Feature

The Screen test - Campaign Screen's international ad picks 15-3-2002

In this week's International Pick, Campaign Screen editor Lisa Campbell looks at ads from the Royal Marines, Boddingtons, Pfizer, National Football Museum and Danish Bacon.

Royal Marines - 'Tunnel'

Ivan Zacharias gives us a brutal account of the Royal Marines' training programme -- an ad so evocative it leaves you breathless. The viewer is dragged into a water tunnel to watch a recruit as he struggles through various stages of the course. We suffer with him, aided by the use of titles questioning where our limits would be. A clever new endline from Rainey Kelly Campbell Roalfe/Y&R "99.99 per cent need not apply" throws down the gauntlet to a tiny minority who also have the guts and stamina to make it.

Agency: Rainey Kelly Campbell Roalfe/Y&R, London. Creative directors: Mark Roalfe, Robert Campbell. Copywriter: Brian Cooper. Art director: Jason Stewart. Agency producer: Barbara Simons. Production company: Stink, London. Director: Ivan Zacharias. Producer: Nick Landon. Director of photography: Jan Veticky. Post-production: The Moving Picture Company, London.

Boddingtons - 'Screen Kiss' and 'Pillow Talk'

It's goodbye to Graham the cow and hello to a new and amusing campaign for Boddingtons. The ads force viewers to use their imagination by showing characters imagining the drink. The casting and performances are superb, particularly from the hero of "pillow talk" -- an intimate scene and one which, uncomfortably, we feel very much a part of. Boddingtons retains the use of strong women in its ads -- a refreshing change. The ad also reveals that Traktor is as skilled at dialogue as it is in its trademark visual gags.

Agency: Bartle Bogle Hegarty, London. Creative director: Nick Gill. Copywriter/art director: Nick Gill. Writer: Howard Willmott. Agency producer: Colette Ponsford. Production company: Partizan, London. Director: Traktor. Producer: Phillipa Smith. Director of photography: Jo Malitaris. Post-production: The Moving Picture Company, London.

Pfizer - 'Love' and 'Bathtub'

We've all been here, lamenting over that lost love and wondering if they will ever return. Here we find a sorry fellow trying every conceivable way to convince himself that his main squeeze will come back. Conveyed through pensive voyeuristic framing and complete silence, we hear nothing except the protagonist's thoughts. We feel his anguish and realise there's no cure for love; but no matter, pharmaceutical company Pfizer will still be on hand for other more curable sicknesses. An original and creative spot within the category.

Agency: Paradiset DDB, Stockholm. Art director: Andreas Lonn. Writer: Jens Englund. Agency producer: Sanna Wallenstierna. Production company: Atmosfar Productions, Stockholm. Director: Lukas Hammar. Producer: Berit Tilly. Director of photography: Carl Nilsson. Post-production: STO.PP, Stockholm.

National Football Museum - 'Just Visit'

This spoof of Nike's famous "freestyle" ad shows us how football was in the good old days. The clothing and hairstyles may seem quite ridiculous but director Mark Denton gives us a historically accurate portrayal after studying the museum's artefacts and footage. His accuracy stretches to the particular ball skills common to the period and he has also included some genuine characters, such as 'Fatty' Foulkes, the 6'6', 22-stone goalkeeper who played for Chelsea in 1905. The hand-cranked camera adds to Olde Worlde ambience.

Agency: The Chase, Manchester. Creative director: Ben Casey. Art director: Mark Denton. Writer: Ben Casey, Adam Denton. Production company: Blink Productions, London. Director: Mark Denton. Producer: Jane Fitch. Director of photography: Angus Hudson. Post-production: Rushes, London.

Danish Bacon - 'Obsession 1&2'

An oddball spot for Danish Bacon which proves to be a significant departure from previous work. The tale of a father's extreme fixation for the tasty treat is in a comedic documentary style. The addiction is treated as a serious case, and with the realistic locations, characters and the unusual mix of live action and classic stills photos, the spot seems strangely believable. The tension-filled scene where the Cyrano de Bergerac-come-Steve Martin 'extension' is unveiled is a great finale.

Agency: WCRS, London. Creative director: Tim Robertson. Art director: Andy Dibb. Writer: Steve Little. Agency producer: Bart Yates. Production company: The Brave Film Company, London. Director: Peluka. Producer: Jessica Ensor. Director of photography: Jess Hall. Post-production: VTR, London.

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