Shine a Light (2008)

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Overview

	Mick Jagger	...	Himself - The Rolling Stones: vocals / guitar / harmonica (also archive footage)
	Keith Richards	...	Himself - The Rolling Stones: guitar / vocals (also archive footage)
	Charlie Watts	...	Himself - The Rolling Stones: drums (also archive footage)
	Ron Wood	...	Himself - The Rolling Stones: guitar (as Ronnie Wood)
	Christina Aguilera	...	Herself
	Buddy Guy	...	Himself
	Jack White	...	Himself (as Jack White III)
	Darryl Jones	...	Himself - The Rolling Stones: bass guitar
	Chuck Leavell	...	Himself - The Rolling Stones: keyboards
	Bobby Keys	...	Himself - The Rolling Stones: saxophone
	Bernard Fowler	...	Himself - The Rolling Stones: vocals
	Lisa Fischer	...	Herself - The Rolling Stones: vocals
	Blondie Chaplin	...	Himself - The Rolling Stones: vocals
	Tim Ries	...	Himself - The Rolling Stones: saxophone / keyboards
	Kent Smith	...	Himself - The Rolling Stones: trumpet
	Michael Davis	...	Himself - The Rolling Stones: trombone
	Albert Maysles	...	Himself - Camera in Hand
resto del cast in ordine alfabetico:
	Byrdie Bell	...	Herself
	Gary Cherkassky	...	Paparazzi (as Igor Cherkassky)
	Bill Clinton	...	Himself
	Hillary Rodham Clinton	...	Herself
	Aleksander Kwasniewski	...	Himself
	Kimberly Magness	...	Herself
	Rebecca Merle	...	Red Carpet VIP
	Robert Richardson	...	Himself (as Bob Richardson)
	Martin Scorsese	...	Himself
	Michael Ciesla	...	Stagecrew (uncredited)
	Michael Gross	...	Fan at concert (uncredited)
	Jim Haggerty	...	Fan at concert (uncredited)
	Brian Jones	...	Himself (uncredited) (archive footage)
	Bruce Willis	...	Himself (uncredited) (unconfirmed)
	Bill Wyman	...	Himself (uncredited) (archive footage)

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• Paramount Classics (presents)
• Concert Productions International (in association with)
• Shangri-La Entertainment (in association with)

• 20th Century Fox Australia (2008) (Australia) (theatrical)
• 20th Century Fox Australia (2008) (New Zealand) (theatrical)
• Bazuca Films (2008) (Chile) (theatrical)
• Best Film CO (2008) (Poland) (theatrical)
• Bioscop (2008) (Czech Republic) (theatrical)
• D Productions (2008) (Turkey) (all media)
• Distribution Company (2008) (Argentina) (theatrical)
• Filmcoopi Zürich (2008) (Switzerland) (theatrical)
• Filmes Lusomundo (2008) (Portugal) (theatrical)
• Golden Scene (2008) (Hong Kong) (all media)
• Golden Village Entertainment (2008) (Singapore) (theatrical)
• Imagem Filmes (2008) (Brazil) (theatrical)
• Kinowelt Filmverleih (2008) (Germany) (theatrical) (subtitled)
• Nashe Kino (2008) (Russia) (theatrical)
• Nordisk Film Theatrical Distribution (2008) (Finland) (all media)
• Paramount Vantage (2008) (USA) (theatrical)
• RCV Film Distribution (2008) (Netherlands) (theatrical)
• RCV Home Entertainment (2008) (Netherlands) (DVD)
• Tohokushinsha Film (2008) (Japan) (theatrical)
• Tohokushinsha Film (2007) (Japan) (all media)
• Twentieth Century Fox Film Company (2008) (UK) (theatrical)
• Türk Film (2008) (Yugoslavia) (theatrical)
• United King Films (2008) (Israel) (theatrical)
• United King Films (2008) (Israel) (all media)
• Vértigo Films (2008) (Spain) (theatrical)

• Basement, The (visual effects by) (theBASEMENT)
• Syndicate (final visual effect sequence by) (as The Syndicate/Café FX)

• ABC News 20/20  courtesy of (interview with Keith Richards, Charlie Watts, 1978)
• ABC News Video Source  courtesy of (Rolling Stones press conference, 1964) (as ABC News VideoSource)
• ARRI / Camera Service Center  camera equipment and lenses (as Arri Camera Service Center)
• Abkco Films  courtesy of (Charlie Watts interview from "Charlie Is My Darling", 1966) (as ABKCO Films)
• Abkco Films  courtesy of (excerpts from "Have You Seen Your Mother, Baby, Standing In The Shadow" promotional films, 1966) (as ABKCO Films)
• Basement  title design (as theBASEMENT)
• C5  post production sound editing
• Camera Service Center  camera dollies provided by
• Canadian Broadcasting Corporation Television Archives  courtesy of (footage of Keith Richards in limousine, Toronto, Canada, 1977) (Canadian Broadcasting Corporation; TV Archive Sales)
• Cinemoves  camera cranes provided by
• City of New York Mayor's Office for Film, Theatre and Broadcasting  the producers wish to thank
• Complete Post  color correction
• Complete Post  dailies transfer
• Concert Productions International  presented by (Rolling Stones 'A Bigger Bang' World Tour)
• Daphne Productions Inc.  courtesy of (interview with Mick Jagger, New York, 1972) (as The Dick Cavett Show)
• Deluxe  prints by
• Elvis Presley Enterprises  courtesy of (the image and likeness of Elvis Presley appear)
• Fortissimo Films  international sales
• Fuji Television Network  courtesy of (interview with Mick Jagger, Japan, June 18, 1983)
• Granada Television  courtesy of (Keith Richards press conference, 1977; Michael Parkinson interview with Mick Jagger, March 1, 1965; World In Action interview with Mick Jagger, July 31, 1967) (as Granada)
• Grant Wilfley Casting  background casting (as Grant Wilfey Casting)
• ITN Source  courtesy of (Keith Richards press conference, 1977; Michael Parkinson interview with Mick Jagger, March 1, 1965; World In Action interview with Mick Jagger, July 31, 1967)
• Institut National de l'Audiovisuel (INA)  courtesy of ("Arrivée des Rolling Stones à Orly" April 10, 1967 - Journalist: Jérôme Camilly) (as Ina - Institut national de l'Audiovisuel)
• Institut National de l'Audiovisuel (INA)  courtesy of ("Rolling Stones: les jumeaux impossibles" June 18, 1990 - Director: Dominique Colonna) (as Ina - Institut national de l'Audiovisuel)
• International Alliance of Theatrical Stage Employees (IATSE)  this picture made under the jurisdiction of (as I.A.T.S.E.)
• Interscope Records  soundtrack
• MTV News and Docs  courtesy of (Interview with Mick Jagger, Paris, 1982) (as MTV's "MTV News" used with permission by MTV ©1982 MTV Networks. All Rights Reserved. MTV, all related titles, characters and logoas are trademarks owned by MTV Networks, a division of Viacom International Inc.)
• Me, Myself & Eye Entertainment AG (MME)  courtesy of (interview with Mick Jagger, May 17, 1990. All Rights reserved.) (as MME Me, Myself & Eye Entertainment GmbH)
• Mix This  concert mixed at (as Mix This! Studios)
• Musidor B.V.  trademark owned by ("Rolling Stones" and Tongue and Lip design)
• New York Police Department Motion Picture Unit  the producers wish to thank (as NYPD, MOFT unit)
• New York State Governor's Office for Motion Picture & Television Development  the producers wish to thank
• Panavision  camera equipment and lenses
• People of New York, The  the producers wish to thank (as The People of the City of New York)
• R.C. Baral & Co.  post-production accounting
• RCA Records  courtesy of (Christina Aguilera appears)
• RST Concerts  copyright owner (Rolling Stones 'A Bigger Bang' World Tour, Copyright©2006, All Rights Reserved)
• Reelin in the Years Productions  courtesy of (interview with Mick Jagger, Denmark, October 4, 1973)
• Reelin in the Years Productions  licensed exclusively by (Rolling Stones press conference, Australia, 1973) (as Reelin' In The Years Productions L.L.C.)
• STV  courtesy of (Chris Evans interview with Keith Richards and Ronnie Woods from "Chris Evans Meets The Rolling Stones" May 6, 1999) (as stv)
• Sony BMG Music Entertainment  by arrangement with (Christina Aguilera appears)
• Soundtrack F/T  sound post-production
• Sveriges Television (SVT)  courtesy of (interview with Mick Jagger, Denmark, October 4, 1973) (as SVT)
• Technicolor Creative Services  digital intermediate services
• Technicolor Creative Services  digital scanning and film recording
• Technicolor Digital Intermediates  digital intermediate by
• Todd-AO Hollywood  adr facility
• Zomba Label Group  courtesy of (Buddy Guy appears)

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Additional Details

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2 out of 3 people found the following comment useful:-

Coasting., 29 July 2008

Author: theskulI42 da Denver, CO

"We cannot burn Mick Jagger. Very simple." My main problem with concert films is that film, being an inherently visual medium, means that you assume what you're going to be presented with something that needs to be SEEN as well as heard, as opposed to other cultural mediums like music or painting, and invariably, most concert documentaries are simply that: concert, and most concerts are just some folks standing on a stage playing music. Occasionally you'll get someone with a strong visually sensibility, but mostly, it's just dudes (and sometimes chicks) onstage.

For a concert documentary to work for me, there has to be some outside, extenuating circumstances, something that raises its visibility higher than 'just another concert movie'. One that succeeded was the Maysles Brothers' document on the Rolling Stones ill-fated free Altamont concert, Gimme Shelter, because it had very little to do with the music. The film looked at the struggle to put the concert on, the disastrous idea to make Hell's Angels concert security, and the fact that a drugged-up black man with a girl's name got stabbed to death in the crowd. That sort of thing made it more than just another concert movie. Shine a Light, despite the presence of Martin Scorsese and a LOT of cameras that are moving and shifting unceasingly, is just another concert movie.

Scorsese as music director, has done it twice, once with the "just a concert movie" Last Waltz, which is mostly performance, and mostly blah, and the engrossing and captivating No Direction Home: Bob Dylan, which is no performance, and all awesome. This has HD and a lot of swooping cameras, but better The Last Waltz it does not.

The music, as expected, is great. It may not succeed as a film, but the music is as great as you could hope. Special guests Jack White, Christina Aguilera and especially the always and absolute boss Buddy Guy (who looks amusingly stoned) are nice diversions, but the Stones own the stage like few bands before or after them, and they have a cohesive, almost telepathic unity on stage. Compare the sound here to the sound of them in their commercial prime, Get Your Ya-Yas Out, and you'll hear the difference. They have lived these notes for nearly half a century, and they know every fiber of it, although they clean up their lines a bit too much for me, to the point that it felt a bit like they were putting on a happy face for the nice folks, for the big people, which seems a bit disappointing.

There is occasionally breaks in the action for historical, archival footage chronicling the Stones at different points in their career, but most of it is superfluous at best, mostly clips of the band putting a timeframe on live performance, serving as a trite yuk-yuk counterpoint to the fact that they're old men and still playing. The only time the film really came together for me and involved me, just as in Woodstock, was the construction, the pre-planning, the madness beforehand. The group standing around and chatting, meeting the Clintons, Scorses and his team freaking out, putting stuff together, and providing the quote that heads this review.

All in all, after the opening salvo, it's pretty much exactly what every other concert movie is good for: putting on and playing really loud while you're cleaning your house, because it'll give you the energy you won't get from a regular studio recording. But "background noise while you scrub the bathroom" is not much of a compliment for a film, and being put on trial for what it really is, it gets the score it deserves.

{Grade: 6.25/10 (HI-C+) / #2 (of 3) documentaries of 2008}

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