Video Review: Donna Lewis “I Love You Always Forever”

On a pitch black stage, lit by a spotlight, Donna Lewis stands in a white t-shirt and khakis, singing and playing with her hands. She sits cross-legged on the floor and looks at her hands and then to the ceiling. Then, she puts her hands to her chest and closes her eyes.

She leans against a plush khaki wall. She plays with her boots by putting them on both hands and knocking them together. She walks around in the room and lies down on the hardwood floor as the camera tilts backwards.

She hunches over a piano.

Back on the stage, she taps her hands on her legs to the music.

The camera angles itself to the left and backwards as she spreads her arms out on the material.

Out of focus, she tries to figure out how to play the piano.

She puts her hands over her face, covering her mouth.

She stands on various sides of the khaki room as the camera darts from side to side.

As she bends over, facing forward, the camera tilts back and forth. She begins to tap the keys on the piano. She lies down on the hardwood floor.

Sitting against khaki faux fur material, she puts her hands by her temple. Then, she stands up, putting both hands on each side of the material. She moves the material closer to her body.

The camera flips from left to right as she bends over, facing forward.

She plays with her boots again.

Back on the stage, the camera inches farther and farther away from her.

Against the faux fur, she spreads her arms out again, her face hardened. She pulls the material again, spun as though it were a spiderweb.

She leans against the plush wall as the camera flips back and forth.

Rating: 0/5

Some colors simply do not translate well on screen. The khaki washes out the video, making certain fabrics invisible or causing a harsh light against the nude color. While the look may have been popular for the time period due to The Gap, the video takes a hard-boiled stance on it and doesn’t vary the shade at all.

The constant flipping of the camera creates awkward angles, creating a kaleidoscope effect. Without any pattern to put its focus, it results in overstating the movement and highlighting the disorganization.

Texture, though, stands out. She sinks against the plush wall. She plays with the faux fur and then pulls apart its thin threads. It subverts the background setting, turning it something that can be felt instead of remaining static.

Director: Randee St. Nicholas  Year: 1996


This post contains affiliate links, which means I will receive a small commission from items purchased through them

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 and forthcoming in Daily Drunk Mag\'s Kristofia anthology.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.