Music Videos
The single featured three videos for "The Fallen", "L. Wells", and "Jeremy Fraser".
The video for "The Fallen" has been criticized by some fans for being too simple and not as entertaining as some of the band's previous videos. However others have praised the effects used in the video, such as the lyrics appearing as they are sung (this effect was also used in Franz Ferdinand's videos, Take Me Out and This Fire.) The video for "L. Wells", directed by Blair Young, is in black and white, and features many venues in Glasgow, Scotland, including The Château, where Franz Ferdinand played many songs in their early days. It follows a woman going around Glasgow. However, this woman is not the Lynsey Wells about whom the song was written. Lynsey, originally from Maghull, Liverpool, was actually on holiday assisting in an orphanage and church in Africa when Franz Ferdinand decided to release the track. The video is inspired by Rita Tushingham in A Taste of Honey and, particularly, Julie Christie in Billy Liar. Lynsey is played by Saskia Pomeroy, a student at Glasgow School Of Art. None of the members of the band appear in the video. The video premiered on MTV's UK website on 24 March 2006.
The video for "Jeremy Fraser" premiered on the "The Fallen"/"L. Wells" minisite. It depicts Jeremy Fraser as a medieval man on a pantomime horse. He 'dies of a lance of silver', and is dragged by masked children into the 'old schoolyard', where his captors morbidly dance around him, and form a star around his neck with wooden swords. Jeremy's eyes remain open and he even stands up after the lance strikes him. As with L. Wells, none of the band members would supposedly appear in this song's video. However, lead guitarist Nick McCarthy revealed in a webcam interview that the band members were in the video, along with several hidden easter eggs.
Read more about this topic: The Fallen / L. Wells
Famous quotes containing the words music and/or videos:
“I fear I agree with your friend in not liking all sermons. Some of them, one has to confess, are rubbish: but then I release my attention from the preacher, and go ahead in any line of thought he may have started: and his after-eloquence acts as a kind of accompaniment—like music while one is reading poetry, which often, to me, adds to the effect.”
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