Video Review: Gwen Stefani “Baby Don’t Lie”

In black-and-white, Gwen Stefani turns towards the camera and poses with her arms out, as though she is pointing out an object on display.

In various colors of neon, the lyrics swarm her and she lands on a mustard yellow road as an indigo-banana colored tornado continues behind her. Checkered prints  lines up as she wakes up, with a teal aura around her. She watches the lyrics swirl above her.

She walks the mustard yellow road as the checkered pattern becomes distorted. The sky changes around, it’s overabundance of red and purple bubbling. As she walks, the teal aura emits from her as she moves her arms. Then, her image splits into three’s and four’s as she moves sideways.

Lyrics swirl again as he face becomes a splotchy red. A silhouette, lit in a sunny yellow, bends as she passes it along the way. Half-checked, half-sunny yellow silhouettes are patched together in the background. Some are fully sunny yellow. She checks her phone, where neon fuzzy objects dance on her screen. She slides the picture.

The image becomes distorted again as shards of silver glass are on screen. The objects – a checkered person with stilts for legs. a crystallized person with blocked joints and a fuzzy Koosh ball figure dance. The Koosh ball figure changes color.  Painted dancers  (using rotoscope) then join her.

Claustrophobic swirls of teal and black-and-white are curved to the screen as she walks. Dancers bob in and out, outlined in yellow and purple. Her face is superimposed on the screen.

Fuzzy swirls unfurl behind her, prickling the dancers. In a distorted street, highlighted with hot pink and gray, she and the dancers continue to perform.

Pavement, painted yellow, with a spliced checkered background fill the screen. The people multiply by the dozens.

In the tunnel, the dancers appear, the headlights of two cars burning to provide the light as they dance.

Then the color explosion occurs again. This time, in a rose red and hot pink.

It returns the tunnel again, without any animation.

The objects from her phone show up again and then its back to the tunnel.

The video rewinds itself to the beginning. The opening repeats in color.

Rating: 0/5

A brainstorming session of what sort of animation should occur is not a video. Somehow, the video sails past reason, believing it is the curator of a highly stylized dream that people will view on the par of Jackson Pollock.

Since most of the animation is coated in layers and layers of visual effects, no single image is able to maintain interest and hold. It has sped by the screen before it can be viewed.

The objects, which dance with Stefani, remain as the sole highlight due to the amount of time they are displayed on screen. The shapes are manipulated to move in a specific way, individual to what they are. The Koosh ball figure is a fuzzy, calm monster who moves in a sloven fashion while the stilted checkered figure is more dexterous.

The video finds some balance when it switches to the tunnel at the end. By seeing the actual tunnel, a glimpse is seen as to how the pattern was formed and the thinking was perhaps to brighten up an otherwise drab space. Unfortunately, it drowns in too much color, making it unrecognizable where she could be.

Directors: Sophie Muller and Weirdcore Year: 2014

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Pam Avoledo Administrator
Pam Avoledo spends her time binge-watching classic teen dramas and stands firm in her pro-Leyton stance. She also received her journalism degree in 2006 from Oakland University. Her work has been published in the White Wall Review, Sledgehammer Lit ,Greatest City Collective, 45 Magazine ,Fevers of the Mind, Daily Drunk Mag\'s Kirstofia anthology. and forthcoming in Scrawl Place

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