In the middle of research for my dissertation, I procrastinated by watching the Jonas Brother’s music video for their single ‘Sucker’. I can’t say I’m a close follower of the band but I was drawn in by their reunion and I feel that they are genuinely hilarious, indicated by this Paper cover.
I’ve since become hooked on the song, but the most significant part of the video for me was the location: the stately home, Hatfield House. This is because a key part of my dissertation was based on the locations used in Yorgos Lanthimos’ The Favourite, especially Hatfield, which was used for Queen Anne’s palace.
For the most part the music video matches the theme of the song, with the brothers literally falling at their wives’ feet. There was also a chaotic atmosphere, which I felt resembled a mad hatter’s tea party through the exuberant outfits and actual tea parties. In this sense, the grandeur of Hatfield suits the excess in the video; lounging in a bubble bath in a diamond hairnet should be an everyday ritual.
However, having obsessively looked at Hatfield onscreen and in person, there were some definite nods to The Favourite. I’ve narrowed it down to these three moments:
In The Favourite, Queen Anne has seventeen pet rabbits, which represent the real monarch’s number of miscarriages. They are a key visual motif throughout the film, communicating the Queen’s tragedy and eccentricity. In Sucker, Sophie Turner and Danielle Jonas lounge on deckchairs in the distinctive Marble Hall (think of the scene in the film with the dance mash-up of voguing and waltzing), while a herd of rabbits surround them.
2. The Long Gallery
This expansive corridor is used many times throughout the film to convey the idea of isolated spaces, with the gallery often manipulated by the use of fisheye lenses to enhance the length and add a period look to the film. In the music video, Priyanka Chopra strides down the corridor, and there is the same gilded ceiling and wooden panelling which makes it so distinctive in The Favourite.
3. The Library
The library is used as Sarah’s bedroom in the film, distinctive for its floor to ceiling bookshelves and ladders lining the walls (think of Sarah throwing books at Abigail, if the room isn’t coming to mind). In the final moments of the music video, the band and their wives pose in front of the shelves as their portraits are painted.
Hatfield House, with its distinctive Jacobean architecture, is a popular film location, and this could be the reason why the Jo Bros chose it for their music video. However, assuming those moments are references to The Favourite makes me enjoy the video and the film so much more, so I can only thank the band for some mid-dissertation distraction.
The scene begins with a panorama shot of a dimly lit train station at night. A woman with long dark brown hair in a red coat walks away in the background. The camera slowly advances toward her until it abruptly changes positions so that it is no more than a few feet behind her– acting as a looming shadow. The woman hears a fain whistle and turns her head in surprise, a second wolf whistle follows not too long after. The second whistle causes her to turn to face the camera. Her red coat hangs off of one of her shoulders exposing her bare skin. Understated gold hoop earrings and a gold chain frame her face.
The woman in red decides to walk in the direction of the where the whistle came from. She walks with conviction, courage and also caution. The sound of her shoes creates a pulsing beat that slowly transitions into the percussive introduction of Leon Bridges’ song, Bad Bad News.
The music becomes layered as the woman runs down the train station stairway into a dimly green tinted tunnel. The green of the tunnel contrasts and compliments the red she wears. The video (directed by Natalie Rae) then changes scenes to one of Bridges entering a rehearsal space where his band is playing his new song and he begins to let the rhythm move him. The scene switches to the one of the woman in red (played by model, Paloma Elsesser) who stands framed by a series of archways as she begins to slowly move to the music.
The music video continues with the woman frantically moving through the streets of New York trying to find the man from the train station. In various parts of the video she beings dancing as she is overcome by the rhythm, however she holds tension in her body. Her dancing becomes a personal battle between enjoying herself and feeling ashamed or guilt of some sort. The way in which she wears the coat echoes this duality, the coat protects her, or shields her, in her ability to decide how tightly it is cinched at the waist, but also reveals her vulnerability as it continues to fall off her shoulder.
The emphasis of the woman’s red coat throughout the music video evokes themes of remembrance and also acts of violence against women. Muldisciplinary Canadian artist, Jamie Black, explores similar themes in The REDress Project which collects red dresses and installs them in public spaces as a reminder of violent crimes committed against Aboriginal women. Black’s work hopes to make visible the gendered and racialized crimes committed against marginalized women that often go unnoticed.
The red coat is a haunting presence in the music video. It is as if it possesses its own identity apart from that of the wearer. Perhaps it is to reflect the collective fear that women still face as they walk home alone.