Why does Private View feel more like public mocking? Week after week, disillusioned creatives, planners and account men find one reassuring way to console their wounded egos. ’What the hell does he know? Been around too long. Who the hell is he ...? Tosser.’

Why does Private View feel more like public mocking? Week after

week, disillusioned creatives, planners and account men find one

reassuring way to console their wounded egos. ’What the hell does he

know? Been around too long. Who the hell is he ...? Tosser.’

But it’s just one view. Chances are your ad will appeal to the millions

of people you were trying to get to all along.

First into the stocks, Fiat. An English couple driving in beautiful

Italian countryside, searching unsuccessfully for a restaurant. Amid

lots of car-on-winding-road shots, they stumble across a different

restaurant. Much swankier than the one they were booked into but no

problem, clever girl bluffs her way in. ’Spirito di Punto’, the endline


Now this might just appeal to the odd Rover owner. But isn’t this a

formula that feels all too familiar? It could have been an ad for any

number of brands that have yet to distinguish themselves from each

other. It’s a shame, considering they’re starting to get their product

right (with a brief from their new boss to build ’Italian’ cars). Isn’t

that where the advertising should be going? Creating buckets of spirito

di Italia. It all felt too ’English abroad’. Make me feel Italian. Get

back to ’Italians not wanting to be train drivers’ and all that.

Goldbrand is attempting to create for itself an identity using a very

clever goldfish. And it is doing so quite successfully. These simple

little films feel stronger than the launch films. Nice ad but, I have to

ask, who does a British Gas credit card appeal to?

Mars’ Flyte. In a series of films, a Mars researcher gets his arse

kicked on introducing a half-fat chocolate bar to various chocaholic

women. Worth mentioning a couple of nice performances but it leaves me

feeling starved of a creative leap. The agency knows these will appeal

to women because the women in research told the planner ’why ever didn’t

you come up with this product sooner?’ It’s a positioning. But why

didn’t the creatives take it further?

Listerine is in that same ’embarrassing to put in your shopping trolley’

category as odour eaters, dandruff shampoo and haemorrhoid cream.

We’re still in the land of fairytales but the dragon has been slain and

a wicked tooth fairy appears. Use Listerine day and night and the

naughty tooth fairy won’t have any teeth to take away. Pleasant and

charmingly executed. Not a West End hit, but I’m sure the strategic

change will cure their embarrassing bad breath problem.

How reassuring to all of us that even the best agency in town does its

share of rubbish. Bodum. I’m just sorry it made its way into the pile to

be reviewed. The appeal of this campaign will be limited to the person

who bought it.

I’m afraid I’ve never heard of Bodum and I doubt I will in the


A voiceover reads out from a catalogue what each of the products


A woman smiles at us inanely and ... and ... well, that’s it. I know

there’s probably a history attached to this one, but we all know you

can’t tell that to the greater public. Now, in this particular case, all

those involved have absolutely no grounds to console themselves by

shouting ’What the hell does he know? Who the hell is he ...?


But, like I say, all of this is one person’s view. Just a shame for some

it’s been so public.

Warner Lambert

Project: Listerine mouthwash

Client: Lesley McCaig, group product manager

Brief: Show the benefits of incorporating Listerine into your daily

dental care routine

Agency: J. Walter Thompson

Writer: Kieran Knight

Art director: Max Clemens

Director: Trevor Robinson

Production company: Jane Fuller Associates

Exposure: National terrestrial, cable and satellite TV

Mars Confectionery

Project: Flyte

Client: Angus Porter, marketing director

Brief: Announce the launch of Flyte, the first real chocolate bar with

half the fat

Agency: DMB&B

Writer: Roger Holdsworth

Art director: Phil Rylance

Director: Colin Greig

Production company: Eclipse Production

Exposure: National TV


Project: Everything works beautifully

Client: Jorgen Bodum, managing director

Brief: Provide a ’shop window’ to the brand to stimulate impulse and

gift purchases

Agency: Abbott Mead Vickers BBDO

Writer: David Abbott

Art director: Ron Brown

Director: Kevin Summers

Production company: Brian Byfield Films

Exposure: National terrestrial and satellite TV in the UK, Germany,

Denmark, France and the US

Goldbrand Development

Project: Goldfish

Client: Mike Parsons, managing director; Claire Stroud, marketing

director; Josephine Fawkes, advertising manager

Brief: Communicate the card’s universal acceptability and its extended

partner scheme

Agency: TBWA Simons Palmer

Writer: Ros Sinclair

Art director: Sean Thompson

Directors: BDH Athletico

Production company: The Producers

Exposure: National TV

Fiat Auto UK Project: Punto

Client: Vince Booth, marketing manager

Brief: Create a personality for the Punto by demonstrating the spirited

individuality of its owners

Agency: DMB&B

Writer: Jonny Pittard

Art director: Steve Wakelam

Director: Andy Morahan

Production company: Great Guns

Exposure: National terrestrial, cable and satellite TV