Chrissie Clayton
Acrobat
This is from atu2.com:
Enjoy
U2 are many things, but I don't believe they have ever claimed to be makers of Great Video Art. That's perfectly all right; videos are just commercials for songs and were not seen as an integral part of a rock band's job before the advent of MTV. Why should anyone who works in such an auditory form as rock'n'roll be assumed to have any skill with visual presentations?
My main criteria for judging the quality of videos is whether or not I can envision a better one to go with the song. Thus, though "Where the Streets Have No Name" is interesting and fun, there is so much potential to do something more with the song than just film straight performance (even in an unusual location) that this one didn't make the cut.
I tend to believe U2 makes their best videos with directors whom they have known for a long time and who understand them well. As a result you may notice that although this list contains 10 videos, only four directors are represented.
1. Numb (director: Kevin Godley)
By far the cleverest concept and the most elegant execution. You don't generally get a lot of time to get across your message during a song; directors tend to forget this and try to film overcomplicated plots (see video for "Elevation"). The plot of "Numb" can be summed up in eight words: "Weird things happen to Edge in a chair."
Also, it makes use of an underutilized resource at U2's disposal: Edge's gift for physical comedy. He comes across here like a silent film star, like Buster Keaton, persecuted by the world.
2. Sweetest Thing (director: Kevin Godley)
You don't need to know a lot about U2 to find "Numb" funny. "Sweetest Thing," on the other hand, is an in-joke fest for U2 trainspotters. It is ideally suited to the Internet era of fandom; those who knew the significance of the marching band, the big puppet Bono and Edge heads, the boxer, etc. shared their knowledge with any who missed the references.
Like "Numb," the plot is simple ("Bono uses everything within his considerable means to apologize to his wife") and so is the setting-the camera stays focused on Bono who never leaves his carriage seat. Not calling attention to the other elements of the scene enhances their humor-for instance, the "I'M REALLY SORRY" banner appears without comment and then retreats into the background. Unlike "Numb" there is a wide field of vision, allowing the jokes to have a cumulative effect-the "I'M REALLY SORRY" banner is still visible when the "I'M REALLY, REALLY SORRY" banner appears.
3. Hold Me, Thrill Me, Kiss Me, Kill Me (director: Kevin Godley)
Few videos make use of animation. Perhaps directors are afraid it would seem like a gimmick. But animation works so well with this video it's hard to imagine how the song could be better illustrated. The comic book style is of course a homage to the origins of the characters in Batman Forever, but Bono's Fly and MacPhisto characters seem at home in this vividly colored universe. We want our rock stars to be something like superheroes, anyway; presenting U2's recent history in cartoon form, with blank-eyed Joshua-Tree-Bono escaping from his foes with special black goggles, makes a kind of weird sense. It allows the band, and the characters they've invented, to play out their larger-than-life roles without the distraction of being real people.
4. Stay (director: Wim Wenders)
When a video does have a storyline not tied to the band's own history, and the band appears in the video, it's a good idea to make the characters musicians. That's what's clever about "Stay." Wim Wenders has made the members of U2 angels, but they're musician angels, so the acting isn't a stretch.
Few bands are in the position where they can have their video directed by the man who directed the movie the song was based on. U2 are in this position. The result is a video with unusually high production values and an already established visual code (those men with ponytails and long black coats are angels; bits filmed in black and white are what the angels see, color is from the humans' perspective; when an angel jumps he is becoming human). And the main conceit of the video is an attractive one: you have to wonder how many female-fronted garage bands have continued to plug away at their craft, motivated by the thought of unseen U2 angels hovering near.
5. All I Want Is You (director: Meiert Avis)
Most U2 videos star U2. This is not an unusual tactic. When, however, you see videos by bands who don't star in them (a policy adopted by REM in their early days), you see a wider field of possibilities for plotlines and settings. "All I Want Is You" is U2's attempt to go further afield, to make "art," even a mini-movie. Again, the production values are high-the images are sharp and the whole experience is like sitting in a European cinema. Few videos would ever make the pathos of unobtainable love their subject matter or handle it with such respect for the characters. And few U2 videos would ever generate so much controversy-from one end of fandom to the other the cry has gone up: "So who dies at the end?"
6. Even Better Than the Real Thing (director: Kevin Godley)
This is a tour de force, plain and simple. I can imagine the band's one directive to Kevin Godley was "Blow people's minds." Either the constant spinning will give you nausea or the "anything is possible" spirit will exhilarate you-or possibly both. It functions better as a statement of intent for ZooTV than the first video, "The Fly," which is muddy and dark by comparison. Setting some of the scenes in Madame Tussaud's Rock Circus among wax models of Prince and Johnny Rotten (each better than their real counterparts?) proved a prophetic touch, as now a wax Fly resides there as well.
7. One (director: Phil Joanou)
The moody Anton Corbijn-directed video for this song has its merits, not least of which is the opportunity to see whether the members of U2 would be good-looking girls (unsurprisingly, only Larry passes that test). Sometimes, though, in making judgment calls, you have to take into account the popularity of a video, and judging from the number of still shots of Phil Joanou's version that appear on various websites, this is a very popular video. In fact, U2 may well realize one of these days that in order to make it onto MTV's most requested lists, all their videos should consist exclusively of shots of Bono staring smolderingly into the camera.
8. Stuck in a Moment (European version; director: Kevin Godley)
I said earlier that it's best to keep video concepts simple. Even better, when done well, is a simple concept presented in a complex way. "Bono is pulled into a van and later thrown out; the other members of U2 try to reach him but can't get across a busy street; Edge gets to him and helps him up." That's how this video might be explained in linear narrative form, but the video is never so straightforward. It continually folds back on itself. The ending moments of Edge reaching out his hand appear at the beginning; Edge, Adam and Larry are shown trying to cross the street before Bono is shown being tossed from the van. Strangest still is that Bono is being snatched, and Adam and Larry are beginning to chase the culprit's van, at the same time Edge is discovering Bono lying in the street. All this, plus alternating night and day, right-side-up and upside-down sequences, conjures in the viewer the disorientation of being stuck in time.
9. With or Without You (director: Meiert Avis)
Try to imagine not knowing anything about U2; watch this video as though you are seeing it for the first time. Don't you get a sense there's something not quite right here? It's unusual for any band to put something out that makes their lead singer look like a psychopath. More unusual still is for the characterization to seem true. This video is notable for layering of images-storms, rising water and trees whipped around in the wind appear over the band. A similar technique is used in the video to "The Unforgettable Fire," but here the effect is more subtle and integrated. Also well done (and adding to the "Bono is a psychopath" vibe) is the contrast of bright light and deep shadow.
10. New Year's Day (director: Meiert Avis)
1983 was a long time ago, video-technology-wise. Directors and bands were just learning what was possible with this medium. Singers were just learning how to lip-synch. Meiert Avis goes for an uncluttered look here-horses, snow and band members; a few shots of the sun shining through the trees. As a result this video does not feel as dated as others of this era, although the graphic of piano keys has not aged as well.
Enjoy
U2 are many things, but I don't believe they have ever claimed to be makers of Great Video Art. That's perfectly all right; videos are just commercials for songs and were not seen as an integral part of a rock band's job before the advent of MTV. Why should anyone who works in such an auditory form as rock'n'roll be assumed to have any skill with visual presentations?
My main criteria for judging the quality of videos is whether or not I can envision a better one to go with the song. Thus, though "Where the Streets Have No Name" is interesting and fun, there is so much potential to do something more with the song than just film straight performance (even in an unusual location) that this one didn't make the cut.
I tend to believe U2 makes their best videos with directors whom they have known for a long time and who understand them well. As a result you may notice that although this list contains 10 videos, only four directors are represented.
1. Numb (director: Kevin Godley)
By far the cleverest concept and the most elegant execution. You don't generally get a lot of time to get across your message during a song; directors tend to forget this and try to film overcomplicated plots (see video for "Elevation"). The plot of "Numb" can be summed up in eight words: "Weird things happen to Edge in a chair."
Also, it makes use of an underutilized resource at U2's disposal: Edge's gift for physical comedy. He comes across here like a silent film star, like Buster Keaton, persecuted by the world.
2. Sweetest Thing (director: Kevin Godley)
You don't need to know a lot about U2 to find "Numb" funny. "Sweetest Thing," on the other hand, is an in-joke fest for U2 trainspotters. It is ideally suited to the Internet era of fandom; those who knew the significance of the marching band, the big puppet Bono and Edge heads, the boxer, etc. shared their knowledge with any who missed the references.
Like "Numb," the plot is simple ("Bono uses everything within his considerable means to apologize to his wife") and so is the setting-the camera stays focused on Bono who never leaves his carriage seat. Not calling attention to the other elements of the scene enhances their humor-for instance, the "I'M REALLY SORRY" banner appears without comment and then retreats into the background. Unlike "Numb" there is a wide field of vision, allowing the jokes to have a cumulative effect-the "I'M REALLY SORRY" banner is still visible when the "I'M REALLY, REALLY SORRY" banner appears.
3. Hold Me, Thrill Me, Kiss Me, Kill Me (director: Kevin Godley)
Few videos make use of animation. Perhaps directors are afraid it would seem like a gimmick. But animation works so well with this video it's hard to imagine how the song could be better illustrated. The comic book style is of course a homage to the origins of the characters in Batman Forever, but Bono's Fly and MacPhisto characters seem at home in this vividly colored universe. We want our rock stars to be something like superheroes, anyway; presenting U2's recent history in cartoon form, with blank-eyed Joshua-Tree-Bono escaping from his foes with special black goggles, makes a kind of weird sense. It allows the band, and the characters they've invented, to play out their larger-than-life roles without the distraction of being real people.
4. Stay (director: Wim Wenders)
When a video does have a storyline not tied to the band's own history, and the band appears in the video, it's a good idea to make the characters musicians. That's what's clever about "Stay." Wim Wenders has made the members of U2 angels, but they're musician angels, so the acting isn't a stretch.
Few bands are in the position where they can have their video directed by the man who directed the movie the song was based on. U2 are in this position. The result is a video with unusually high production values and an already established visual code (those men with ponytails and long black coats are angels; bits filmed in black and white are what the angels see, color is from the humans' perspective; when an angel jumps he is becoming human). And the main conceit of the video is an attractive one: you have to wonder how many female-fronted garage bands have continued to plug away at their craft, motivated by the thought of unseen U2 angels hovering near.
5. All I Want Is You (director: Meiert Avis)
Most U2 videos star U2. This is not an unusual tactic. When, however, you see videos by bands who don't star in them (a policy adopted by REM in their early days), you see a wider field of possibilities for plotlines and settings. "All I Want Is You" is U2's attempt to go further afield, to make "art," even a mini-movie. Again, the production values are high-the images are sharp and the whole experience is like sitting in a European cinema. Few videos would ever make the pathos of unobtainable love their subject matter or handle it with such respect for the characters. And few U2 videos would ever generate so much controversy-from one end of fandom to the other the cry has gone up: "So who dies at the end?"
6. Even Better Than the Real Thing (director: Kevin Godley)
This is a tour de force, plain and simple. I can imagine the band's one directive to Kevin Godley was "Blow people's minds." Either the constant spinning will give you nausea or the "anything is possible" spirit will exhilarate you-or possibly both. It functions better as a statement of intent for ZooTV than the first video, "The Fly," which is muddy and dark by comparison. Setting some of the scenes in Madame Tussaud's Rock Circus among wax models of Prince and Johnny Rotten (each better than their real counterparts?) proved a prophetic touch, as now a wax Fly resides there as well.
7. One (director: Phil Joanou)
The moody Anton Corbijn-directed video for this song has its merits, not least of which is the opportunity to see whether the members of U2 would be good-looking girls (unsurprisingly, only Larry passes that test). Sometimes, though, in making judgment calls, you have to take into account the popularity of a video, and judging from the number of still shots of Phil Joanou's version that appear on various websites, this is a very popular video. In fact, U2 may well realize one of these days that in order to make it onto MTV's most requested lists, all their videos should consist exclusively of shots of Bono staring smolderingly into the camera.
8. Stuck in a Moment (European version; director: Kevin Godley)
I said earlier that it's best to keep video concepts simple. Even better, when done well, is a simple concept presented in a complex way. "Bono is pulled into a van and later thrown out; the other members of U2 try to reach him but can't get across a busy street; Edge gets to him and helps him up." That's how this video might be explained in linear narrative form, but the video is never so straightforward. It continually folds back on itself. The ending moments of Edge reaching out his hand appear at the beginning; Edge, Adam and Larry are shown trying to cross the street before Bono is shown being tossed from the van. Strangest still is that Bono is being snatched, and Adam and Larry are beginning to chase the culprit's van, at the same time Edge is discovering Bono lying in the street. All this, plus alternating night and day, right-side-up and upside-down sequences, conjures in the viewer the disorientation of being stuck in time.
9. With or Without You (director: Meiert Avis)
Try to imagine not knowing anything about U2; watch this video as though you are seeing it for the first time. Don't you get a sense there's something not quite right here? It's unusual for any band to put something out that makes their lead singer look like a psychopath. More unusual still is for the characterization to seem true. This video is notable for layering of images-storms, rising water and trees whipped around in the wind appear over the band. A similar technique is used in the video to "The Unforgettable Fire," but here the effect is more subtle and integrated. Also well done (and adding to the "Bono is a psychopath" vibe) is the contrast of bright light and deep shadow.
10. New Year's Day (director: Meiert Avis)
1983 was a long time ago, video-technology-wise. Directors and bands were just learning what was possible with this medium. Singers were just learning how to lip-synch. Meiert Avis goes for an uncluttered look here-horses, snow and band members; a few shots of the sun shining through the trees. As a result this video does not feel as dated as others of this era, although the graphic of piano keys has not aged as well.
Well it looks like they went by directing and stuff and not the hotness level
