This year the news was released that Mike Jagger would return to the cinema with The Burnt Orange Heresy, a film that has already been shown in Venice and whose trailer was released during the first quarter of this year. To celebrate this news and also the 77th birthday of Rolling Stone, we will briefly review the fleeting romance that the British has had with the seventh art.

Although the younger generations remember him mainly for his music and his work as a producer in conjunction with Martin Scorsese for series like Vinyl on HBO, the reality is that since the 1960s, Jagger has appeared in different audiovisuals in addition to their music video clips.

Here are 5 Mick Jagger moments in the cinema.

Performance (Dir. Donald Cammell and Nicolas Roeg, 1970)

It is the artist’s first approach to the world of cinema. His rock star status positioned him as the ideal choice to play in this film a rock star who leads a life full of excesses, at the same time as he manages a guest house where a gangster wanted by justice arrives.

It was a controversial film because legend has it that director Donald Cammell encouraged the cast of the film to take real drugs and become sexually involved to achieve the ideal atmosphere for the film. In fact, Keith Richards was enraged by the sex scenes his then-girlfriend Anita Pallenberg had with Jagger, to the point that he refused to perform the song the Rolling Stones recorded for the film.

Ned Kelly (Dir. Tony Richardson, 1970)

This film tells the true story of an Irish immigrant in Australia who is forced to become one of the most notorious criminals on the road, for an injustice committed against his family. Jagger shot this movie immediately after Performance. Unlike that one, here he received the leading role and although the film was not particularly liked by the critics, it was for the audience.

Jagger used a prosthetic beard to become the notorious criminal and during the filming he wrote the song « Brown Sugar » that later became part of the Rolling Stones Sticky Finger album. It is also known that due to the filming of this movie, the band was unable to participate in one of the Woodstock festivals.

Fitzcarraldo (Dir. Werner Herzog, 1972)

This was a particular case for the rock star and also one of the most regrettable. Despite the fact that Jagger had the opportunity to work for the legendary director Werner Herzog, his participation in the film was finally cut from the final cut of the film and much of the material already filmed from the destroyed singer because it is said that the director never used to keep unused material.

Fitzcarraldo was a film that underwent many changes and the most significant was the departure of actor Jason Robards who was the initial protagonist of the film and whose character had an assistant who was played by Jagger. Both characters had to be removed and Herzog once expressed that cutting Jagger was one of the biggest losses he had as a director. He remains a curiosity in the passing of the rolling stone through the cinema and there is only a minute of footage of his participation in that film.

Freejack (Dir. Geoff Murphy, 1992)

Mick Jagger shared film credits with Anthony Hopkins in this high-budget, sci-fi film that brought the singer back to the big screen after long years of absence from the medium. Although the film was a failure with critics and audiences, it is worth remembering for the character the artist played here.

It was a mercenary in charge of kidnapping people in the past and then taking them to 2009 and trafficking them as willing vessels to receive the minds of billionaires in agony. The movie was so bad that almost everyone involved regretted being in it. Jagger once stated that the role was offered to him a week before filming began and he agreed only by listening to the plot, but that if he had had more time to read the script in its entirety, it would probably have declined.

Shine a Light (Dir. Martin Scorsese, 2008)

Although it is not a fictional work in form, this documentary focused on the Rolling Stones is important in Mick Jagger’s relationship with cinema, especially because of his collaboration with director Martin Scorsese, a relationship that yielded fruits for future projects.

It was a documentary and concert that opened the Berlin Film Festival prior to its theatrical release. At first Mick Jagger wanted the concert to be filmed for this documentary to take place on the beaches of Rio de Janeiro and Martin Scorsese weighed the option even thinking about filming in IMAX 3D. However, in the end the filmmaker considered that a closed place with greater control would be more appropriate to fully exploit the energy of the band and all the images that could be extracted from it.

cinema martin scorsese Mick Jagger Rolling Stone