Lit in powder blue, the fans clap in the stadium as George Michael stands with his hands behind his back.
In black-and-white, he sings is in a close-up and then changes to color as he dances from left to right across the screen.
The lights flash an electric blue. On stage, he belts out the note as the fans cheer. He dances, holding the microphone in the air and placing the other hand on his hip. He holds the microphone to the audience and pumps his fist as they sing along. He puts his hands over his head, forming an X as he dances.
He waves his arm and then spins. He runs to the right of the stage and then the left.
The black-and-white close-ups and Michael dancing in color are rotated.
He points his arm to the right. He jumps back to the center of the stage. After completing a song, he lets his jacket fall to his shoulders. He dances with his back to the audience. A background singer comes up on stage and they sing to each other. The guitarist begins to dance with him.
Michael steps backward and then forward as he dances. He runs to the right of the stage. As the stage turns electric blue, he kneels on the floor and slaps the ground. He dances toward the front row but keeps a distance. He points his microphone towards the audience, encouraging them to sing along. Then, he follows his guitarist around.
He claps to the music and then spots the background singer. He gets close to her and touches her body. Next, he runs to the left of the stage and then to the right, his arms pumping. The entire stadium is packed with fans.
Studious and athletic, George Michael keeps the energy going throughout the concert. He dances and claps his hands. He gets the audience involved, getting them to sing along. As a performer, he views it as his job to pay attention to the crowd. If they become listless or seem bored, he’ll dance. He is certain to visit both ends of the stage. The people off to the sides see a dot and do not get the opportunity to see up close like the people in the center rows.
He also maintains a safe distance. On stage, he dances a foot away from fans but far enough for them not to touch him. As part of the choreography, he has to run his hands on the background singer’s body. He does it quick and brushes his hand as though he were removing lint.
The intercut scenes of Michael dancing on stage, both in black-and-white and color, connects to the choreography on stage, providing continuity to the movement. It breaks up the scenes some, sustaining the tireless energy on stage and off.
Director: Andy Morahan Year: 1988
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