An association that smells of… strategy or whim?
It seems that Madonna has taken a liking to her favorite new toy, I mean, her artistic colleague: the Mexican actor Alberto Guerra. After that visual flirtation in 2024 and the invitation to the concert in Mexico City – where he surely learned more about ballroom than in his entire career – the creative union (or whatever this is) has been cemented with a perfume contract. Nothing says “deep artistic bond” like becoming together the face ambassadors of The One, the fragrance of Dolce & Gabbana. The promotional, described as “hot” by those who still use that word, already has social networks in a frenzy of predictable applause. How nice it is to see selfless friendships in the world of entertainment.
La Bambola: Feminist anthem or ironic soundtrack?
To give a touch of vintage class to the operation, the American singer has decided to cover “La bambola“, the 1968 classic by Patty Pravo. Because, of course, what better than a song that narrates the grievances of a woman treated as a disposable object to sell a luxury perfume? The irony is so dense it could be bottled. Madonna displays her vocal skills in Italian to sing the famous “Tu mi fai gira, come fossi una bambola“. One wonders if the lyrics (“You spin me around like I’m a doll. Then you throw me away”) are social commentary or a description of a marketing meeting.
In audiovisual material, the narrative is as subtle as a hammer. Alberto Guerra appears, as is mandatory, fascinated (read: with his gaze lost and slightly dazed) by a Madonna in lingerie who is waiting for him in bed. He, for his part, personifies the seducer. The scene repeats the textual description, perhaps to ensure that even the most distracted viewer gets the idea: he is fascinated, she waits. A very revolutionary power dynamic, without a doubt.
The song, written by Franco Migliacci, Ruggero Cini and Bruno Zambrini, was a monumental hit in Italy and has had a life in cinema, appearing in films such as ‘The American’ and ‘Roma Criminal’. His resurrection for a haute perfumery campaign directed by a megastar is, simply, the plot twist that no one expected but that we should all have seen coming. Is this an artistic claim or the most expensive use of a sample in the history of advertising?
In the end, the message is clear: luxury fashion, classical music and the star system merge in a cocktail where it is difficult to separate social criticism from blatant promotion. The doll, in this case, may not be the one in the song, but rather the consumption mechanism itself that we all dance to the tune that we are played. Do you rotate too, or is it just a personal perception?
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