Last Sunday was the Super Bowl and, even though the game is done and over with, we’re still debating who won – not the game itself, of course, but instead the competition between that of all the commercials.
Advertising during the Super Bowl continues to be a pinnacle of marketing. With a 30 second spot running an average of $4 million – and that’s just for just the airtime! – the price of entry is steep, to say the least. In addition to the hefty price tag required to simply gain airtime, advertisers are also spending millions of dollars to create a standout ad – a metaphorical sequined dress, if you will, in the almost pageantry like display (and attention) that Super Bowl commercials use to tout their wares. Viewers expect to see the best ads displayed on the stage that is the Super Bowl, meaning that the level of scrutiny that these particular ads are subjected to is much higher than if they were to be aired at any other time of the year.
As I review the ads from this year’s game, there is one that stands out to me – however, I’m conflicted as to whether or not it is “good.” This commercial starts with cinematic shots of large crashing waves, followed by an ominous tornado bearing down on a farmhouse, and then a shadow creeping across a multitude of landscapes. These images are scored by a low, droning rumble and, honestly, at this point this could just as easily be a trailer for the next Christopher Nolan film (The Dark Knight, Inception) as it is for the true product at hand. The tiny voice of a child can then be heard stating, “The world is full of giants.” She speaks in a soft – yet pressing – tone, as if she is reading a bedtime story and is attempting to warn her listeners of impending doom. And…I.AM.HOOKED!
As I continue to watch, I find myself soaking up every shot, every word, and keep looking for clues as to what the product will be. A multitude of images continue to play across the screen, ranging from firefighters charging into a blazing building, men with hand grinders that are showering the field with sparks, ship hands pulling ropes on a fishing boat, a man drawing a schematic, and a ballerina lacing up her pointe shoes. These are all shown on top of the child’s voice – and, with lines like, “We knew that being clever was more important than being the biggest kid in the neighborhood”, who wouldn’t be intrigued?
Then, the worst thing happens to this commercial – the product, that being the Ghibli, Maserati’s new luxury sedan – is revealed. For me, there is now a HUGE disconnect between the message I was just in the midst of being captivated by and the product at hand. While it’s true that Maserati may very well be the smaller company when compared to giants like Audi, BMW, and Mercedes Benz, I just can’t bring myself to feel sympathy for this particular company.
Why, you ask? Well, with Ghibli’s base price starting at just under $67,000, I really don’t feel as though Maserati can honestly be positioning themselves as the underdog here – one that’s not just posing as the small fry in luxury car competition, but one that’s also coming from the angle of asking for sympathy from the blue-collar work force (according to Car and Driver, the Ghibli is roughly $10,000 to $20,000 more expensive than its competitors).
The most disappointing thing about this commercial is that it is a great commercial…but it was made for the wrong company. The ad has striking images, an ominous sound, and an evocative voice over. Of the 90 seconds that this commercial subsists of, I was intrigued all the way up to the 70 second mark – which was when the car was revealed.
Recently, we wrote a blog about tone in video, and this Maserati commercial provides a fantastic illustration of what we mean when we talk about something having a “dark, cinematic tone”. A prime example of a car commercial with a substantially different tone is that of Hyundai’s Dad’s Sixth Sense . This commercial is made up of bright colors, natural, mid-day lighting, and a humorous demonstration of car safety.
Here’s what it all boils down to: it’s crucial to have a strong concept for your advertisement. A good ad needs to grab the viewer’s attention right from the get go AND hold it through the entirety of the commercial so that the viewer is paying attention when the important message is delivered. Typically, the message is that of “buy my product or service!” or some version thereof.
Where many companies fail with their ads is the development of a powerful connection between the commercial’s concept and the company’s product. Think about this – how many times have you reminisced over a particularly clever or interesting ad, but then couldn’t remember what product was being advertised? A vague memory of having seen “something” witty/cool/scary/inspiring isn’t going to sell the product, meaning that both the commercial and the company which produced it have failed.
Now, even though I think Maserati’s Strike ad is a poor pairing of concept and product, is it a success in regards to viewer retention? At this point, that’s a bit more difficult to judge – and is, in all honesty, something that we really won’t be able to evaluate until next year. After a full 12 months have passed, will anyone remember Strike? If so, will they be able to recall what product or brand it was advertising? Only time will tell.
What happens now that the Super Bowl is over? Well, all of the companies who advertised during the Big Game will need to hightail it back to their marketing partners and devise a plan to continue to ride the attention they have {hopefully} gained from their Super Bowl commercial.
If you’re looking for someone to ensure that all of your advertising is a success, give us a call!