The truth is stranger than fiction, even if the auteur of said fiction was the one wildly dramatic Lady Gaga.
‘Marry The Night’ is the fifth Born This Way single and I would argue that it has probably arrived a little too late. The slamming pop song – with a chorus that literally snatches every wig prepped for Real McCoy – definitely deserved greater priority over its sister tracks ‘Hair’ and ‘Yoü and I’.
It is generally well understood that ‘Marry The Night’ is Stefani Germanotta‘s ode to New York. However, the city of which Sinatra once sang “if I can make it there, I’ll make it anywhere” harbours a dark chapter in the Gaga story.
The multi-million selling pop icon-in-waiting has made it clear at every stop that she has worked extremely fucking hard to get to where she is today. This music video is actually Gaga‘s first artistic attempt at depicting her struggles to reach the top, with a story set in that bleak period of her life when her then-unknown ass got dropped by Island Def Jam.
“I prefer to remember them in an artistic way.”
The self-directed video, spanning close to 14 minutes, is Gaga‘s longest yet most accessibly cinematic work yet. If you consider all her epics like ‘Paparazzi’, ‘Bad Romance’, ‘Born This Way’ and even ‘Yoü and I’ – the extravagance and convoluted treatment often obscures the message of the video to the point where it’s too hard for the masses to completely grasp them as anything but “another quirky Lady Gaga video”.
‘Marry The Night’ cuts straight to the heart with a clear message about picking yourself up and starting over. But that is not to say that Gaga has softened her deeply abstract edge. It’s just that she is becoming more of a communicator, not just an artist.
The understanding is that her artistic side just wants to wreak havoc on film and just leave the audience to gather up the pieces and create their own interpretation of her art. However, because ‘Marry The Night’ is such a personal interpretation of her own life story – she’s prepared to narrate it, she’s prepared to direct it, and she’s prepared to make sure her story is communicated as clearly and creatively as possible.
“It’s not that I’ve been dishonest, it’s just that I loathe reality.”
Gaga has a knack for glossing up gritty themes with a certain romanticism and razzle dazzle like no other pop star of the present generation. It’s what makes her music videos so multi-dimensional and satisfying to dissect for every analytical pop music bloggeur with an afternoon to spare.
There are basically two ways you can do reality and I sense that in a generation so exposed to dramatised and exaggerated reality-format entertainment, real reality is actually too fucking boring and confronting.
Her explanation of why she chose to remember this dark period of her life this way makes perfect sense to me. Why would you have a sanitised and fluorescent-lit hospital when you can be in a manor-like clinic with sunlight streaming in from tall windows? Why see it as you rotting in your parents’ basement when you can be in a well decorated corner apartment? Why not romantise that rejection call with a little rigeur of a French dialogue?
Gaga has shown that there is freedom in reimagining the bleak times in this fashion without compromising your truth. Her struggle and anguish will always remain in the heart of the story – she can’t change that. But what harm is there in colouring the surroundings a little couture and fantasy?
“I did what any girl would do: I did it all over again.”
This is anything but a regular music video format. In a lot of ways the ‘Marry The Night’ video plays like a chapter from Gaga‘s blockbuster biopic – the gist of the story is told in the acting scenes while the song itself is served as a complimentary soundtrack for the “transformation montage”. That’s right, bitch. It doesn’t kick in until we’re almost at the nine minute mark.
There is such hope, passion, hunger for success, and general lightness from the minute the song starts – and that’s exactly what you want people to take away from ‘Marry The Night’.
You see Gaga all cleaned up and getting herself back into the dance studio. She doesn’t immediately show up and own the class in the centre and front – no, she is placed slightly to the side and back in the beginning. Eventually with enough hard work, sweat and persistance, Gaga moves to the centre of the class and finds camaraderie in her fellow dancers. They then take their performance to the streets – the main stage if you will – and the video ends with Gaga in full blown eleganza catching a limo ride to Interscope Records, Hollywood.
Do you not see how this dance sequence parallels with her own real-life rebuilding after she was dropped?
Grab a bowl of pop corn and watch the video for ‘Marry The Night’:
Lady Gaga‘s ‘Marry The Night’ has to date reached #59 on the US Billboard Hot 100 and #18 in the UK. ‘Marry The Night’ dropped out of the ARIA Top 100 this week after momentarily peaking at #80.
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