I think Hallström might be Swedish. It’s so hard to tell with this music video.
This one looks like they combined a little footage from a TV performance with shots of their faces. They either fade from one to another or pull a Persona (1966) by dividing the face into two halves made up of two members of the group. It’s a nice and simple video. You’d really have to try hard to convince me that Hallström didn’t have Bergman’s film in mind when he made this video.
There’s no way I can exclude this song from a retrospective of ABBA music videos. Sadly, it’s not because one really exists. It’s just that not spotlighting this would be like excluding Waterloo even though that’s what won them Eurovision, and kicked off their career.
The video above is what is on ABBAs official YouTube channel. The video below is an excerpt from ABBA: The Movie (1977).
I might as well throw them all together here. Here is the Spanish version called Gracias Por La Música. I have no idea when or where it was recorded. It is on ABBAs official channel.
I hope you understand me cheating here. I will also have to fudge Spanish versions of their other songs since some of them include videos like this, others include totally different videos like the one for Fernando, and then there’s Happy New Year and Felicidad that are proper videos, but have minor differences–those videos get a little weird. You’re also going to get a third version of Knowing Me, Knowing You since I have found a Spanish version available through ABBA’s official channel. However, that one doesn’t seem to have been released till 1979. Gracias Por La Música has a copyright date of 2012, but there’s no way the video above was done in 2012. I have nowhere else to stick it, so it goes here.
The first question I had was probably the first one that came to your mind. The answer is that the game they are playing is called “Fia-spel”. It’s a Scandinavian version of the German board game “Mensch ärgere dich nicht”, which is a variation of Parcheesi/Ludo.
The thing that always fascinates me with music videos is how they choose to use lip-syncing. This time around the song is entirely Frida and Agnetha singing, but they also have Benny and Björn lip-sync some of the lines, so it appears that Frida and Agnetha’s voices are coming out of them.
You’ll notice that at times the lyrics become things they are saying to each other over a game of Fia-spel rather than coming across as being sung. They also do it in such a way that to the viewer it’s as if the person who lip-syncs lyrics is being given an answer in normal speech. It also dips in and out of those parts.
There seems to be two levels to this game between the members of ABBA. The first is just playing the game. The other is the higher level that intersects the first level at certain parts where lip-syncing happens. I’m sure there’s a connection to the game itself. However, I have never played any of the board games mentioned at the beginning of this post.
I’m not really sure what the purpose of the silent film look and obstructions in front of the camera are in the video. The silent film thing doesn’t even bookend the video. The obstructions add some style that doesn’t really work for me. I do like the spinning part. It fits with where the song is at that point. I think the rare cutaways to the guitar and piano are nice too. I can’t put it into words, but I think it was the right call to not show who’s playing. In any other ABBA music video, you’d see Benny and Björn during those parts.
Finally, the little pig-nose thing Agnetha does is nice. It’s moments like that which make me wonder how much of the music videos Hallström did with ABBA were scripted, and how much were improvised. I can’t imagine Hallström telling Agnetha to do that.
It took 33 music videos, but I think I’ve reached what is my current favorite ABBA music video. This is the Snow Version of Knowing Me, Knowing You. We already did the Sailboat Version.
If there’s one thing that should be clear by now about ABBA music videos, it’s the importance of blocking in them. I think this video is one of the finest examples of that. I love the parts of the video where the person singing switches, but the camera doesn’t cut as you would normally expect it to. Instead, it either moves on its own to another member of the group, or follows one of them into another position onscreen.
The other reason I particularly like this music video is because it features more of Benny and Björn. It feels like a full group song and video rather than Agnetha and Frida with those two guys in the background of some shots. This allows them to do interesting things by having four people to work with in a greater capacity than previous videos.
My favorite example of this is when it starts with Agnetha and Frida walking…
past Benny and Björn…
where the camera stops for a bit to let them get out their backing vocals.
Then it quickly goes over to Agnetha and Frida who are in their typical headshot and profile-shot blocking.
They finish their part, and Agnetha walks over to stand between Benny and Björn.
The camera moves in to crop out Björn.
Finally, Angetha walks back over to Frida to be in the same headshot and profile-shot thing, but with her on the opposite side of Frida.
It also leads them symbolically out of the relationship of the song that ends with hugs, freeze-frames as they look back, and them walking off into the distance.
One last thing to take note of is that the video appears to begin with Agnetha and Frida having already left, as evidenced by their footprints in the snow–footprints we see them make at the end of the video.
At the time of writing this, I had to be up at 5:45 AM to go have CT Scans done on my chest, neck, and sinuses. I’m okay. The point is that I am running on empty. I honestly thought that today’s video was the one where they sing next to a giant snowman, which would basically make the post this sentence before the comma. Instead, it turns out that the video is for the song That’s Me. As a result, I don’t have a whole lot to say. Not that it really matters with this video. I wouldn’t have a whole lot to say anyways.
According to Wikipedia, this was filmed during the making of ABBA-DABBA-DOO! Okay, if you say so. The Flapper Dress version of Money, Money, Money was filmed on that show and it looks nothing like this. However, it does also say that it was combined with some original footage and stock footage from their other music videos. That I buy since it’s what you are getting here. The majority of this video is the Snow Version of Knowing Me, Knowing You and the well-known version of Money, Money, Money with a little bit of Agnetha and Frida singing spliced into it. At one point, Frida looks bored as her eyes just drift off into space.
Apparently, it wasn’t even released back in 1977 or, as Wikipedia says, 1976. Things get dicey with their album Arrival since it came out in October of 1976, so it could be either year. I’m going with 1977. It’s not important anyways since it appears to have gotten the She’s Gone by Hall & Oates treatment. By that, I mean that it was filmed back then, but wasn’t actually released until 1993. She’s Gone being that bizarre video made in 1973–never aired–that John Oates himself leaked onto the Internet.
I don’t particularly like this one, but Agnetha must have since her 1998 compilation album of her solo work is called That’s Me.
You can also find them performing this song on a TV special for Olivia Newton-John that also featured Andy Gibb. There’s even one where they all do some songs by The Beach Boys.
I can’t find anything particularly interesting about this video to talk about. They captured the fun of the song well. What else is there to say? One of the kids looks at the camera at one point. I guess that’s something to mention.
After yesterday’s long post on Money, Money, Money; here’s a nice and easy one. There are only two noteworthy things I can find.
One is that it was popular enough to warrant both a Swedish and Spanish version in addition to this English one. However, I can’t find a Spanish specific version of the music video like you can with some of their later songs. The best I could find is the video below that says it was recorded for the Lina Morgan Show and dubbed. Seeing as I can’t find any record of this being a music video rather than a live performance with some effects put in, I’m just including it here.
The other is that the song was originally released by Frida for her solo album Frida ensam, and then was done by ABBA. Apparently, the Swedish lyrics differ quite a bit from the English one. Here is the song sung in Swedish with English subtitles.
If you read yesterday’s post on the Flapper Dress version of Money, Money, Money; then you might want to go back to that post. I messed up. I have since found the actual Flapper Dress version and added it to the end of the post.
According to Wikipedia, this was based on Cabaret (1972), which explains the Flapper Dress version. But I found that out at the last minute, so let’s talk about this version as if I didn’t know that fact.
The video starts off by reminding us that while international in appeal, they are a Swedish band.
Then we cut to Frida working hard for the money in white with the sun out on location in order…
to contrast with the next shot of her in black on the edge of a spotlight in a studio.
The spotlight showing Frida standing on the edge of stardom if you will. Note that the music video never shows Frida like that again as if it is a state to which she can’t or never will let herself return to again.
By the way, this might look familiar for two reasons. The first one is that the shot above is what Dancing In The Dark by Bruce Springsteen was originally supposed to look like.
That was the version that was going to be directed by Jeff Stein who came to fame directing The Who rockumentary The Kids Are Alright (1979).
The other reason is that Holding Out For A Hero by Bonnie Tyler would use contrast between location shooting and a studio set. One where she is free, and the other where she is in the dark waiting for the hero of the title.
That music video was directed by Doug Dowdle who started in music videos as an editor for Australian director Russell Mulcahy. While Mulcahy didn’t direct Holding Out For A Hero like he did Total Eclipse Of The Heart, it was written by Keith Williams who wrote the treatment for many of Russell Mulcahy’s music videos. I know I already said it in a previous post, but the Sailboat version of Knowing Me, Knowing You has parts that remind one of Rio by Duran Duran–which Mulcahy directed. ABBA was huge enough in Australia that ABBA: The Movie (1977) takes place there. No wonder music video director Kevin Kerslake once commented about how much music video directors borrowed from each other. Even if those connections are superficial, you probably could bring all music videos into some sort of Lasse Hallström universe, like the Tommy Westphall universe that apparently ties just about every TV Show after St. Elsewhere together. Moving on.
The camera now gives us a head-on shot of Frida where we can see her face has been divided into shadow and light.
Now the chorus kicks in where we see Hallström timing shots of the band to the song. My favorite part here is how the coin and the spotlight are shown to be the same thing.
Notice that this money is Swedish because that will soon change. You might also notice the poses of the band. It’s noteworthy that they shot this upwards with the guys behind Agnetha and Frida considering the chorus of the song.
You’ll only see the guys and girls together in this shot, and when they are driving in the car.
The entire video seems to be drawing a parallel between the song’s story of a woman fascinated with being rich to escape the normal grind and ABBA’s career.
At about the halfway mark, we see the woman of the story appear to start coming into money as she puts on a ring. Marriage? I don’t know. Of course the fact that ABBA are Swedish, but sing in English in order to have international appeal, can be seen as a marriage to wealth by singing in someone else’s more well-known language. Most of the times that was English, but there are Spanish versions of some of their songs as well. Frida even did a version Fernando in Swedish. This ties in with the change of the kind of money later in the video. Today we have examples of this kind of thing in The Hives and PewDiePie.
The lyrics now change to the woman going away somewhere to make money. Note that the ring is no longer on her finger.
I don’t know if that means she isn’t married, or if it means she can buy the ring herself seeing as that is followed by riches and champagne, which includes more jewelry. You can see that she is the one who puts the ring on her finger. In addition, the money is now American dollars.
They’ve gone international at this point. Pay attention to how she takes the money here because after some closeups, we’ll see her grab the cash.
Why the closeups of their mouths? It was 1976. I wouldn’t be surprised if Hallström was going for a Deep Throat (1972) reference, which was still fresh in people’s minds having popped up in The Rocky Horror Picture Show (1975) and even Dirty Duck (1974). Seeing as Agnetha and Frida made money with their voices, whereas Benny and Björn did it by writing the songs, it’s not that much of a stretch. Everyone saw that movie back then. Even Jackie Kennedy saw it.
That, and Sweden’s ties to adult films during the 1970s. Their Linda Lovelace of the time probably being Christina Lindberg who returned to Sweden in the mid-1970s when she didn’t want to do hardcore sex scenes. It’s worth noting that Lindberg worked with director Joe Sarno on Swedish Wildcats (1972) because Sarno would go to direct the sequel to Deep Throat in 1974. Also, if Wikipedia is to be believed, then it was Gerard Damiano (director of Deep Throat) who urged Lindberg to return to Sweden because he knew she wouldn’t be comfortable with the direction the film they were making together was going.
Perhaps she is supposed to have been married seeing as the video shortly follows up the money grab with an intimidating shot of Björn…
and cuts to Agnetha’s eye which appears to wink before cutting to her face. I say that because they were married in real life.
The video does eventually come back around to the Stockholm piano before taking us into the spotlight ourselves.
I can see why Hallström once said this is the best ABBA music video he ever directed. I still prefer the Snow version of Knowing Me, Knowing You–but I get it. You can even read into the use of the colors of the spotlight. The women share both the blue and red spotlight solo, and with the guys. The guys only have the blue light when they are with the girls posing as the band. In the solo shots of them, it is the red light.
Yes, I did notice that Agnetha and Frida nearly kiss in the video before turning towards the camera. I wonder how many times it took before they could nail that without bumping into each other or stopping short.
Finally, I do know about the ties to royalty that most likely go along with showing the face of the Swedish coin and the American dollar. ABBA sang Dancing Queen at a special party in tribute to the new Swedish queen Silvia Sommerlath, whom married the King of Sweden in 1976. That king being the son of the man featured on the coin–Gustaf VI Adolf.
I can see why they would compare Martha Washington–who married into wealth–and Silvia Sommerlath–who married into royalty–by also zooming in on George Washington.
I’m sure there’s more in there having to do with Sommerlath, but the Wikipedia article runs up a lot of red flags, so something like her supposedly working as a flight attendant before marrying the king is not something I feel comfortable stating as fact. There’s probably also something to do with Louise Mountbatten who had married Gustaf VI Adolf, thus becoming Queen of Sweden before dying in 1965. Her husband died in 1973, at which point Carl XVI Gustaf became king and married Sommerlath three years later. They are still the King and Queen of Sweden to this day.
It’s funny that the song probably most closely identified with ABBA has such an unremarkable video. I only have two things to add that we haven’t already seen in previous videos.
This time around we get super close-up shots that are just the lips and nose. The guys get the same shots. Usually it is just Agnetha and Frida. In general, there seems to be an increase in the presence of the guys and Frida.
Also, take notice that there is a strict division between the girls and the guys. They never interact in any way. The quick cuts to match the quick parts of the song make them face themselves, not each other. With the exception of a couple of far shots, they even play and sing in their own section of the white dimension that could have been recorded on completely different days.
That’s it! The rest is stuff we have seen before in earlier videos. I am going to make a judgement call here and go ahead and add the following as a live performance of this song. They did it for the show, Made In Sweden For Export.
Unlike Hasta Mañana, there are no cuts. This may have been filmed prior to airing as the YouTube video suggests, but it looks enough like a live performance for me–unlike the one they did for I Do, I Do, I Do, I Do, I Do that also aired on the same show. Note that for the majority of the performance, the guys aren’t playing even though the music is. I also love that while Agnetha and Frida are in standard ABBA performance mode, you have Benny and Björn trying to get to their instruments through red tape. It’s all a nice joke about the title of the show and why exactly we have so many ABBA music videos from a period when that wasn’t exactly standard practice. It wasn’t unheard of, but there is pretty much a canned ABBA music video for all of their major hits.
This also means I can include the version of So Long that they did for the same show.
Yay! A good ABBA song, with a good music video to go with it! I forgot these existed after the last few that I did.
The music video starts off and immediately introduces us to one of the running things in this video. That’s the use of different techniques to obfuscate or generally distance things from each other. In this case, it’s that funhouse mirror effect that distorts what you are seeing without necessarily destroying it beyond recognition.
We then cut to Agnetha for a long take where she even reaches out to us like the song says. I love this shot not only because of its apparent isolation, but because we will see a tiny detail added to this later on in the video that is the reason I used the word “apparent”.
Then we see this kaleidoscope effect. This time around it spins before settling on one of the guys. In some cases, it will keep spinning without stopping. Sometimes it acts as a transition, and other times it reinforces the lyrics.
Then we get the shot that is easily the most iconic for the video. The band on what looks like a rocky beach looking upward almost as if they are asking for divine intervention.
There are some close-up shots and a repeat of the kaleidoscope effect before we settle on Agnetha again. Look over her left shoulder. It is what appears to be Benny and Björn walking into frame. They are in the background and out of focus, but are still just a little ways behind her like the lyrics she is singing say: “You seem so far away, though you are standing near.”
Then we get this shot where they do the outside shot, but from what looks like the set of the video from Mamma Mia. It may be the same set, but they are wearing different costumes. My best guess is contrast. The outside where they look sad with a shot from the typical set of one of their videos where they look happy.
Another time we get a short shot of them lying on grass. Maybe contrast again since it does cutaway from that back to the straight-up shot quickly.
As the song comes to a close, the video whips out all the distortion effects. This one, to the point where you know it is Agnetha, but you can’t even see her face anymore. It’s interesting to note that these distortions are used to either merge someone’s face or pull it in two–both of which are still a distorted view. The wheel can give a clear shot or something that is a swirling blur–its all or nothing. I have no doubt that this is another one of the many ways in which Hallström created visual contrast to go with the song. He also increased the frequency of the distortions at the right time as the video works towards the separation shot below.
Before we return to the piano, we get another straight-down shot, except this time the two guys are looking down while the two girls look upwards. I know I will mention it in the future, but I really like how Hallström made use of the fact that he had two straight married couples. If even one of those things was changed, then I’m sure the videos would look different or wouldn’t be as effective. It allowed him to do Busby-Berkeley-like things by taking advantage of their inherent contrast, sexual attraction, and real world connections beyond just friendship–working and otherwise.
All these things stitched together, and you get a visual representation of a relationship that is falling apart without ever having to show them walking away from each other. I will sing the praises of the video for Knowing Me, Knowing You till the day I die. However, that used them actually walking away. Sure, it did other clever things such as visually representing fluid relationships within the band and regret for failed relationships, but I still find it impressive that this video didn’t make use of two people walking away from each other. That would have been so easy, but it does just the opposite. The group is shown together again and again. We can see from their perspective and the inner turmoil within them, but there isn’t any literal distance. Even one of Agnetha’s solo shots has the guys pop-up in the background to remind us she isn’t really alone.
One last thing I want to mention is that the working title for this song was Turn Me On. That is a bit more literal and helps me grasp the song better, but I like the desperation SOS conveys.
Through the Shattered Lens 