Scorsese proves Rolling Stones still shine

The archival clip, from a 1972 TV interview that Mick Jagger did with Dick Cavett, is comically prophetic.

"Can you see yourself still doing this at 60?" Cavett asks, smirking as if he knows the answer.

"Oh, absolutely," Mick smirks back.

And why not? His peers may be carrying around a spare tire, thinking about IRAs and retirement villas. Cavett himself is pretty much out to pasture. But Jagger's still hypodermic-thin, still an uncoiled spring of prances, exaggerated gestures, hammy faces and endless lips.

Rock 'n' roll relics they may be, but as Martin Scorsese's new documentary "Shine a Light" proves, the Rolling Stones are still putting on a show, still punching through tours that would grind down lesser bands, sweating to the oldies every night in a way that should inspire not just awed younger acts but baby boomers.

Want proof that 60 is the new 50? Or 40? Check out Mick, Keith, Ronnie and Charlie as they give the lie to their own ancient lyric: "What a drag it is getting old."

The Stones earn the full Scorsese treatment in this playful, overlong and not really definitive concert film.

Scorsese, a manic, befuddled presence in his own movie, tries to "stage" their Clinton Foundation benefit concert at New York's Beacon Theater while the Stones are in the middle of a North American tour. Meetings consist of confused conference calls with a legendary band not the least bit star-struck by the legendary director.

Scorsese, famed in music circles for "The Last Waltz," makes his plans, brings in his cameras and cranes and plots his light effects. And whines.

"Can we find out, if it's at all possible, what they're gonna play?"

Yes, he loves that light effect, but the fact that Jagger will catch fire if he stands in front of the lights for more than 18 seconds means, alas, "We cannot burn Mick Jagger."

The playlist given to Scorsese, literally as the show begins, makes for a fun set, made up of oldies, obscurities, a couple of covers and a trio of duets — with Jack White ("Loving Cup"), a vampy Christina Aguilera ("Live With Me") and blues legend Buddy Guy (Muddy Waters' "Champagne and Reefer").

Mick goofs around with "Some Girls," wipes too much of the darkness off "Sympathy for the Devil" and enjoys himself with "Shattered," "Just My Imagination" and "As Tears Go By."

From the opening "Jumping Jack Flash" to the encores, the band is tight, and Scorsese is tight on them. Charlie Watts rolls his eyes as he peeks, turtlelike, over his drum kit.

Rhythm guitarist Ron Wood may seem like the luckiest man in showbiz, but it's pretty obvious that what lead guitarist Keith Richards says in an interview — that between them they make one great guitarist — is true.

Keith, the original Pirate of the Caribbean, keeps assorted cigarettes dangling from his lower lip (and spits one out, hilariously). He grimaces and gargles through a couple of vocal solo numbers ("Connection" is the highlight). Jagger sweats through jackets, vests and shirts.

It's as intimate, but not as "big" or as musical, as their IMAX film of many years back, "Rolling Stones to the Max." Despite snippets of vintage interviews (emphasizing their drug years), "Shine a Light" is not as revealing as some of the earlier Stones documentaries such as "Gimme Shelter," and the more infamous one with the obscene title.

But Scorsese captures the Stones at their ancient, un-ironic best, bluesy showmen who leave it all on the stage every night, never for a moment letting on that they're playing, for the 10,000th time, 40-year-old hits for an audience of their fellow sixtysomethings.

They're not old men making a spectacle of themselves. They've been a spectacle all along.