Saturday Reject: Dotter – Cry

“A huge, dark expanse on screen. Perfectly fits the song, but won’t endear it to anyone.”

Tim: Tom, I don’t know if it’s been a great year for national competitions, or if I’ve just been watching more of them than previously, but there have been a hell of a lot of good songs rejected. Sorry to do this to you, but we’ve only got one more week, so we’re going to have to cram a load in. Let’s return to Sweden, with a somewhat melancholy song knocked out in 6th (SIXTH) place.


Tim: So it’s no real surprise, let’s face it – it’s way too dark, there’s very little sign of any audience cheering and not a huge amount to bring forth excitement.

Tom: Some very interesting directing choices there, too: Dotter’s isolated on stage, with no background, and frequently with unsettling camera angles: slightly out of the frame, or facing away from a huge, dark expanse on screen. Perfectly fits the song, but won’t endear it to anyone.

Tim: It brings to mind, a lot, Sanna Nielsen’s Undo from 2014, which of course went on to win; it’s led by a strong female vocal (WHAT a vocal), with precious little instrumentation behind. In terms of her movements, there’s a lot of inspiration from Loreen with nothing in the background, just her swinging around all over the place. Except, both of those cases had things to make up for them: Sanna had fun with the lighting, and Loreen had amazing upbeat music. This…this doesn’t have either of those.

Tom: Right! This feels almost like watching a rehearsal.

Tim: It’s a great song, but staged like this it sure as hell isn’t a competition winner.

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