Skip to main content
I saw the latest “Made for smartphones” commercial for Airtel.

And I loved it. It’s got a really cute execution and has been cast well. The woman in the commercial is immensely likeable.

But I wasn’t sure that it did the job it was meant to. For a simple reason – it seemed like the execution idea overpowered the main message – that Airtel is indeed the network of choice for smart phones.

Make no mistake – the essentials are all there – a voice call indicating high speeds, reliable connectivity – and the such like.

But what makes the commercial memorable is the fact that the woman is the man’s boss @ work and then his wife; post office hours.

That’s what people will remember; it’ll be the ad with the “woman boss”.

There is nothing wrong with the principle of it – advertising should be a torch bearer for changing roles of women in India. It is a reflection of the society we live in and sometimes; an inspiration for the life people should lead.

But it should do this while staying true to it’s commercial responsibility; which; in this case; would’ve been the need to drive preference for Airtel amongst the ever increasing smart phone user base in India.
Which I am not sure it does.

Just like I am not sure that the “2nd marriage” commercial from Tanishq does the best job it should in making people consider Tanishq as well for buying their wedding jewellery.

Will people consider buying Tanishq wedding jewellery because it supports “2nd marriages”? I understand that it could appeal to women by openly supporting the concept; but is that the most compelling argument?
Compared to these, from Tanishq? –




Showcasing a modern woman’s ideology is a perfectly legitimate means of appealing to women.

My question is around whether that in itself suffices as an advertising idea; like in Tanishq’s case. Or is it a conversation so overpowering that the main message could get lost; like in the case of the Airtel commercial?

There are many brilliant minds behind both the campaigns I’ve mentioned. And there must definitely have been countless hours spent on strategy and creative execution to think through and iron out these issues. And hence my assumption is that there is enough evidence in place to indicate that my concern is misplaced.

It’s just that I don’t see it.


Comments

Popular posts from this blog

Revolution 2020 - The Alternate Ending

Chapter 42 On March 1, I worked a lot harder than I normally do. I went through the mid-term results that Dean Srivastava brought over. I met with Bedi to discuss plans for the institution moving into engineering and MBA. I met with every student; every staff member who knocked on my door. I did everything to not look at that one card that Raghav had sent through in my mail a week back. But I couldn’t avoid it. Every 10 minutes; my eyes automatically glanced at it. And none of what anyone said registered in my head. The message on the card just kept coming back to me Mrs and Mr Anil Kashyap Invite the pleasure of your company For the wedding of their beloved son Raghav With Aarti (D/O Mrs and Mr Pratap Brij Pradhan, DM) At 8 p.m. On March 1, 2010 Poolside Lawns Taj Ganga, Varanasi I scheduled a visit to Shuklaji that evening. It was my way of ensuring that I wouldn’t be tempted to land up at the Taj Ganga. God knows I did!! I wanted ...

Sunday Morning Musings: "Cannes" the Journey Have Been Better?

Having just returned from the French Riviera, I have no intention of adding to the already exhausted chorus of post-Cannes euphoria or critique. Instead, staying true to my passion with the evolution of words , I have chosen to look at Cannes through a historical lens to trace how a modest gathering of cinema publicists transformed into a sun-kissed show of global capitalism. I. The Venetian Genesis and the Moving Image (1954–1983) The roots of the festival originate in the post-World War II media landscape, specifically within the domain of cinema screen advertising. The 1954 Inauguration: A group of international cinema screen advertising contractors belonging to the Screen Advertising World Association (SAWA) organized the inaugural International Advertising Film Festival in Venice, Italy. The Search for Validation: Inspired by the rapid rise of the Cannes Film Festival, SAWA sought a parallel platform. They believed that those who created commercial films deserved the same artis...

Willow vs. Warheads - 40 years of geopolitical theatre on a cricket field.

For the last one week, I and few million cricket fans have been waiting in anticipation for this India Pakistan world T20 clash. While this has always been the pinnacle of excitement for fanatics on both sides of the border, the recent geo political tensions have added uncertainty, trepidation and bite to an already tense on-field enmity. It was this context that got me thinking about the progress (or lack of it) of this spectacular rivalry over the last 40 years. Decade Focus Statistical Trend Political Environment 1980s Sharjah Dominance Pakistan Advantage Brasstacks & Zia Diplomacy 1990s World Cup & Neutrality Pakistan (ODI) / India (WC) Kargil & Nuclear Tests 2000s Friendship & Rupture Parity / India Growth 2004 Tour to 2008 Attacks 2010s Isolation & ICC Dominance India Dominance...