Ricky Martin, wearing a white shirt and sequined striped pants, sings at a concert. A dozen screens are behind him. To the left and right, speakers overhead thump In the lower corner, a woman in a silver, fringed dress dances. Martin steps on tops of a taxi in the middle of a traffic jam and raises his arms.
A woman, lit in a sunrise gold, dances by her bedroom window. The city whirs by in a blur while Martin, dressed in a suit, hangs onto the hand rails attached to the door on the bus. In another screen, he descends onto the stage.
Underneath the steamy sun, he waves his arms back and forth in the desert. He walks to the center of the stage. A woman in a wool coat and hat sits on top of a mountain. The female dancers , all wearing the same silver fringed dress, continue the routine in their screens.
A live camera appears, capturing Martin’s swinging hips. Two women in green catsuits are lowered to the stage. Martin, wearing a t-shirt and jeans, sings from his apartment window. Martin stands on top of the city, dancing. He drops the microphone and walks back. A woman, wearing a blue shirt and plaid pants, joins him. The woman dances by herself as the city whizzes by. He dances as he elevated to the top of the stage.
The visualizations at a Ricky Martin concert become three-dimensional, as female dancers perform on their own screens in an asymmetrical layout. However, none of them are intended to stand out. The fringe on their dresses and the movement of their hips, though, are there to punctuate the lyrics.
Martin, in his solo visualizations, can entice people to get out their cars and dance while in a traffic jam. Time seems to pause as he hangs onto to a bus while it speeds through the city. He becomes superhuman as he shakes his body on top of the neon lights.
On stage, though, he is an affable performer, wanting to please his fans by moving his body. However, he sticks to the microphone and keeps a professional distance from the female dancers. With his broad and effervescent grin, he is able to let every fan know they are special to him.
Director: Wayne Isham Year: 1999