of the song Yer Blues from The White Album is definitely faithful to the original Beatles recording thanks in part to Eric Clapton’s guitar work as they would perform an improvised blues-based track called Whole Lotta Yoko with violinist Ivry Gitlis and Ono providing the vocals. The Stones’ performance would conclude the film for live renditions of Jumpin’ Jack Flash, Parachute Woman, No Expectations, Can’t Always Get What You Want, and Sympathy for the Devil while the film ends with a miming performance of sorts of Salt of the Earth. The film’s cinematography by Anthony B. Richmond is quite grainy as there’s marks in the film footage which definitely adds something rich to the film’s look as Lindsay-Hogg captures everything that is happening including some of the introductions.
Editors Ruth Foster and Robin Klein would assemble many of the footage as the latter would be in charge for the remastering of the film with Lindsay-Hogg’s help as it help adds a richness to the quality of the film. Sound editor Magdaline Volaitis would also be involved in the film’s remastering as well as with the music to make sure it sounds full since much of the film had been lost and shelved for many years until the late 80s.
The Rolling Stones Rock and Roll Circus is a splendid film from Michael Lindsay-Hogg. It’s a film that showcases a period in time where the Stones was entering its golden period as well as showcasing acts from that period either entering into a new phase of their career or just getting started. In the end, The Rolling Stones Rock and Roll Circus is a delightful film from Michael Lindsay-Hogg.
Related: Sympathy for the Devil (One Plus One) - Gimme Shelter - Shine a Light - Crossfire Hurricane
© thevoid99 2017
Written and directed by Jean-Luc Godard, Sympathy for the Devil (One Plus One) is a documentary film about the recording of the titular song by the Rolling Stones that is inter-cut with segments relating to the political and social events of the late 1960s. The film marks the beginning of a period of experimental features for Godard in his movement away from traditional narrative while he chronicles one of the most popular bands at that time during a crucial period in their career. The result is a fascinating though uneven film from Jean-Luc Godard.
The film follows a series of recording sessions in June of 1968 by the Rolling Stones for a song that is to reflect into the chaos of that year entitled Sympathy for the Devil. During the course of the film as the Stones would try and create this song, the film would be inter-cut with dramatic segments featuring actors reading or giving their views on many social and political ideologies of the time. Yet, both narratives would often feature a brief jump-cut of someone spray painting political slogans all over London during the course of the film. It’s a film that has two very different things happening yet both segments would also feature commentaries by a narrator (the voice of Sean Lynch) reading stories on Marxism where it would often drown out some of the things that is happening or be drowned out by comments from those talking politics or the Stones playing music as well as sounds of jets flying in the air courtesy of sound mixers Derek Ball and Arthur Bradburn.
Both the segments involving the Stones and the political content are shot in long takes by Jean-Luc Godard with the aid of cinematographer Anthony B. Richmond as it follows not just what is going on but also in the environment. Whereas the Stones are seen recording at Olympic Studios in London, the political segments largely take place in different areas. There’s two different segments involving black militants talking about their own ideas while executing white women in one segment as it takes place in a junkyard near a river. A segment with actress Anne Wiazemsky as a character talking to people in the forest about what she thinks the state of the world and the different ideas of politics. There’s one segment taking place inside a bookstore where a Fascist reads a book on Fascism with two customers beaten and bloodied by other Fascist customers as the store is surrounded by comics, pulp novels, and nudie magazines.
The scenes involving the Stones recording Sympathy for the Devil shows the band hard at work trying to develop the song that would become one of their defining songs as vocalist Mick Jagger tries to find the right vocal tone for the song while guitarist Keith Richards would play bass on the song trying to find its groove. Drummer Charlie Watts and bassist Bill Wyman would provide their own contributions to the song as would session keyboardist Nicky Hopkins and producer Jimmy Miller. The scenes also showcase guitarist Brian Jones becoming less involved as there’s a major scene during the recording where the band plus Hopkins and percussionist Rocky Dijon are all playing in the circle while Jones is playing acoustic guitar in a booth behind Jagger. It is a moment that shows his diminishing role in the band as he would die more than a year after the recording of the song.
While the film does contain some rich cinematography by Richmond as well as some straightforward editing by Ken Rowes including the jump-cuts to showcase the young woman spray-painting slogans on walls around London. The film is definitely uneven largely due to the fact that Godard wants to create something that is a response to the events of 1968 as it’s really 2 different films. Yet, the film’s original intentions had Godard wanting to make something that is more political but clashes with one of the film’s producers in Iain Quarrier, who plays the role of a Fascist book seller, would complicate things as the resulting film that is shown is quite uneven. It’s uneven to audiences that thought they would see a film about the Stones in their prime only to see something else while Godard-enthusiasts would wonder why the Stones in a film that definitely has a lot of commentaries on the politics of the times.
Sympathy for the Devil (One Plus One) is a stellar film from Jean-Luc Godard. Though it’s a very uneven film due to its different subject matter. It is still an interesting film that chronicles a tumultuous time period inspired by the events of 1968 as well as a look into the Rolling Stones creating one of their defining songs. In the end, Sympathy for the Devil (One Plus One) is a terrific film from Jean-Luc Godard.
Related: Gimme Shelter - The Rolling Stones Rock and Roll Circus - Shine a Light - Crossfire Hurricane
Jean-Luc Godard Films: All the Boys are Called Patrick - Charlotte et son Jules - A Bout de Souffle - The Little Soldier - A Woman is a Woman - Vivre sa Vie - Les Carabiniers - Contempt - Bande a Part - A Married Woman - Alphaville - Pierrot Le Fou - Masculin Feminin - Made in U.S.A. - Two or Three Things I Know About Her - La Chinoise - Weekend - (Joy of Learning) - (British Sounds) - Tout va Bien - (Letter to Jane) - (One A.M.) - (Number Two) - (Here and Elsewhere) - (Every Man for Himself) - (Passion) - (First Name: Carmen) - Hail, Mary - (Soft and Hard) - (Detective) - (King Lear (1987 film)) - (Keep Your Right Up) - (Nouvelle Vague) - (Allemagne 90 neuf zero) - (JLG/JLG - Self-Portrait in December) - For Ever Mozart - (Historie(s) de Cinema) - (In Praise of Love) - (Notre musique) - (Film Socialisme) - (Adieu au Language) - (The Image Book)
© thevoid99 2017
(Played Out of Competition at the 1971 Cannes Film Festival)
Directed by Albert Maysles, David Maysles, and Charlotte Zwerin, Gimme Shelter is a film that chronicles the final weeks of the Rolling Stones’ American tour in late 1969 which would culminate in the disastrous Altamont Free Concert. The film documents the band on the road just as they were about to end a period in time for the band but it would end on a very dark note that would become infamous. The result is one of the most lively but also unsettling films about the Rolling Stones’ encounter with tragedy and chaos.
The film revolves around the Rolling Stones’ American tour in late 1969 just a few months following the death of founding guitarist Brian Jones who was replaced by Mick Taylor. To celebrate the tour’s success, the Stones planned to have a free concert in San Francisco which was supposed to take place at Golden Gate Park but circumstances forced plans to change where the Stones and their staff choose the Altamont Speedway as their final location for their free concert on December 6, 1969 with the help of Woodstock concert organizer Michael Lang. What would happen wouldn’t just end the 60s on a very dark note but it would also haunt the Stones for many years as they would embark into a very troubling period.
While the film isn’t just about the band’s tour and the infamous concert at Altamont, it is also about the band taking time to record material for what would become their 1971 album Sticky Fingers. Much of it is seen by members of the Stones with the Maysles Brothers as they’re reviewing all of the footage in the editing room. Much of the film’s direction by the Maysles and Charlotte Zwerin not only have singer Mick Jagger and drummer Charlie Watts review the footage but also see and hear things about what had happened. Most notably where Jagger watches the press conference of the band announcing the free concert where a journalist asked if Mick is satisfied not just sexually but also philosophically and financially. At the conference, Mick would say yes but his response from watching his own answer is “rubbish”.
Much of the direction of the film, where the Maysles serve as their own cinematographers, is very direct as it’s shot with hand-held cameras to play into every moment that is happening. Even as they would capture not just some of the performances of the Stones but also a performance of Ike and Tina Turner doing Otis Redding’s I’ve Been Loving You for Too Long during a show where they were opening for the Stones as Mick would watch that performance in the editing room. The performances of the Stones are very lively as the Maysles capture something that the band is famous for as it’s set in a controlled environment as opposed to what would happen at Altamont.
The film would move back-and-forth from the Stones watching the footage to the events that was happening in late 1969 which would culminate with the show at Altamont as performances from the Flying Burrito Brothers and Jefferson Airplane would show the two bands performing as the latter would be ravaged by chaos. Even as Airplane vocalist Marty Balin would try to stop a fight only to get knocked out. What happens is not just a lack of control that is emerging but also fear as Maysles brothers and several camera operators (including George Lucas) would show some of the things that are happening as it’s the opposite of what the 60s are about. There’s elements of violence and unruliness where it would culminate with the Stones’ performance as they’re trying to get people to cool out.
With the aid of editors Ellen Giffard, Robert Farren, Joanne Burke, and Kent McKinney along with a large number of sound crew including Walter Murch, the film captures not just through some of the brilliance of the performance but also the sense of dread that emerged into the Stones’ performance at Altamont. Most notably the scene where Jagger asks David Maysles to reveal the footage of Meredith Hunter being killed as it is revealed that he was holding a gun. There is also a scene early in the film where Watts listens to a recollection from a member of the Hells Angels biker gang that did security for that concert as it also a dark moment into the mistake that the Stones made for that concert.
Gimme Shelter is a terrifying yet outstanding film from the Maysles Brothers and Charlotte Zwerin. It’s not just one of the finest films about the Rolling Stones in a period in their career but also one of the most eerie documentary films ever made. Especially as it captures a very dark moment that ended the decade on a very tragic note. In the end, Gimme Shelter is a spectacular film from Albert and David Maysles and Charlotte Zwerin.
Related: Sympathy for the Devil (One Plus One) - Grey Gardens - The Rolling Stones Rock and Roll Circus - Shine a Light - Crossfire Hurricane
© thevoid99 2015
Directed by Brett Morgan, Crossfire Hurricane is a documentary about the Rolling Stones’ rise to success and acceptance through their lawless persona in the 1960s and 1970s. Featuring audio interviews with members of the band along with former members Bill Wyman and Mick Taylor, the film explores many of the band’s period from the 1960s to the early 1980s through archival footage as well as footage from the other documentaries made by the band. The result is a very entertaining and engaging documentary about one of the greatest rock n’ roll bands of all-time.
Most documentaries about musicians often has a narrative that is typical with most documentaries. Either the whole story is told or they skim on some parts of the story in order to present something basic. With the Rolling Stones, their story is anything but basic since they never were the band that played by the rules during their hey-day. While subjects like the band’s drug use, Brian Jones’ death in 1969, the disastrous concert in Altamont, and Keith Richards’ notorious drug busts are talked about. What make it different in this film is that it’s told from the band themselves through audio interviews as they’re not seen. Through their recollections, the Stones along with former members Bill Wyman and Mick Taylor talk about the band’s wild period and their rebellious persona from the early 1960s to the early 1980s where the band was becoming the hottest touring act ever.
While the documentary doesn’t talk about what happened to Stones in the 1980s and beyond except through concert footage along with a clip from Martin Scorsese’s Shine a Light to end the film. It’s a film that is more about how the Stones went from being infamous, reviled, and enemies of the establishment to becoming loved by many all over the world as legions of people go to their shows and by their album just as they were getting their act together. Through archival footage from many of the band’s TV appearances, rare footage, and clips from some of the documentaries the band made like Gimme Shelter, Let’s Spend the Night Together, Ladies and Gentlemen: The Rolling Stones, Sympathy for the Devil, The Rolling Stones Rock N’ Roll Circus, and the bootlegged Cocksucker Blues. Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood, Bill Wyman, and Mick Taylor all tell stories about these events and their exploits.
While the stories that the Stones reveal doesn’t feature anything new that hasn’t been heard from past documentaries and books about the band. What does make it interesting is the fact it’s told by the band themselves through their recollections though the band admit they don’t remember everything they went through. A lot of the commentary is made by Jagger and Richards since they’re the most well-known individuals in the band where Jagger revels about the onstage personas he created during those years while Richards reveals a lot of detail into his drug abuse at the time. The band also dwell on Brian Jones’ decline and his death in 1969 where they admit to having some regret about not having to do more for him during those times. Jones’ replacement Mick Taylor revealed how he got into the band while he also reveals, though in an admitted cagey response, into why he left the band in 1974 that led to Ronnie Wood becoming his replacement.
Through the wonderful editing of Stuart Levy and Conor O’Neill and the intricate sound design of Cameron Frankley and Jason W. Jennings. The film is given a unique look where some concert footage is inter-cut with some wilder moments while the music that is used does help tell the story. Brett Morgan’s direction is unique for the way he uses footage and music to help move the narrative as the film begins with a performance from the band in 1972 and then goes back in time to their early concerts when they were just doing covers.
While it may not offer anything new to fans of the Rolling Stones, Crossfire Hurricane is still a remarkable documentary from Brett Morgan. Particularly as it gives the band and its former members the chance to talk about themselves through archival footage as well as some rare material. It’s a film that is a nice introduction to the band though 25x5 is really the most comprehensive film about the band even though it only talks about their first 25 years. With the band now having reached 50 years, it is still amazing that they’re still around and showing younger acts how it’s done. In the end, Crossfire Hurricane is a superb documentary about the Rolling Stones.
© thevoid99 2012
