Mademoiselle Juliette video

[fsquared]

Interesting...for someone who wanted to have her own sound and kind of have a clean break, she's sure tossing in constant allusions to her past....

[Roman]

Originally Posted by Deepwaters

I don't believe that the woman in the black mask is Alizée. Or Juliette. In the opening scene, she's the one who comes out on the balcony and pulls Juliette into the mansion and away from Romeo. I think she's a figure representing Death, or maybe Tragedy. Or maybe, despite the gender-bending, she's supposed to be Shakespeare, or Shakespeare's muse. So I don't think this is a transformation, Juliette deciding to go all black (Montague). Nor do I think either that Juliet from the play would make that choice (she and Romeo wanted to elope and get away from both families and their craziness), or that that is the message of the song.

Tastes vary. I like the arm movements and the dance. I like this dancing by Alizée better than JEAM or JPVA, not so much because the dance itself is better as because it's obvious Alizée's dancing has improved; she could probably do those older dances better than before, too.

Interesting suggestions about the references to the earlier albums in the goodie-snatching and the bath, I missed that.

Ok, this is getting a bit ridiculous trying to keep up with and post the same stuff in two forums/web sites. Anyway, I didn't read through this thread, did anyone notice that the figure next to the candy dish is tinkerbell?
I totally agree that I don't think there's supposed to be the perception that Alizée and the hooded figure are the same and the tat is definitely differnt. As for whether she can do the earlier dances better now, you may be right about her input on choreographing, but I saw some pretty flawless performances before.

Originally Posted by fsquared

Interesting...for someone who wanted to have her own sound and kind of have a clean break, she's sure tossing in constant allusions to her past....

When did she ever say she wanted a clean break? She said she wants to do things that are more her. As for references: I expect that more on her first video. Maybe not as much in videos to come.

[Brianh]

Just a thought nothing solid here, but what if the whole pink and black thing is a personal struggle for Alizee the pink being the young Alizee and the black being the more Mature grown up Alizee. Just a passing thought, what do ya guys and girls think

[Solaris]

So guys, whats going on........WHAT!? The MJ VID is OUT! I really liked the video but since the song itself is short they really could not have done a whole lot. But I found it rather cool in an OMG thats different sorta way. All your guys takes on the video could very well be true but hopefully since Jean will talk about the song MJ maybe he will mention the vid..who knows.

[nurvonic]

im glad that alizee is back and all, and its great to see the new music video for the single, but damn, what a strange video. it'll have to grow on me over time. it just got weird at the end with everybody dancing around and acting crazy.

[painbringer]

nice video

[Solaris]

http://i215.photobucket.com/albums/c...0000/MJvid.jpg

This proved it for me that they are two different people. The black dress woman has broader shoulders and different shoulder blades. Also note the tattoo and the hair on BDW. Her hair seems to be shorter in the back. and has less volume to it.

[Cooney]

So, as far as interpretations go, I'll toss a couple ideas out there for consideration that I don't think have yet been proposed. Some of these I believe, some I suggest merely as worthy lines of thought that may lead to more accurate ideas later. I enjoy just the act of thinking about this sort of stuff :-)

- Commedia Dell'Arte is marked by many things, amongst which is the wearing of masks. All characters in Commedia Dell'Arte wear a mask, except the male and female young lovers, the innamorati. The song identifies this piece as that type of theatre, and the video follows through with only Romeo and Juliet, the lovers, showing their faces.

- I propose that there are not two Alizées/Juliettes in the video. There are three. Alizée as Juliet (pink Corset), Alizée as Alizée (tank top, skirt, looks at camera), and an unknown person as Juliet's subconscience (black mask).

- The colors are not strictly Montague and Capulet (the families of Romeo and Juliet respectively), though they can serve in that function. I believe they represent the opposing kingdoms of freedom and responsibility which she feels warring within her. The freedom to love whom she pleases, and the responsibility to be true to her family.

- The entire video is a visual and physical representation of Juliet's thought process, and her internal battle:

1. Juliet is seen at the beginning, standing on the balcony. She is Shakespeare's Juliet, young, innocent, and in love. She is unprotected, an idea reinforced by the bare shoulder shot, which intentionally gives the appearance of nakedness - the ultimate vulnerability. Romeo is below, and holds her gaze until he runs towards her, out of site. It is when he disappears for that moment, to join her, that her mind starts to rush through the possibilities.

2. Enter Juliet's subconscience, the black masked figure. It's a different actress, I believe, but intentionally chosen for physical similarity to Alizée. Her mind draws her in, both literally and figuratively, to think about what could happen if she goes through with this relationship. For a moment, her fears push Romeo out of mind, represented by him being left standing alone on the balcony. Not sharing her fears, he tries to look in, and finds himself kept out.

3. Immediately, she is in the beginning of a confusing network of rooms, representing her memories, ideas, and upbringing. The first room is the first layer, the surface thoughts. This is her childhood, for as a teenager she is still part child. It is fun, smiles, sweets, and games. In this room, everybody is dressed as Juliet is, in a combination of pink and black. Here, in the idealistic part of her mind, she sees a world where everybody can balance between freedom and responsibility, love and duty, and be happy. There are no worries.

4. Idealism rarely being reality, her mind rushes deeper, and examines things from her budding adult perspective, for as a teenager, she is part adult, but perhaps doesn't know quite how to fit that in to the world. In this room, we find hints of the sensuality and sexuality she is beginning to feel, but does not yet have a frame of reference for. It is isolated, sterile, and stiff. It sits alone in the middle of a cold floor like an alter, candle-lit and before a statue of a saint, the holy unattained which she strives towards but has not yet reached. This part of her yearns to be responsible and dutiful, it is dressed in black, but a touch of color comes from the sponge used in the sensual bathtub - she hopes to still find her true love amidst these adult rules and regulations.

5. Being dragged from adolescence in to the world of adults who control her, Juliet is surrounded by those in black. They are unsmiling, stiff, and confusing to her. Despite any effort she makes to fit in, she will not - the pink in her outfit sets her apart, and marks her as ingenue. She circuits the outside of the room, representing her outsider status.

6. Note that we never see Juliet's movement from these rooms in to the room with all the dancers, she just suddenly appears there. Having been taken by her subconscience through the various layers of her thoughts, she now must sort them out and come to a conclusion about what action to take. She dives in, first by trying to make clear divisions in her mind. Visually, she marches down the center in a rehearsed, formal fashion, while a mix of pink and black ideas are on either side. She starts with the hope that she can find, through reason, a way to blend them successfully.

7. Rapidly, however, they split apart and become two opposing camps. On one side, the pink thoughts, led by Juliet, wish to follow the heart, love whom they will, and be carefree. On the other side, her subconscience leads the black thoughts of duty, responsibility, and family, in opposition and counterpoint to the pink. The screen even splits to emphasize this. Each side dances, trying to come out on top, but they are equals. Neither side will win this through simple mental maneuvering.

8. As no rational answer can be found, her mind crashes down in anarchy and open war. A writhing circle of battling ideals results, with cheers, jears, and tears, while Juliet has given up trying to find a logical solution - she and her mind are spectators on the sidelines, to be subject to whatever whims come out on top.

9. Unable to handle the escalating violence, and with a mind torn apart by the challenge, all thoughts are dashed to the floor through tragic suicide. It is an end of innocence and childhood, and an escape from duties and family. All that is left is the memory of her, represented by the subconscience, which strips off her mask and leaves the scene, trying to forget what has occured.

10. Romeo is presented again briefly, still out in the cold, to ensure we do not forget what it was that occured, and most importantly, why it occured. He also represents the survivors, who feel no joy or resolution from the acts that have occured, but rather a sense of emptiness. Why did it happen?

- Throughout the video, Alizée appears as herself, the narrator, the only one who can move amongst the various thoughts freely. She does not belong to either camp, but is instead the third party. She is the healthy, adjusted, fortunate one. She is society, looking at the bickering houses, and passing commentary. She simultaneously mocks what is happening, and sympathizes. It should not happen, but does. She is our warning to not let it happen to us.

[CFHollister]

Wow, Cooney; you certainly don't disapoint! Is it possible for me to both agree and still agree with my initial interpretation (perhaps for selfish reasons)?... perhaps constructing meaning in two layers: a surface layer based more litteraly on the play; and an inner layer based on the psychological struggle you describe.

I think I can get away with it

[Cooney]

Originally Posted by CFHollister

Wow, Cooney; you certainly don't disapoint! Is it possible for me to both agree and still agree with my initial interpretation (perhaps for selfish reasons)?... perhaps constructing meaning in two layers: a surface layer based more litteraly on the play; and an inner layer based on the psychological struggle you describe.

I think I can get away with it

Oh absolutely, your comments were entirely good, and I agree with you on almost all points. I was trying to avoid repeating aspects of interpration I felt others had already covered.

For what it's worth, if I were trying to assign colors strictly to families, rather than ideas, based on roles in the clip, I'd actually make the Capulets black, and the Montagues pink, but that's just me :-)