It dasn’t get much betta
ELIZA SHKOLNIK
There is nothing cuter than a talking Volkswagen with a German accent. The new VW “Das Auto” campaign is probably the funniest to hit American TV since the California Raisins, back in the ’90s when I was in middle school.
VW’s choice of celebrities from Heidi Klum, one of the most established supermodels of our time, to David Hasselhoff, the American soap star turned singing sensation truly can’t be beat. They even threw in Bob Knight. Although I’m not a big sports fan, I have heard his name a few times, and his competitive conversation with the black VW is very funny. David Hasselhoff’s spot is pretty humorous also. They do a good job keeping the audience’s attention with humor, while simultaneously selling Das Autos (a.k.a “the car”). However, the best spot of all is when the VW Das converses with Heidi Klum, and starts to blush at the end. The choice of colors and props on the limbo setting is very appealing to the eye.
I could watch this campaign over and over. Bravo VW. For once you thought outside the box. I’m not going to lie. In the past your commercials have been pretty basic and boring, but you truly outdid yourself and everyone with this one. Humor sells. Don’t lose your new art director, because he’s a creative genius.
Thinking too small
TAYLOR BAYBUTT
In the new VW ads, a classic black Beetle is portrayed as Max, a German talk show host. Sure the set and props are beautifully stylized, but are we supposed to grovel over the fact that Andrew Keller, the campaign’s creative director, has elevated the car to the likes of Jerry Springer or Ricki Lake? At best we can see Ellen. But is Max the Beetle really a cancelled TV star reduced to gimmicky giveaways to get people to watch his show?
On second thought, how many people bought their Beetle for the stupid stuffed flower that sits next to the steering wheel, or the electric guitar that Slash and John Mayer were pushing a couple years back?
Now that I think about it, Max fits the washed-up, star-gone-talk-show-host mold perfectly. The redesigned Beetle is stale and I cry a little every time I see one. Give VW’s shop, Crispin Porter Bogusky, credit for making Max the classic version; it’s just too bad they feature a product you can’t buy anymore. That said, people all know and love the shapely little guy. You’d just think with his global reach he’d be able to pull bigger guests than “The Hoff” or the Napster dude.
I can just see it now. Leno gives way to Conan, Carson Daly moves up and Max hosts the “Late Late Show.” Great career move, buddy.
I’m just glad I finished my review without mentioning the serious Nazi undertones conveyed by a classic, black Beetle straight off Hitler’s blueprints, with the name Max and a thick ’40s German accent.
Or did I?
Putting nonsense to work
TAYLOR BAYBUTT
The spot opens. A spokesman talks about the variety of GameFly — an Internet-based video game rental service. Ordinarily, a spot like this would put me to sleep. But something is different here.
The audio of this GameFly commercial makes it an effective testimonial. But to capture attention, the video tells a different story. Each time the camera cuts back to the speaker, his costume changes. A samurai. A soldier. A masked wrestler.
To reinforce the versatility of the service, the background props change as the costumes change. In essence, the spot becomes a demonstration of the product highlighting the convenience of switching between varieties of games seamlessly.
This spot utilizes nonsense to grab your attention. The audience cries “what?” between chuckles. Clearly the spokesman can’t change costumes that fast and still maintain steady speech. With a style similar to a Monty Python sketch, the humor encroaches on surrealism.
Nonsense is becoming more frequent as the trend of cynical sarcasm in programs like “The Daily Show” or commercials like those featuring the Geico cavemen fade. The emphasis in comedy now falls on nonsense. While obscure “Family Guy” references and Adult Swim programming generate publicity beyond the television screen, odd-vertising, such as the Cadbury gorilla or the Emerald Nuts campaign, captivate the maturing 20-something market that GameFly targets.
However, unlike ads presenting silliness for its own sake, GameFly employs nonsense to sell its benefits. That’s why the spot works. But reaching an audience that’s often in an altered state of mind doesn’t hurt the cause.
Melody melts my heart to shame
ALECIA GREEN
I guarantee that if I was working in a carpet shop — even on a slow day — and the only thing to keep me company was a Snickers spokesman with a guitar, I would not be in a good mood. As a matter of fact, I would probably be banging my head against the desk. I would not be singing a joyous song with a man who has his privates in my face as we sing in harmony thinking about the joy of eating a Snickers bar.
I have never needed someone singing to me to enjoy the taste of chocolate-covered peanuts and caramel. Snickers should be dependent on the great taste itself. The satisfaction of eating the Snicker bar should be enough. Is the commercial funny? Yes. Does it make sense? Of course not — unless you’ve seen “happy peanuts soar over chocolate-covered mountaintops.” It sounds great, but it’s not going to happen. And if it does, you’re definitely not eating a Snicker bar.
Snickers has shown they want their consumers to enjoy the satisfaction of eating the nougat-filled candy bar within their commercials. Satisfaction, in my perspective, is not what is being shown in this commercial. It’s torture. Think about it. You’re making minimum wage and being told the world is one, big chocolate fantasy.
Maybe Snickers should start writing for the Republican Party.
Snake Oil (Game) Salesman
RUBIN WILSON
When I think of great television ads, I think of the ads for the Apple iPod and those lovable turtles for Comcast. These ads have the potential to grasp the viewer’s attention and deliver the message of the brand. The objective in question is to deliver quality advertising that will fishhook consumers or put them on a good basis with the product. But GameFly never bothers to put any bait on their hook.
Some of you are familiar with the GameFly ads that are currently being shown. The layout of these ridiculous ads involves an actor who changes into different garments to represent different genres of video games that are available for rental or purchase by consumers.
Right from the beginning, you are fixated by the great deal that he is offering you. But more or less you wonder why he keeps changing outfits throughout the ad. In the transition from the actor to the plain signs that show GameFly’s deals and rates, you tend to still be stuck on the fact that there is a weird car salesman trying to pitch you a deal, from multiple angles of the product.
Yes, in a sense, it’s a cute viral video that will maybe grace our airways for a little while longer. But, honestly, I’d rather head down to a local Blockbuster and listen to the nerd playing “World of Warcraft” before I listen to a car salesman trying to swindle me out of my last buck.
Sing me to Snickers land
AVERY CARTER
A serenade and a tasty snack — that’s more excitement than I have on most days. In the Snickers song commercial, a lucky employee’s break turns into a fun sing-along. I feel compelled to join in, but I’m not alone. You can tell that the Snickers-eating employee is also harmonizing with the serenading spokesman by his bobbing head.
People might say that a guy singing about the satisfying taste of Snickers at your job is weird. Why put down someone’s kind jester of joy? If this really happened to me, I would laugh for weeks and have a great story to tell anyone that listened — how inspirational Snickers was to cause someone to break into song.
Not just any song, either. It’s a song of satisfaction that brought me to a fantasy world where happy peanuts soar over chocolate-covered mountaintops. I’m sure this isn’t what “regular” people imagine when they think of Snickers, but I’m an art student. I can relate to daydreaming about faraway fantasylands — places where you become your favorite manga character playing in “waterfalls of caramel.”
That last part is probably just for me.
The song not only has great imagery, but a catchy melody that is simple and sweet. It’s all in fun, from the serenading to the detailed descriptions. What other commercial puts a smile on your face and makes you sing of “prancing nougat”?
I can’t think of one.
