As far as culture in America goes right now, there’s the White House, the House of Blues and Dr. Gregory House. But as of last week, the most important house in all the land was the Haus of Gaga, which released the video for “Telephone,” Lady Gaga’s latest release. The second single off of Gaga’s sophomore album “The Fame Monster,” “Telephone” applies the starlet’s usual mix of pop and glamour and laces it with a theatrical tinge of macabre.
Like “Bad Romance,” “Telephone” is a relatively uninteresting, highly repetitive song that was not only redeemed, but also launched into the pop stratosphere by its video. Director Jonas Akerlund — also responsible for Christina Aguilera’s “Beautiful” as well as the Prodigy’s “Smack My Bitch Up,” if that gives you any hint of range — returns in the sequel to “Paparazzi.” Having taken a break to dance in potato sack dresses and murder Russian gangsters like it ain’t no thang, Lady Gaga returns to America, partially to serve jail time for the crimes committed in her “Paparazzi” video, and partially in another step to take over the world.
Although the prison setting had the potential to be criticized as insensitive or even offensive, Gaga and Akerlund get away with it, giving the prisoners their own personalities and sense of identity and disposing of gender stereotypes. They do this by filling the prison with diversity to show there is more than one way to be a woman. We shouldn’t be too surprised, though; this is the pop star who performed an entire choreographed number in a wheelchair.
In the exercise yard, Gaga fiercely proves her refusal to be bound by chains. Always glamorous, she shows everyone that she’s a free bitch, baby, and she’s got it all, no matter what. What, there’s no money to spend in prison so she can throw sexy parties and make out with triplets? No problem, Gaga’s got the currency that matters. If cigarettes are prison capital, then she’s got money to burn — literally. Flanked by guards, Gaga struts into the yard wearing sunglasses made of cigarettes. Cigarettes that are burning. On her face.
Soon after, Gaga is bailed out of prison. Who could have done it? As she saunters out of jail — and into Quentin Tarantino’s Pussy Wagon — we wonder, who could have saved Gaga? And how could this video get any better? And then we remember — oh yeah, Beyoncé is in it.
Revealed as the Pussy Wagon’s pilot, a black-lipsticked Beyoncé is gasp-inducing. Although the part was originally written for Britney Spears (whose performance in “Toxic” probably qualified her for a good old poisoning), Beyoncé takes “Telephone” completely out of its element in the best, most interesting way possible — which is perfect, because the “Telephone” video pushes the former Destiny’s Child frontwoman out of her boundaries as well. Finding herself in Lady Gaga’s world of the absurd, Beyoncé drops unexpectedly perfectly into place as the Clyde to Gaga’s Bonnie, a cinematic staple of classic Americana.
Together, the duo can pull off any stunt, including Gaga’s telephone eye patch and Beyoncé’s outfit in the murder scene, which conspicuously resembled a banana with a cowboy hat. In fact, the best part about them being able to pull off any stunt is that they’re not afraid to do it. Whether it’s a same-sex prison make out, an exuberant invitation for sandwich making or mass murder in a diner, what makes this music video so great is its never-ending addition of new elements strung together with frenetic editing.
“Telephone,” in continuing Gaga’s list of crimes, confirms the concept of her discography to date. In “The Fame,” the masses consume the pop star with their frenzy. In “The Fame Monster,” the pop star exacts her revenge. Lady Gaga satirizes the glorification of the celebrity and embeds herself in the fabric of Americana — and what could be more American, of course, than the Pussy Wagon?
You can reach this staff writer at kcasino@theeagleonline.com.
