November 8, 20204 yr OsHnROYjdgo From Madonna to Mank: Why David Fincher’s greatest film is an erotic pop music video The Gone Girl director is known for the psychological depth, visual symbolism and pulpy thrills of his films but all roads lead back to his tempestuous – and mysterious – collaborations with Madge, says Adam White It was in the winter of 1993 that David Fincher murdered Madonna. The crime scene: a music video for one of the latter’s greatest singles, “Bad Girl”, and what would be the last of the pair’s four collaborations. In its wake, Fincher would become one of cinema’s most revered directors, the prickly genius behind Se7en (1995), The Social Network (2010), Gone Girl (2014) and the forthcoming Mank. But it’s “Bad Girl” that remains Fincher’s most important venture. It is a short, stylish erotic thriller that begins and ends with Madonna’s lifeless corpse; a video that nods toward the filmmaker Fincher would become, and a final act of artistic symbiosis between two titans of pop culture. Back in the Nineties, Fincher was coming to the end of a luminous eight years as a music video visionary. The likes of Aerosmith’s “Janie’s Got a Gun” and George Michael’s supermodel-filled “Freedom ‘90” were gorgeous exercises in style and short-form storytelling. Little was more thrilling, though, than his work with Madonna – from the grandiose myth-making of “Vogue” and “Express Yourself” to the richly personal “Oh Father”. They both recognised the cinematic potential of the form, even if it came at a cost – all of their collaborations rank among the most expensive videos ever made. That trilogy of music videos – which came before “Bad Girl” and were shot over the course of 10 months between 1989 and 1990 – would reflect a fruitful creative tussle between the pair. Despite Fincher’s relative lack of clout in the industry at the time, and especially compared to Madonna’s cultural ubiquity, they would approach their work as somewhat begrudging – and almost flirtatious – equals. In interviews, Fincher recalled expressing mock outrage when Madonna asked him if he had heard of Metropolis, the landmark sci-fi film she wanted to replicate for “Express Yourself”. Madonna sneered at his idea to have her crawl across the floor, lick milk from a bowl, and then pour it over herself in the same video, assuming it might look like a student film. It turned out to be one of the video’s most memorable set pieces. The visual for “Oh Father”, meanwhile, a psychological wormhole into Madonna’s childhood and the emotional toll of her mother’s death, only came about at Fincher’s insistence. Madonna had been unsure it would even work as a single. Fincher, though, saw it as ripe for visual accompaniment, and captured her vulnerability like no other. Since then, Fincher’s work with Madonna has been all over his filmmaking, their music video collaborations regularly gesturing towards the movies that would make him internationally famous. The gorgeously monochrome “Oh Father” lifts a number of visual cues from Citizen Kane, which serves as the backdrop for Mank, starring Gary Oldman as its screenwriter Herman J Mankiewicz. Mank also plunges into the glamour of Hollywood’s Golden Age, much like the video for “Vogue”, while the industrial, dystopian cityscape of “Express Yourself” was recreated in Fincher’s feature debut Alien 3 (1992). But it is “Bad Girl”, full of the psychological depth, visual symbolism and pulpy thrills that would dominate much of Fincher’s filmography, that is his unheralded masterpiece. “Bad Girl” was an unexpected final chapter in the Madonna/Fincher saga, occurring two years after they had apparently drifted apart. His hiring seemed to come about as a last resort, Madonna having already approached Tim Burton, Mark Romanek and photographer Ellen von Unwerth to direct. She envisioned something that teased the links betwen sex and death, inspired by Judith Rossner’s novel Looking for Mr Goodbar. Published in 1975, it is a provocative thriller about a schoolteacher drifting through New York bars sleeping with strange men and winding up murdered. While neither Madonna nor Fincher have ever spoken about the circumstances behind their final collaboration, or what had changed in their personal dynamic since 1991, it is presumed Fincher ran with the idea. Like “Oh Father”, “Bad Girl” feels like a personal exorcism for Madonna, of a kind only Fincher seemed to be able to coax out of her. Speaking to the BBC in 1992, Madonna dismissed speculation that “Bad Girl” was about sex work, and instead about a woman embroiled in a toxic relationship. “She really cares for this person and she’s having a hard time saying goodbye,” she explained. “She’s unhappy with her situation and getting drunk, smoking too many cigarettes ... because she’s trying to distract herself from reality.” In the video, Madonna portrays a Manhattan magazine editor named Louise Oriole – “Louise” lifted from Madonna’s own middle name, and “Oriole” likely a reference to Oriole Way, the LA street in which she lived with her ex-husband Sean Penn. (Their marriage, which ended in 1989, was reportedly a volatile one, with Madonna only explicitly denying in 2015 the long-standing rumours that Penn was violent towards her.) Louise is fraying at the seams, a cigarette always dangling from her lips, and easing her pain through sex with strangers. All the while she is being watched over by the Angel of Death (played by Christopher Walken – Penn’s co-star in 1986’s At Close Range), who hovers above her bed, watches her from window sills and dances in her apartment while she’s out. Horror also haunts the city, the angel reads a newspaper splattered in grim headlines (“BLOODY RAMPAGE: Teen chops heads off dad, cat & parakeet!”), and Louise unexpectedly picks up a serial killer. In a moment of stirring beauty, the sound of “Bad Girl” drops out entirely, the Angel of Death kisses Louise, she accepts her fate, and is later seen hanging out with him on a street corner watching her corpse being removed from her apartment in a body bag – finally free. Enveloping her at every turn, New York has never seemed lonelier, icier or more intimidating. Fincher would return to this kind of metropolitan foreboding two years later with Se7en, a serial killer thriller awash in very human trauma. There are other unintentional Easter Eggs throughout “Bad Girl”, too: a clock spins in reverse at one point, as it does in his 2008 film The Curious Case of Benjamin Button; there is a smooth pan through a window a la a particularly memorable shot through the handle of a coffee cup in Panic Room (2002) and there is a troubled antihero quality to Louise that is not dissimilar to Gone Girl’s Amy Dunne. It’s also a wonderful final curtain for one of pop music’s most bizarrely uncelebrated pairings. More than any other director, Fincher seemed to worship at the altar of Madonna’s charisma, magnetism and sensuality. Few cameras have ever captured her face as lovingly, or celebrated her numerous personas all at once: her unmistakable cool, her haunted fragility or the sheer maximalist scale of her presence. “Bad Girl”, less a music video than a short film, also trusts her to just be. She barely lip-syncs to the song itself, with Fincher instead directing her to express all kinds of contradictory emotions through mere glances or expressions. It is a remarkable performance full of self-loathing, withdrawal and, finally, child-like bliss, and Madonna barely says a word. Fincher and Madonna never worked together again after “Bad Girl”. Many have speculated that the pair were, at one point, romantically involved, which is the reason for the eventual demise of their collaborations, though neither party has confirmed or denied the rumour. A 1991 Vanity Fair profile of Madonna, written when Fincher was a total unknown to the general public, casually mentions that the pair fell out after their romance soured. In 1993, Madonna seemed to hint at these claims, calling Fincher her most important collaborator. “We work on everything together,” she said during an interview with Le Journal Du Cinema. When asked why certain directors work better with their stars than others, she replied: “I think the director kind of has to be in love with the actress, and only want the best for her.” If Madonna is correct, “Bad Girl” is something of a twisted funeral for their love story – emotive and affectionate, yet filled with bloody murder. It isn’t exactly an overlooked encyclopedia of all things Fincher, but it serves as a fascinating blueprint for much that he would end up doing, as well as a time capsule for two creative geniuses: one in the midst of total world domination, the other on the cusp of greatness, and the sparks that occured when they collided. Very interesting article that highlights 'Bad Girl' as a blueprint for Fincher's directing work in feature films. Always lovely to see appreciation for this video!
January 20, 20214 yr 'Fever' from Madonna's 1993 SNL performance has been uploaded to YouTube: iQZ8wayglTw Nice performance, but I much prefer the one from The Arsenio Hall Show.
January 23, 20214 yr My Erotica Review, enjoy: Erotica The title track & of course the lead single with its mish mash of styles such as trip-hop, dance & spoken word which creates something rather dynamic & already setting the tone & promising something more rugged and raw. The heavy beats, the solid production & Madonna’s empowering yet seductive vocals, really helps sell the message of the song effectively & under the guise of Mistress Dita, exploring the themes of pain & pleasure, this must be one of Madonna’s most adventurous & interesting offerings of her career. Fever An okay version of a classic song with its sharp pulsating beats, precise horns, sleek strings & Madonna’s icy yet detached vocals set against the slinky production. Wouldn’t call this a Madonna classic by any means, but it’s a decent 90’s house number. Bye Bye Baby Not one of the finest moments on here, with aggressive hip-hop beats & defiant lyrics, however I found the filter on her vocals rather annoying. While this effect was an interesting experiment, its something that shouldn’t be attempted again. Deeper and Deeper A firm standout that harks back to her dance/pop sound with this re-introducing a more mainstream feel to the album & it’s fantastic with strong hooks & catchy melodies, along with a dramatic bridge, then of course there’s that Spanish guitar backed with house piano in the breakdown, which was simply genius, all of which makes this a bona-fide underrated Madonna classic. Where Life Begins Slowing things down with this seductive number, with its beautiful jazzy opening before delving into some cool hip-hop beats & Madonna’s breathy vocals makes this a rather relaxing listen, although it does go on a bit too long. Bad Girl This sounds more like a deep album cut than an actual single, but hey Madonna made it work, in this tragic ballad about a woman on the brink of disaster. The stunning production & strong vocals really gives this a classy feel as you can certainly feel the sadness of the lyrics. Waiting The slow funk of Waiting has Madonna pining for an uncertain love. It’s mostly drums and bass, along with some smooth hip-hop beats as Madonna uses mainly breathy spoken vocals. This is fine, but not one of the better moments on here. Thief of Hearts Picking the pace up with this sassy little number with some cool club beats & solid production where Madonna warding off a woman who has eyes for her boyfriend, complete with breaking glass & sirens, creates a rather decent number. Words Slick, understated, subdued & driven by synth beats as Madonna speaks the truth without being too preachy, over a backing track spiced up with a simmering anger & some rather striking production. Rain This is one of, if not the very best track on the album. A simple yet stunning ballad that has a redemptive quality to it, with a clearer sense of melody, backed by glorious harmonies, vulnerable vocals & timeless production. Why It’s So Hard A wonderful empowerment anthem with a cool laid-back groove, along with some strong beats & a catchy chorus that promotes its simple message effectively. In This Life A very touching number about losing one of her close friends & yes while it is moving with some solid production, this really halts the energy set by the previous tracks & drags on for way too long, coming across as quite dull. Did You Do It This is an unexpected diversion with Rapper & Producer Andre Betts taking the lead on this track & heavily sampling Madonna’s ‘Waiting’. An interesting inclusion, but wasn’t at all needed, just feels more like an oddity than anything. Secret Garden Closing the album with this fusion of jazz, hip-hop and pop. Although more on the artistic side than pop with sexy bass complemented by the occasional sprinkling of piano. Madonna’s seductive use of the spoken word on most of the track is a fitting way to close.
January 31, 20214 yr Author 1. Deeper and Deeper 2. Rain 3. Erotica 4. Bad Girl 5. Thief of Hearts 6. Words 7. Waiting 8. Bye Bye Baby 9. Fever 10. Why's it so Hard 11. Where Life Begins 12. In This Life 13. Secret Garden 14. Did You Do It? Firstly, I have to say, this sounds absolutely DIVINE on vinyl. The crackling sounds that are present in the album anyway, and the sublime production really shines even more-so! My favourites on this album change between the top 2 but I think I am ok that this is the correct order for now. Deeper and Deeper is one of her most joyous, infectious, fist-pumping dance anthems ever. It exudes a thrilling dance energy that really shines on the album! Contrastingly, Rain presents the erotic nature of the album in a beautiful, metaphorical way and even away from the sordid take on the song, it is a beautiful message of starting anew and washing away the bad vibes and pain. It's one of her best ballads (and music videos) and the entire song is an experience every listen. Erotica is the perfect title track, lead single and album opener - it defines the era through and through - a confidence in sexual prowess and a playful side to lust and love. Bad Girl is a drama-filled song, and her vocals are the highlight of this. She sounds disappointed in herself but yet maintains a sense of pride with how her life is spiralling out of control, but at least she is doing it on her terms. The music video here needs another mention too! Then we have my favourite album track on the album, Thief of Hearts. I think it's the production I find most thrilling here, but also the lyrics and how the entire song feels like a chase or game of cat and mouse, trying to outwit others and thrive in the game of love and deciet. It's full of pure camp drama but also has a serious edge to it: don't f*** with Madonna. Words and Waiting are two more great album tracks with incredible production and fantastic vibes. They help make the album listen through a fluid one and seamless as you go from the start to the end. There's a bit of a gap then with the second half of my rankings. Bye Bye Baby and Fever are good enough, but compared to the half outlined above, they are some distance behind in terms of quality. I resent the latter for ever being a single when there are a few brilliant album tracks that didn't get the chance to shine! Why's It So Hard is a decent listen, but it's one I tend to forget exists. Where Life Begins once again has brilliant production, that jazzy feel is so silky and smooth but I find it quite boring away from that - the Colonel Sanders lyric is a moment :') In This Life I wish I could rank higher, given its powerful lyrical content, but like the last track, I don't find it too enjoyable a listen - that isn't to take away how important and heartfelt the message of the song is. The final two tracks fit in with the style and lyrical content of the album but they are quite a distance below. Secret Garden makes for a nice closer as it summarises the album's theme in as much detail as M can possibly muster but Did You Do It? is pure filler, especially as it largely samples a song that came a few tracks earlier! Overall the album is a brilliant listen though half of it I absolutely adore, the other half I can skip. The production on it is a major highlight and how forward thinking it was without holding back anything. Such an explicit album and exploration of female sexuality at a time when many were not ready to talk about it. It certainly stands the test of time, and still sounds fantastic today. Albums ranking 1. True Blue 2. Like A Prayer 3. Erotica 4. Madonna 5. Like A Virgin
March 4, 20214 yr Possibly my favorite Madonna album ever, certainly top three. Raw, lyrically brilliant, jazzy, and just so personal. Love, love, love. And I loved her working with Shep. I also love that this album is so often overlooked by so many. 1. Waiting 2. Where Life Begins 3. Erotica 4. In This Life 5. Thief of Hearts 6. Why's it so Hard 7. Secret Garden 8. Bad Girl 9. Deeper And Deeper 10. Bye Bye Baby 11.Rain 12. Words 13. Did You Do It? 14. Fever
October 19, 20222 yr A bad girl / fever ep has been released in Australia Hopefully it goes worldwide !! It includes edit one FEVER
October 19, 20222 yr ^It does! Bad Girl (Edit) - 4:36 Bad Girl (Extended Mix) - 6:30 Fever (Album Edit) - 4:31 Fever (Edit One) - 4:06 Fever (Extended 12" Mix) - 6:08 Fever (Hot Sweat 12" Mix) - 7:59 Fever (Murk Boys Deep South Mix) - 6:29 Fever (Murk Boys Miami Mix) - 7:11 Fever (Murk Boys Miami Dub) - 7:13 Fever (Radio Edit/Remix) - 5:10 Fever (Shep's Remedy Dub) - 4:32 Fever (Oscar G's Dope Mix) - 4:56
October 20, 20222 yr Bad Girl video in HD: OsHnROYjdgo Album: Bad Girl / Fever iTunes (5x #1): #1 Brazil #1 France #1 Netherlands #1 Poland #1 Turkey #2 Italy #2 Portugal #2 Spain #5 Singapore #7 India #11 United Kingdom #11 United States #17 Australia #36 Canada #58 Germany
October 25, 20222 yr Hearing and reading all the 30th anniversary celebrations of this album, the newly found appreciation for it, how people say it was one of the most important albums of her career... is amazing. I remember having mixed feeling towards it at the time. I loved Deeper and Deeper, Rain, Thief of Hearts, Words... I wasn't sure about Secret Garden, In This Life, Why's It So Hard... I loved the Bad Girl video, and then heard the song was her first for years not to make the Top 20 in the US... I got to see her live for the first time in The Girlie Show, but The Sun ran a front page review saying how awful it was... I watched the Bye Bye Baby performance on MTV awards over and over again... but I cringed a bit at the Jonathon Ross interview... Of course back in 1992 it was all a bit shocking and the Sex book was just a mind-blowing idea (bless my Mum for going into WHSmiths and buying it for my birthday). But now you can listen and think, Wow that was a brave step after she was put up on a pedestal for Blond Ambition, The Immaculate Collection and Vogue. The songs are (largely) awesome and the album is one of her best. It just really took three decades for most people to really realise how good it was.
October 27, 20222 yr 'Deeper & Deeper' remixes coming tonight! Deeper and Deeper (Album Edit) - 4:56 Deeper and Deeper (Shep's Deep Makeover Mix) - 9:08 Deeper and Deeper (David's Klub Mix) - 7:40 Deeper and Deeper (Shep's Classic 12") - 7:26 Deeper and Deeper (Shep's Fierce Deeper Dub) - 6:00 Deeper and Deeper (David's Love Dub) - 5:38 Deeper and Deeper (Shep's Deepstrumental) - 6:00 Deeper and Deeper (David's Deeper Dub) - 5:25 Deeper and Deeper (Shep's Deeper Dub) - 6:09 Deeper and Deeper (Shep's Deep Bass Dub) - 5:00 Deeper and Deeper (Shep's Deep Beats) - 2:58 Deeper and Deeper (Album Instrumental) - 5:35
October 28, 20222 yr 'Deeper & Deeper' HD video out now too! sJV29ZQIUhs Album: Deeper and Deeper iTunes: #2 Portugal #4 Chile #8 Poland #8 Sweden #10 France #17 Italy #17 Spain #21 Australia #24 United Kingdom #36 Bulgaria #51 United States #73 Germany
November 10, 20222 yr Remix EP for Rain at midnight: Rain (Radio Remix) - 4:36 Waiting (Remix) - 4:41 Rain (Radio Remix Edit) - 4:21 Up Down Suite - 12:16 Rain (Video Edit) - 4:34 Fever (Edit Two) - 4:28 I’m sure some fans will be happy with Up Down Suite finally on Spotify.
November 11, 20222 yr Woah... just heard the remix on Waiting on the Rain maxi-single. God it's awful!!!
November 11, 20222 yr The EP is doing pretty well on iTunes, #8 in the UK! Album: Rain iTunes: #2 Greece #5 Chile #7 Italy #8 United Kingdom #9 Australia #9 Netherlands #10 France #11 Brazil #17 Mexico #18 Sri Lanka #20 Turkey #23 Austria #30 Bulgaria #33 Germany #37 United States #58 Canada
