Nuns and Guns: Lady Gaga – “Alejandro”

Lady Gaga Alejandro

 

  Preliminary bit wherein I absolve myself of any blame for what’s about to follow: We’re talking Lady Gaga, here, not Charlotte Church, so things in this video get a bit eye-opening. It’s also a very long video, so Lady Gaga can throw in lots of artsy stuff that may not make sense but is certainly interesting. So, if you’re not a fan of The Lady or can’t sit still for longer than four minutes you might want to skip this one and go check the lint in the dryer.

  Still with me? Great. Here we go…

We start out with a giant “GAGA” logo, because she may not want us to call her name, but she damn sure wants us to remember it. Then we immediately cut to a very tired military-type man who is wearing little more than fishnet stockings as he lounges on some dreary patio. Yes, it took Lady Gaga exactly two seconds to get twisted.

Then the camera starts panning around, and we learn that there are lots of tired military people sitting around at what might be a bar, where no one knows your name and everyone is on medication. This could be because there aren’t any drinks on the table and the music hasn’t started yet. Who knows. We still have over 8 minutes of video for the producers to explain all this.

Cut to some shadowy figures standing on what looks like a ramp that probably leads to an underground laboratory where anti-social scientists named Hans conduct experiments involving plutonium and death. These figures are apparently practicing a dance routine where the theme appears to be stomping while carrying odd symbols and looking angry.

Oh good, they turned the lights up a bit and we can see that the dancers are wearing jock straps that appear to be vaguely Sumo-wrestling in nature. (So far they haven’t spent a lot of money on the costume budget for this production.) The dancers all have the same bowl-cut hairdo for some reason, probably because Lady Gaga was going for that “we might be poor but we have rhythm” look. The dancers march their way down the ramp so that Hans can begin dissecting them.

Finally, we have a close-up of Gaga herself, sporting a hairstyle that has been inspired by the handles on wicker baskets. She’s looking through some very funky binoculars, trying to determine where the sad music is coming from that has started to play. This is followed by someone carrying what looks like a human heart on a black satin pillow, and then a shot of Lady Gaga messing around with her mouth. Maybe she’s got some spinach caught in her teeth.

Quick scene, possibly back at the boring bar where they still aren’t serving any drinks. It’s snowing outside, and people are sad, or at least lethargic, so somebody probably died. Then we’re out in the snow, and yep, there’s been a death. People are carrying a casket, while Lady leads the way, lugging that heart on a pillow while violins play. Did Ingmar Bergman direct this?

We switch to a man wearing leather panties and holding a gun in his crotch. It’s a pretty gun. He’s also wearing a strange helmet that doesn’t seem to fit, and there are very large holes in the wall behind him, which is letting in some of the snow. Perhaps he should call Maintenance.

Gaga again, with a severe blonde hairdo that is not kind to her facial bone structure. She appears to be wearing a modified veil, so perhaps she is familiar with the person in the casket. (Maybe they took an aerobics class together one time?) But this doesn’t explain why she’s acting like Eva Peron on some balcony, back when the Argentinians still liked her, and before they made that Broadway show and then the movie where we finally learned that Madonna can actually act as well as get pregnant via a personal trainer.

We head back to Wicker Basket Gaga, still screwing around with the pointless binoculars while she smokes a cigarette, watching the jock-strap dancers through a conveniently large but still gloomy window. The dancers apparently learned some new moves while underground, so their stomping about is less crude, but we still don’t know what happened to the rest of their clothes.

Oh look, Lady Gaga is able to flip just one lens of the binoculars away from her tragically-pale face so we can watch her not emote while she sings. That’s why she wanted those things. She doesn’t need to see anything, she just wanted a cool accessory that she can manipulate to the beat of the song. So she does that for a while as the dancers continue showing off their improved choreography, including the ability to arch their backs so that their crotches bulge even more.

And those dancers have some stamina, because they frolic around for quite some time. They seem to be really fond of doing this group-hug thing where they spin in a circle while war-like scenes flash on a screen that some crew person has helpfully erected in the back of the soundstage. Then the dancers pair off and things get a little heated, with some grunting and such, and for a moment I don’t care if Alejandro ever shows up.

Now we have Lady Gaga in a red-leather nun’s habit, lying on a bed and being overly affectionate with her rosary. This very personal time is inter-cut with scenes taking place in some type of institutional barracks, where people are either having naughty relations or emotional breakdowns while they writhe on metal cots. Whips and high heels are major design elements, along with some line dancing where Gaga joins the Jock-Ettes for some synchronized footwork. (And who spread the kitty litter all over the floor?)

This goes on for a while as well (hey, they’ve still got 4 minutes to kill), with lots more simulated and symbolic sexual slap and tickle, where it’s clear that gender and manners are completely unimportant. (They definitely won’t be showing clips of this part on the morning talk shows. Well, maybe on the FX channel.)

Things finally cool off a bit, with the Jock-Ettes doing some comparatively mundane hand movements, lying on their backs while Lady Gaga stands in the middle, wearing something Greta Garbo would wear just before she took her own life in a tragic 1930’s movie.

Scratch that. We get a closer look at the outfit, and Greta would never go near this, even after she became a recluse and started drinking. This close-up comes courtesy of the Bowl-Cut Boys, as they lift a spread-eagled Lady Gaga over their heads, and we learn that there’s an inverted red cross in Gaga’s business section. The boys continually thrust Gaga at the overheard camera to Make. Sure. We. Can. SEE IT. This wholesome scene is followed by one where Gaga crams her beloved rosary into her mouth.

At this point, I’m sure the switchboard at the Vatican is very busy. I’m assuming that Lady Gaga won’t be getting a contract with Pepsi.

Back to the spread-eagled Gaga in case you missed anything the first time. Yep, that cross is still waving at us from Gaga’s undulating undercarriage. Hey there, how ya doin?

Suddenly we have Lady Gaga in another outfit, this one with shades of Liza Minnelli in “Cabaret”, minus Joel Grey or any of the startling eye shadow. She does a few solo dance steps, and then the Jock-Ettes are back, parading down the stage in pairs, wearing leather jackets while Lady does some more dance steps that make it clear she’s hoping for a remake of “Saturday Night Fever”.

Then Gaga and the Jock-Ettes switch over to the laboratory ramp, where Lady has decided to one-up Madonna by wearing a bustier made out of machine guns. She’s very proud of this piece of couture, fondling the gun barrels as she shimmies. Meanwhile, the Jock-Ettes twirl, leap and touch their faces dramatically. How they can still have so much energy is beyond me, after that massive orgy mass they just celebrated a few scenes ago. They must be drinking that fancy new vitamin water that Jennifer Aniston wants me to buy. (Updating shopping list, click and save.)

Now we’re jump-cutting all over hell, with brief bits of everything we’ve seen, mixed in with new material that fully expresses Lady Gaga’s art. (Or at least underscores the possibility that someone on the production team didn’t refill his prescriptions.) The metal cots are still filled with angsty couples, the Jock-Ettes are still flinging Gaga through the air, and the amorous nun is still lying on her bed, belching contentedly after eating the rosary.

Wait a minute. We are suddenly getting shots of some non-bowl-cut guy standing around, looking forlorn but still trendy in his leather outfit. Is that Alejandro? Dude, where have you been? That bitch has been calling your name for the last half hour.

We are treated to more jump-cutting and sexual hi-jinks involving uncomfortable positions. This time through there’s new business with the Jock-Ettes shoving Sacrilege Gaga all over some Goth playground. (I guess they found out she had a better dressing room.) To reinforce her A-List status, Lady Gaga straddles one of them, and then rips off her top. The chorus boys do such a dismal job of pretending to be interested in her wares that the director quickly orders them to go back to dancing in minimalist attire and looking pretty.

Final shot has Gun-Crotch Boy and Nun-Jandro on a bed, with wires coming down making them look like marionettes. Oh? So is Lady Gaga saying that she didn’t have all this sex of her own free will, that other people were making her do it? (I didn’t know she was a Republican Senator. Hmm.) The camera zooms in on the face of Nun Gaga and the film begins to melt, making Senator Gaga briefly look like something that took possession of little Linda Blair and made her pee on the carpet during an otherwise festive dinner party.

 

Click here to watch this video on YouTube.

Originally published on 06/25/10, revised and updated with extra flair for this post.

 

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