Since its “Steel Wheels” tour in 1989, The Rolling Stones have become notorious for what many see as money-grabbing world tours. The group charges up to $450 for a ticket and parades through classic-rock warhorses like “Sympathy for the Devil,” “Start Me Up” and “Brown Sugar.”

In late 2006, the band took a break from playing arenas and stadiums for two theater shows at New York’s Beacon Theatre. The result is “Shine a Light,” directed by Martin Scorsese and named after the group’s 1972 soul tune. Scorsese rids the band of props and video screens in turn for intimacy, as the band unearths forgotten classics.

I was at the filming of the movie, having luckily scored a $28 balcony seat to the show. The mood was pure electricity, with celebrities, 18 cameras and four security checkpoints to get in. “Shine a Light” is an apt representation of that night: a blistering, often-sloppy two-hour performance.

It begins as a mini-documentary, with a high-strung Scorsese clashing with the band over the show’s logistics. He wants a set list ahead of time, and they don’t like to plan.

Bill and Hillary Clinton are also present — the first night was a celebration of Bill’s 60th birthday. One of the funniest moments comes when promoter Michael Cohl explains to tired drummer Charlie Watts that, after meeting the Clinton’s, he has to meet-and-greet the Clinton’s family and friends. Keith Richards steps in, and cackles “Hey Clinton, I’m Bushed!”

Scorsese finally receives a set list, the very moment Richards steps onstage to “Jumpin’ Jack Flash.” This is the film’s most contrived moment. It seems self-indulgent for Scorsese to include himself in the film, and he seems to be acting with lame one-liners like “We can’t burn Mick Jagger.”

“Jumpin Jack Flash” showcases the band at its best, with Watts’ driving rhythm, Keith Richards’ slashing riffs and guitarist Ronnie Wood’s superb lead work. Jagger is depicted as a true performer as he lets the music completely take over, James Brown-style.

The performance has many highlights — “She Was Hot,” a forgotten ’80s tune, is turned into a Chuck Berry-style rocker.  

“Far Away Eyes” has Jagger putting on his best Southern accent. The group’s chemistry comes alive during the number when Richards botches the words during the chorus and is immediately shot a scolding look by Jagger. All is forgiven later in the song when the two share the microphone live for the first time since 1982.  

The songs are broken up between clips of old footage. One clip shows young Jagger saying the band would go on “for at least another year.” These are amusing but could be incorporated better. It’s annoying when Richards’ blistering take on “Connection” is interrupted with old clips.

The film features three guest performers.  Jack White does a solid take on  country-gospel classic “Loving Cup,” and Christina Aguilera grinds with Jagger on “Live With Me.” These young performers are put to shame, though, when Buddy Guy steps in on Muddy Waters’ “Champagne and Reefer.” Guy forces the band to new heights, with guitars trading solo licks and Jagger blowing furious harmonica. Richards smokes a cigarette and, during a solo, spits it out.

The band later tear through stellar takes of “Satisfaction” and “Brown Sugar,” performed with the raw energy of a twentysomething punk band.

The group may have lines on their faces, but “Shine a Light” doesn’t present the Stones as old gods almost dead. It presents the band as vital elder statesmen of rock ‘n’ roll, much like the blues men who influenced them.

 

“Shine a Light” was directed by Martin Scorsese.