Alex McEwan

Analysis of REM Everybody Hurts

The song Everybody Hurts by R.E.M (Rapid Eye Movement) conveys a powerful
message, through both the lyrics and the video accompanying it. The lyrics
evoke emotions of both sorrow and acquiesce, evident through the recurring
verse Because everybody cries, and everybody hurts sometimes, re-assuring
the viewer that theyre not alone in their personal misfortunes, as we all have
our own dilemmas to overcome. The video provides representations of despair
and lethargy, with the slow, tracking shots of multiple characters, with sullen
expressions, conveying a reluctance to persevere, through the visual metaphor
of the traffic jam. Theres also an underlying motif of Christology, with subtle yet
frequent references to Christianity symbolising hope and faith. This then
suggests that the music video has a symbolic narrative, rather than being
thematic.
The first thing we see as the music video begins is a rising, tracking shot of a car,
driving down the road. The camera rises slowly to almost create an enigma code,
leaving the audience curious as to whos driving the car and where its headed.
This is re-enforced by the four seconds that the camera takes to introduce the
next shot. The following few scenes depict the driver, using a shallow depth of
field to highlight his significance within the narrative. Such significance stems
from the driver being Michael Stipe, the lead vocalist of the band, which
introduces the audience to the protagonist within the narrative from the viewers
introduction to the video. Additionally, the use of a shallow depth of field
highlights that this is the intended focal point of the shot, isolating Stipe from his
surroundings and becoming the key figure within the opening few seconds. This
is effective due to the fact that hes in focus, indicating that his presence is of
substantial value. The introduction of on-screen text initially suggests that the
lyrics will continue to flow through the rest of the video. However, as each
different character is introduced and depicted, the text changes. Notably, the
lyrics being sung only appear on screen when the protagonist, Michel Stipe, is
also present. This allows the audience to make a subliminal connection between
the significance of the lyrics and the character on the screen, suggesting that
whilst the song itself reflects Stipes personal story, the text shown for each
character reflects their story, an implemented theme which isnt apparent until
you look closely. The indication that Stipe is attempting to convey his story is due
to his life-long battle with defining his sexuality, as Stipe has now declared his
attraction to both males and females. Furthermore, the impact that having
unknown actors has, rather than using household names, suggests to the
audience that everybody hurts, with those that you dont know still
accommodating pain, despite our lack of understanding for their problems, as we
all have our own. This is used in an effective way through two alternative
scenes; the first of a woman stroking the exterior of her car window, show from a
high angle, to a medium close up of a large man, sat in his truck, focusing after a
depth of field clarifies his presence in the shot. Both shot from different angles,
the high shot of the woman connotes that shes inferior, reinforced by the text
look at me, suggesting shes desperate to be noticed. In comparison, the close
up of the male tries to capture the stereotype for men, which is that we have
little opinions, again proven by the text silence is golden, meaning we dont
have to speak to convey our opinion. Each of these scenes contrast the variety of

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backgrounds and personalities we all have, however whilst being so different, we
share the same capacity for emotion, therefore can all relate to the lyrics being
sung.
The passion conveyed through not only the lyrics, yet the melody itself, being a
mellow yet enticing tune, uses rendering to appeal to the audience, using
specific sound to associate the on-screen situation with the sound incorporated.
This is done throughout the video, with negativity coursing through the storyline,
until unity is formed towards the end of the product. The implementation of text
is effective upon its introduction, with the words theyre all stuck displayed as
Stipes hands are placed upon a car window, from inside the vehicle. This
provides the consumer with the vision that the boy is already facing difficulties
from a young age, relating back to the bigger statement, which is that everybody
hurts, not just adults. This is represented through the fact that the window is
closed, with his opportunities closed off as hes trapped behind the glass. By
doing so, it heightens the emphasis on subliminal messaging, as being stuck in a
traffic jam holds no comparison to most other problematic situations we face.
However, from a childs point of view, all theyre focused on is playing; therefore
by being stuck, it shows that the most imperative aspect of their livelihood is
being restricted, in comparison to the larger scale complications that most adults
face, an interpretation that simply relates back to the general motif. The chaotic
nature of the traffic jam creates an overwhelming sense of unison, as such chaos
is coupled by a soothing tone and free-flowing melody, contrasting the severity
of our problems and the manner in which we can solve them.
The camera itself follows each individual at a gradual pace throughout the video,
signifying that the pain we all endure is arduous and continuous. However, the
white light thats shone through the windows at the beginning of the video,
coupled with the light emerging as Stipe is driven through traffic on top of a car,
implies that theres a light at the end of every dark tunnel. This light is also an
indexical sign, as the light in the dark signifies hope, in this case for each sullen
individual portrayed within the narrative. This shot is also notable, due to the fact
that Stipes shadowing coat contrasts distinctly against the brightness of the
emerging light, representing him as the negative yet the world as a positive,
maybe suggesting that its your outlook on life that determines your fate, rather
than luck. As Stipe first exits his vehicle, the tempo of the music begins to
increase, acting as a sound bridge, providing a rise in tension, therefore
indicating a climax in the narrative. Stipe is then joined by his band-members,
standing atop vehicles stuck in traffic in a performance of the latter chorus of the
song. This can now be identified as a hybrid video, of both narrative and
performance. As this happens, each and every person exits their vehicles and
begins to walk down the long strip of road, coming together in unison for a
strange act of communal defiance, metaphorically standing up to their problems
and accepting that life isnt an easy road, evident by the extensive traffic jam
theyre trapped in. The camera then incorporates very fast, quick cuts to capture
the pace at which this movement is increasing. This then encapsulates the
essence of whats happening, giving the audience a visual stimulant, coupled
with the increased tempo, to provide a feeling of intensity, with a communal
defiance against letting our problems get the better of us. Theres an array of
shot types that follow, such as birds-eye view, to understand the mass amount of

Alex McEwan
pedestrians willing to fight for the same cause, close ups used to relate to certain
characters, and tracking shots to follow those who are walking, allowing the
viewer to feel included in the overall message of the product.
The end of the video has a rising shot of the scene, displayed in news format on
what appears to be a television broadcast. The panic in the broadcasters voice
outlines the severity of the situation, yet the characters display no emotion
whatsoever. Coupled with the black suits worn by REM, the vivid contrast
between their impassive expressions and the hysteria of the story as the video
fades is extraordinary, with the birds eye view shot rising upwards symbolising
that theres always a way out of the hurt being described, evident in the narrow
gap that the cameras zooming away from. The clever use of a blurred screen as
the news broadcast is introduced differentiates the calm, mellow atmosphere of
the traffic jam and the panic felt from all surrounding it. This shows the audience
that every situation is dependent upon how you view it, with the attitude you
have impacting its ultimate success or failure. This is also a clever use of
intertextuality, as its displaying a TV broadcast within a music video, creating a
sense of familiarity with the target audience. The news report itself represents
the reality of these emotions through the way in which the camera zooms out,
separating the veracity of these hardships portrayed and the traffic jam itself,
stating that whilst the traffic jam isnt real, the feelings evoked and represented
throughout are, therefore attempting to influence the consumers perception of
how others hurt, attempting to instil empathy into those who view the product.
Theres an underlying concept of Christology which runs through this symbolic
video, portrayed through many different characters and implementations; the
first of which occurring when we see an evangelist standing atop a spaghetti
junction, simply tossing pamphlets off the barrier. The text reads Lead me to the
rock that is higher than I, which is Psalm 61:2 in the Bible. This is followed by
They that sow in tears shall reap in joy, which is Psalm 126:5. This means that
the present distress we endure shouldnt be seen as an infinite struggle, with the
problems we face failing to define us as people by any means, with sorrow being
our sowing and rejoicing being our reaping. This trope is furthered by the figure
of Jesus rested on the back seat of a car, which contains several men, who we
assume are of Spanish/Portuguese descent, due to the text read in Spanish. In
the following scene, Peter Buck is seen to be laid flat atop of a car, in with his
arms wide and legs narrow, resembling Christ pinned to the cross; another
reference to the Bible. The incorporation of such frequent symbolism allows the
audience to interpret the lyrics in a different manner, almost preaching the lyrics
as if theyre a hymn, providing such emphasis whilst being so sullen. The
recurrent referencing the religion attempts to interpret religion as a lending hand
to our problems, as believing in something much bigger than ourselves and our
problems enables us to see the bigger picture, being that were all struggling,
taking comfort in the fact that were not alone. This is reinforced by the mass
amount of people incorporated within the narrative, to further highlight the array
of cultures that each struggle individually, yet all seem to incorporate religion
within their lives, therefore unite to create a state of intent, that nothing can
break the spirit of togetherness, deriving from their collective faith in a higher
power. R.E.M are notably a Christian rock band, therefore the persistent

Alex McEwan
referencing to Christianity stems from their own belief in God, whilst trying to
subliminally influence our understanding of religion also.
In conclusion, the video presents an underlying motif of religion, along with
representations of sorrow and resilience against the troubles that encompass our
lives. The camera angles continuously suggest that the characters feel
melancholy, collectively trapped behind the restrictive barriers of their car. This
could suggest that the car is a metaphor for the excuses they have for not being
as productive as they would wish, simply conforming to the stereotype that all
adults accept the fact they their lives will amount to nothing. This is validated by
the latter stages of the video, with bright light signifying hope and a mutual
decision to leave their cars and walk down the motorway suggesting that the
future may hold whatever you wish; that their lives are free to be lived however
they choose. I can also determine that the video attempts to appeal to the mass
audience, rather than the target market, as no strong stereotypes have been
incorporated, with the variation of characters and representations suggesting
that the lyrics have validity to whoever chooses to listen, not aiming them at
teenagers or adults, yet anyone who feels theyre bound by societal
expectations.