Music Video
The music video was directed by Alek Keshishian, who had previously directed the live performance versions of "Like a Virgin" (1984) and "Holiday" (1983) from the Truth or Dare documentary and also the music video of her single "This Used to Be My Playground" (1992). The video featured production credits by Diane Greenwalt, editing by Patrick Sheffield and photography by Stephen Ramsey. It features Madonna in a stylized recording studio singing the song with back up singers. The video was compared to the music video of Madonna's single "Rain" (1993). Her look in the video, consists of blue-black icy hair, bright blue eyes and a long dark dress with a beaded necklace around her neck. Madonna's face was mainly shot above her head, with her face looking up just ahead of the camera focus. Sometimes she looks to a video screen behind her which plays the scenes from the film, as if to take inspiration for her singing. Other times she is accompanied by her back-up singers, mainly during the chorus, and sometimes she sings alone. In front of the studio, the producers are shown deciding which part of the song should be put in lower bass.
The music video ends with a shot of Madonna watching herself recording the song. In this last scene she is dressed in a long black coat and holds a cigarette in her hand. Scholars noted that this last shot clearly illustrates the gender paradox of Madonna, as she watches her female form singing the song, while she herself is dressed in an androgynous way, holding a cigarette, which is associated as one of the symbolic forms of male supremacy. Feminist writer Martha Leslie Allen lauded the video, as well as Madonna, "for breaking free of the conventional portrayal of women yet again, and displaying their duality."
Read more about this topic: I'll Remember
Famous quotes containing the words music and/or video:
“Taylor, the Shakespeare of divines.
His words are music in my ear,”
—Ralph Waldo Emerson (1803–1882)
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past—the portrayals of family life on such television programs as “Leave it to Beaver” and “Father Knows Best” and all the rest.”
—Richard Louv (20th century)