Music Video
In the music video, Melua is first seen walking forward slowly as she sings. She sits on a wooden chair in front of a stage. Melua dances onto the stage playing a character, and she bows. Her hair is straggled and sticking out at odd angles as is her make-up, complete with a teardrop, and her clothes are like a shabby red dance costume. The Sun newspaper compared Melua's appearance to that of The Cure's Robert Smith. As she sings to the Melua in front of her, a ghostly dancer appears and starts to dance around behind her. The ghost is a tall, slender young woman, played by Elena Glurdjidze, who is wearing a leotard, and who dances in a sprightly fashion around the stage.
Occasionally we get a glimpse of a person lying motionless, stage left. The ghost dancer goes over to the person, and it is revealed to be a man. The ghost reaches her hands down to him, and her body returns, and the pair look very happy. They start to dance gracefully, while the sad shabby dancer can only skip as if she has a limp.
The Melua in the audience has been watching this with empathy. Near the end of the video, the stage Melua comes down off the stage, and steps forward to embrace the audience Melua. But the audience Melua disappears between the stage Melua's arms, so she ends up almost hugging herself. The camera then slips down to her fidgeting black-nailed fingers, mimicking the hand gesture on the Call off the Search album cover, and the video ends.
Read more about this topic: It's Only Pain
Famous quotes containing the words music and/or video:
“... the majority of colored men do not yet think it worth while that women aspire to higher education.... The three R’s, a little music and a good deal of dancing, a first rate dress-maker and a bottle of magnolia balm, are quite enough generally to render charming any woman possessed of tact and the capacity for worshipping masculinity.”
—Anna Julia Cooper (1859–1964)
“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)