Video Review: Whitney Houston “I’m Your Baby Tonight”

Whitney Houston looks to the left with one painted her eye. She opens her other eye. Lit with a white light, she sings. As she sits by the window in her home, she watches a silhouette of a young man dancing within the curtain. While she walks, it rotates from flashes of powder blue and black-and-white. In black-and-white, the young man dances in the center of a flame in the fireplace and inside the mirror. She touches the mirror and walks inside of it.

Back in color, she performs in a lounge in 1920s in a Harlem neighborhood in New York City, New York. Wearing a white pantsuit and carrying a cane, she walks off the stage and puts her hat on a second young man’s head as he sits at the table. A young woman sits at the table and smokes a cigarette. Houston places her hand over the young man’s while he sits at a table. She disappears into the door.

In her family room, she looks into a vase with a single flower and watches the young man dance within it. Back in black-and-white, she walks into a three-way mirror. In color, she walks on stage, wearing a gown and boa around her neck. She performs with two versions of herself. The young man pours champagne into a bottle fountain. She sees him fade away as she walks backwards.

As Jo Stockton in the 1961 film, Funny Face, she dances with two young men. People watch her perform as they sit at their tables. Back in black-and-white, she dances by the three-way mirror. The previous versions of herself dance within the mirror. She hits the mirror.

Back in color, it opens to the street at night. She sits on a motorcycle and drives off. The silhouette of the young man dances within the building and walks out. He gets on the back of her motorcycle. They drive off together.

Rating: 5/5

Circa 1920, Whitney Houston talks to the young man at the table. He hands her a literary journal and asks her to read it. As she reads the poem, she realizes it was about his love for her. After her performance, she looks for him in the audience. A server informs her he had been sick and passed away.

Sometime in the 1960s, Houston asks her manager to find the young man by the champagne fountain. She has to talk to him. Her manager says no one knows of him. She reiterates she saw someone and knows who it is. He shrugs his shoulders and says it may have been someone else. She excuses herself and walks into the audience. The people tell her they love her. She thanks them for the praise and searches the young man. He wasn’t anywhere.

While driving on her motorcycle, Houston sees the silhouette of a young man. The silhouette followed her from her her home to work. It had been fascinating for her. The silhouette seemed to be familiar with her. However, she believed it was a illusion and continued about her day. The silhouette disappeared. She waited and hoped. He waves to her as he walks on the pavement and says it’s good to finally see her again. She says she thinks knows him. He says he’ll explain it to her over dinner. He says he knows of a diner in Harlem.

Director: Julien Temple Year: 1990

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 poetry has been published in the White Wall Review and 45 Magazine.