We start out with the sun rising over a city skyline, then we drop down near a brick building where someone has drawn that same scene on the wall. Then the drawing comes to life, with colors oozing out, dripping down, and traveling across the ground to a pillar, where we find lead singer Chris leaning against it and belting the song. That was kind of cool, I’m good with things so far.
The colors turn into letters on the walls and floor, which spell out the lyrics in that weird stop-motion way they had in old Sinbad movies where people killed giant, mean animals, which is probably not where the producers meant for me to go. The time-lapse thing also makes Chris look like he’s having a small but continuous seizure, another concept that probably wasn’t in the script vision. It’s very, very busy.
This goes on for a while, and probably took about three years to shoot, with Chris wandering all over the place and trying to remember exactly where he was standing as they stop and add another letter to a wall or pillar. It’s very bright and colorful, in a primary-school manner that was probably designed by little Apple. (Well, I’m assuming that Apple is still little. Just how long has it been since Gwyneth gave birth to produce?)
No surprise, this keeps going on for a while, with aggressive colors and letters invading the entire old building. They finally bring out the rest of the band members, which does add an element of newness, but we’re still basically seeing the same thing with the stop-motion, some unseen artist running out to add another splash of yellow, then the cameras starting up again with people an inch or so out of place, just enough to make you wonder if the oysters you had for lunch were a little off.
Just as I’m starting to think that I’m really not psychologically prepared for all this constant jerkiness, Chris turns and dashes into an open doorway, which magically leads to what might be a nightclub. It’s hard to tell, because now the annoyance factor has turned to somebody screwing around with flashing blacklights, but at least we now have something of a proper stage, with the rest of the band banging away.
We also have day-glo paint. Everywhere. An explosion of symbols and such all over the walls and whatever else they could reach with a paintbrush. Which makes the person flipping the black-lights on and off even more worthy of a harsh prison sentence, since your mind slightly fries every time the lights flash on. But Chris doesn’t seem to mind.
In fact, he seems to be energized by the new set, bopping and bouncing while he continues to wail. How nice for him. Then he gets tired of that, and we’re back outside for some more stop-motion mess, this time making Chris travel all over the grounds without actually moving his feet. Based on the smirky grin on his face, I’m assuming this was his favorite part of the production.
Then we’re back in the day-glo disco, probably because they hired the black-light switch-flipper for the whole day and they might as well get their money’s worth. Chris bounces some more, the band keeps things percussive and upbeat, and the cameraman shows us 512 different angles of the same stage.
Back outside again, with the whole band this time, and more splatters and dribbles of paint. We also have the exciting introduction of stop-motion paint being thrown on the side of the building, all four or five stories of it. (I’m guessing this structure has been earmarked for demolition. Otherwise, somebody has some serious explaining to do.)
And that’s about it. We now have a long montage of all the previous scenes, with the day-glo and the lettering and the mind-of-it’s-own paint which has now taken on a slightly-demonic cachet and could possibly star in a slasher movie. (Rainbows of Death!) We wind down with the band members slowly disappearing from the jam session, until we just have the drummer, appropriate for how the song ends. Then he abruptly vanishes as well.
Please exit the ride on your left side. Thank you.
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