In fourteen minutes, Lady Gaga can inhabit more personas than is probably good for her health. The video for "Marry the Night" is a mini-epic beginning in a sterile land fashioned to be a mental institution full of Versace clad nurses. Gaga, the "morphine princess", is somewhere near the end as we watch her tearfully admit to knowing she will make it. She states, in a tone of honest necessity, that she will be a star because she has nothing left to lose.
The song (and video, for that matter) read like an autobiographical affirmation to Gaga's struggles of desolation and the burning desire to turn those feelings on their head - to make something of yourself; after all, it is just the American Dream. Dialing back into the narrative, Gaga, wholeheartedly an artist, is met with pain as a telephone conversation demotes her worth. Her fame starts to unravel around her (very Edie Sedgwick inspired, eye makeup included). The viewer transcends between Gaga as stricken ballerina, manic apartment destroying Cheerio-guzzling (yep) recluse, and one of those people who crawl all over a black Trans Am in a burning car yard that frankly screams Transformers (?). Channeling Madonna in Desperately Seeking Susan, Gaga pinpoints that even though we may say she's lost everything, she still has her trusty Bedazzler - hands down, the one item I want on my Christmas list.
We've all grown to realize that Gaga is a wacky lady but that cannot discount the fact that she is probably the most passionate and devoted performer in our time. The video, while dark and potent, breeds on a biting sense of humor and the sentiment that after even the worst day of her life, Gaga will be fine. She is actually better for it.
"Marry the Night" was filmed in New York City in October and marks Gaga's solo directorial debut. While the "short film" is an homage to days before she had encompassed fame or the ability to wear a dress made from raw meat, the song is also a tribute to the Big Apple.
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