Standing in a roofless house, Squeeze play on a checkered floor.
Glenn stands up in a coffin and starts to play the piano. Andy, Jools and Chris pop up to play their instruments. Four doors swing open in a row. Chris plays, his body growing as he walks. The band grows various sizes as they enter a room. Someone hands Glenn a telephone. Chris answers an oversized telephone. Jools falls upward on the stairs.
Glenn’s guitar bends. Gilson takes the hands off the clock and turns them into drumsticks. The band sits on the numbers on the clock.
In the checkered room, the band plays in their underwear beside several coffins. They change into businessman and middle-aged men smoking cigars in tank tops. Gilson plays the drums under a fish sun. Jools fixes his tie in front of a bathroom mirror. He places his hands on the glass and it becomes water. Andy holds an hourglass.
An invisible person, wearing boots, walks on the checkered floor.
The bending guitars and emphasis on clocks recall Salvador Dali’s 1931 painting, The Disintegration of Persistence of Memory. However, the notable addition is the telephone. Featured in both small and oversized, they seem to indicate that communication is tangible. Whether as a detective or a middle-aged man, communication is as necessary as air (given the roofless house).
Nonetheless, time needs to be used wisely. A person can pursue music or opt to do nothing. Time is always there. It doesn’t stop. However, it’s taken for granted. People wish their days away.
Death, though, is inevitable. The band is often surrounded by coffins. At any moment, it could happen. It’s in the distance but yet close. It happens to everyone. People have to live within every moment by calling loved ones and doing what they love.
Director: Ade Edmondson Year: 1987