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speedfreakjive wrote:
i'm a bit confused, does the film consist of footage from the 2006 Beacon gig solely, or does it have some older 'archive footage' as reported in the article that I posted at the top of this thread?

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Gazza wrote:
Dozens of pics popping up on the newswires now..here are a few :

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Gazza wrote:


its almost all Beacon footage, with some background stuff early on, and a little bit of archive footage.

The film runs for 122 minutes, which is quite long for a concert movie.

Cousin Lou from IORR was a test screening a couple of months ago and this was the (approximate) track listing he had :

1. Jumpin' Jack Flash
2. Shattered
3. She Was Hot
4. All Down the Line
5. Loving Cup [with Jack White]
6. Just My Imagination
7. Far Away Eyes
8. As Tears Go By
9. Some Girls
10.Champagne and Reefer [with Buddy Guy]
11.Tumbling Dice
12.You Got the Silver
13.Connection [severely edited in the film]
14.Sympathy For the Devil
15.Live with Me [with Christina Aguilera]
16.Start Me Up
17.Brown Sugar
18.Satisfaction
19.Shine a Light [plays over closing credits]

Most of the footage, apparently, comes from the second show.

Another guy who had some contacts with Scorsese's people said that (and I dont know how accurate this is) apparently Scorsese - having heard about the negative reaction from fans re: the 'actresses' - agreed that there was too much reliance on the crowd shots of the hired bimbos in the first cut, and some subsequent editing was done to lessen their presence in the final version.

We'll have to wait until we hear reviews from fans as to how accurate that was.


[Edited by Gazza]

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speedfreakjive wrote:


in my head the archive footage is probably similar to some of the archive footage in the 'Tip Of The Tongue' documentary from 4 Flicks.
Good setlist though, funny info about the 'bimbo's' being cut out

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luxury1 wrote:
Ok--now for the comments/questions--looks like Keef has let some grey back into his hair. Mick is certainly full of himself, as always, barking out answers or whatever--is he wearing a flannel shirt?? Cool pants. Dude is ageless. Ronnie looks very healthy, especially his hair, all full and shiny. Charlie is, well, Charlie, the steady backbeat--thank god. Now get back on stage....

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Jumacfly wrote:
and Look what the cat dragged in : a brand new cat on Ronnie' s head!!

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Jeep wrote:


Hi Ju ! Beware of cat !

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PartyDoll MEG wrote:
This is only one so far..just a teaser for ya, SDH!!

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gimmekeef wrote:
Keith quoted above:

'As far as I was concerned we played 3 nights at the Beacon..."

Keith buddy wake up it was only two!..lmaaaaaoooooo

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Bitch wrote:


Well KEEF's memory is a bit cloudy, but not totally wrong. They were supposed to play 3 nights at The Beacon, but the last one got cancelled suddenly. I remember that because I had a ticket for that cancelled night, and there was no make-up date. That was upsetting! But, happily I got into one of the Beacon shows, (sat with Glencar and Chevy) and I cannot wait to see how Marty puts it all together! Should be REALLY good.

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(Documentary)
A Paramount Classics release presented in association with Concert Event Prods. Intl. and Shangri-La Entertainment. Produced by Michael Cohl, Zane Weiner, Steve Bing, Victoria Pearman. Executive producers, Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood. Co-producers, Joseph Reidy, Emma Tillinger. Co-executive producer, Jane Rose. Directed by Martin Scorsese.

With: Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood, Christina Aguilera, Buddy Guy, Jack White III, Bill Clinton, Martin Scorsese.


By TODD MCCARTHY
The arc of the Rolling Stones’ evolving reputations -- from rock ‘n’ roll’s bad boys to its most beloved and resilient granddaddies -- can be traced by the most prominent guest stars in their early and late-career concert films: the Hell’s Angels in “Gimme Shelter” and former President Clinton and family in “Shine a Light.” Martin Scorsese’s energetic account of a Stones concert at Gotham’s Beacon Theater in fall 2006 takes full advantage of heavy camera coverage and top-notch sound to create an invigorating musical trip down memory lane, as well as to provoke gentle musings on the wages of aging and the passage of time. Revenue from home entertainment markets will far surpass that from limited theatrical runs, which launch in early spring after its Berlin Film Festival world preem Thursday night.

An old hand at contempo music docs dating back to his editing chores on “Woodstock,” Scorsese doesn’t attempt anything nearly as ambitious here as he did with the Band on “The Last Waltz” or with the epic Dylan piece “No Direction Home.” Other than initial glimpses of the helmer planning the shoot and fretting over not having a song list in advance, ”Shine a Light” doesn’t really bear much of the director’s imprint; it’s a proficient celebration of the band’s great songs, performing skills and durability, and perfectly enjoyable as such.

One hundred minutes of the two-hour film are devoted to the show itself -- more than 20 numbers, mostly Stones standards performed with some but not much variation on the way they’ve been played for up to 40 years or more. As the band’s concerts always have been, “Shine a Light” is mostly a Mick Jagger show, as a battery of great cinematographers (under the eye of lead d.p. Robert Richardson) keeps its cameras trained on him as he cavorts around the stage and penetrates the audience courtesy of a thrust platform; drummer Charlie Watts, guitarist Ronnie Wood and especially Keith Richards warrant occasional cutaways, as do the numerous side musicians, but the star is the star.

As he always has, Jagger puts on a terrific show. For the past two or three tours now, he’s inspired admiring comments on what great shape he’s in, about how inexhaustibly he dances and runs and, in large arenas, scampers to the furthest corners of the stages and catwalks and never seems to lose his breath. Even though the Beacon’s more constrained playing area limits his mobility somewhat, he still obviously has what it takes, in spite of a voice no longer capable of either the tenderness or the insinuation of its youth.

Sixty-three at the time of the concert, Jagger is not entirely impervious to the ravages of time, and the relentless closeup scrutiny could not be more revealing -- not only of his taut muscle tone and evidently fat-free physique, but of his deeply lined face; some low-angle shots are so tight you can examine the dark bridgework on the back of his front teeth.

The band members’ endurance gains perspective through some wonderful interspersed clips and interview footage from earlier decades. Queried as to what question he is most frequently asked, a very young Jagger replies, “How long do you think you’re going to carry on singing?” In 1972, when Dick Cavett asks the star if he could imagine doing what he does at 60, Jagger immediately replies, “Easily.” Jagger’s and Richards’ youthful drug busts are briefly covered, although any mention of Brian Jones is conveniently avoided. But for all the group’s early unsavory reputation, by far the predominant impression Jagger conveys in the archival stuff is one of overwhelming sweetness.

After chugging along nicely for an hour, pic kicks into high gear -- and pretty much remains there -- when Jagger duets with charismatic, boom-voiced bluesman Buddy Guy on a wild old Muddy Waters tune, “Champagne and Reefer.” Jagger takes a break when Richards winningly knocks off “You Got the Silver” and “Connection,” and singers Jack White III and Christina Aguilera come aboard for one duet apiece.

Scorsese doesn’t push the comparison at all, but Jagger’s hard-working British persona and his advancing years sometimes put one in mind of modest but equivalent events of yesteryear, when old-time English music hall performers would run their venerable acts out before their adoring same-age fans one more time. Jagger is hardly at such an advanced point but, notwithstanding the bodacious 20-something babes strategically lining the stage, it’s no secret that most of the audience are boomers like Clinton, who is conspicuously present celebrating his birthday with family.

Pic is dedicated to longtime music guru Ahmet Ertegun, who, at 83, took a bad fall at the recorded concert and died shortly thereafter.

Camera (Technicolor/B&W, Deluxe prints), Robert Richardson; camera operators, Mitchell Amundsen, Pat Capone, Stuart Dryburgh, David Dunlap, Bob Elswit, Chris Haarloff, Tony Jannelli, Ellen Kuras, Robert Leacock, Andrew Lesnie, Emmanuel Lubezki, Anastas Michos, Declan Quinn, Andrew Rowlands, Gerard Sava, John Toll; camera in hand, Albert Maysles; editor, David Tedeschi; art director, Star Theodos; concert set design, Mark Fisher; concert lighting design, Patrick Woodroffe; sound (DTS/SDDS/Dolby Digital), Danny Michael, Gautam Choudhury; supervising sound editors, Phil Stockton, Fredric Rosenberg; re-recording mixer, Tomo Fleischman; music mixer, Bob Clearmountain; assistant director, Joseph Reidy. Reviewed at Paramount studios, Los Angeles, Feb. 5, 2008. (In Berlin Film Festival -- opener.) MPAA Rating: PG-13. Running time: 122 MIN.

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