In bold red letters Power Station is written on the screen. A lavender ball and electric blue balls ping-pong across it and land on the letter p. An animated strike of violet lightning flashes and from the line, a woman wearing headphones begins to dance.
Sketched in violet and electric blue is drummer Tony, John,and Andy. A violet heel stomps on the screen. The woman stretches out her leg, sparks around her as she claps her hands. Lighting hits her body as she dances, forming a hoop around her hip. She crouches and her body becomes a series of lines.
An animated Robert is shoved away by Tony playing the drums on stage. The animated woman dances behind him. Robert sings next to a miniature rocket. It’s replaced by a woman applying lipstick. The screen splits as John and Andy play against the Mediterrean blue background.
An animated Robert wipes the sweat off his face. Robert, in human form, sings next to an eagle statue. On stage, a spotlight shines, creating the sun. A woman stands in various spots by the orange cactus. As Tony plays, the palm tree and cactus on each side of him begin to burn. A woman lies on the stage, a hot pink cord wrapped around her leg as she uses the hair dryer. The woman stares, a few skyscrapers alongside her. She puts shaving on her arm pit and then uses the razor.
Lit in sapphire blue, Robert continues to sing next to the eagle statue, wearing a priest’s collar. Footage of an audience claps. On stage, with a plastic lion in the corner, a woman applies nail polish. The rocket in the background, a woman lifts a disc shaped lamp to her face. The woman lifts her leg as John plays. John sharpens his guitar and takes the white sheet of her body.
The animated woman finishes her dance.
The animation in the opening plays with lines and layers, creating a blurring heat. The young woman, though, is a twist on illusion. The lines manipulate the eye into thinking she’s topless.
However, the hypermasculine of the rocket and eagle statue seem to symbolize the kitschy version of the male ego. Virile and noble, a gentleman is not immune to his throbbing hormones, which includes the men who live in seminaries and conduct mass. They are all the same inside.
Women, on the other hand, have their faces highlighted with neon colors as they paint over their flaws. One tiny hair must be shaved off with the perfect stroke of shaving cream. Long hair must be dry and voluminous at all times. Nails should have color, preferably an eye-popping shade of pink.
The footage of the audience, clapping for Robert Palmer, may be the listener’s surrogate as they try to wrap their mind around the various images. The audience seems to be pointing out the humor in the priest singing the lyrics, anticipating if he will say any blatant innuendo.
Director: Peter Heath Year: 1985
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