Barbara Lippert's Critique

OK. So the world's most powerful brand hires the country's funniest agency. The result? No Coke.That's not the same as "no Coke, Pepsi," from the old John Belushi/ Saturday Night Live routine. Rather, what sets these spots apart is the complete absence of the physical product. Parodies of the usual syrupy "occasion'' commercials—a graduation, family reunion, a soldier returning home, an exchange student arriving—each celebration calls for that momentous unifier, that national marker: a Coke. Except that in each case, there isn't any, which makes the celebrants go nuts.Having an object take on a mythic status because it's not there—waiting for Coke, rather than Godot—is an unexpected and funny idea. Selling non-ness is the ultimate spin on "Is nothing sacred?'' In this case, it means the caramel-colored sugar water isn't taken seriously, yet the brand is so universal, familiar and iconic, it doesn't need to be present. These spots are dry as bones. There's not a drop of the alpha liquid in sight. I hardly find that cola sacrilege. Consumers probably have an encyclopedic grasp of the history of soft-drink advertising without having to see some actor or celeb (or even a polar bear) issue a long, satisfied "aaaah!'' in every spot. They already know the carbonated beverage has been the essential emollient for all water-based fun, such as beach volleyball or hosing down the car. It also makes people sing. And dance. So it's OK to move on. And it's not as if Coke is the first soft drink to get edgy. Sprite has done a brilliant job of that. What was shocking to me, however, given that this is the agency that brought us Clara Peller bellowing "Where's the beef?'' for Wendy's and all of Little Caesars mozzarella dramas, is exactly how unfunny and badly executed the "Graduation'' spot is.Open on a hall with the seniors throwing their mortarboards in the air. Two Valley girl types, 90210- ready, embrace each other."Best friends forever!'' they say, linking pinkies, with an emphasis on the ear-splitting "evaaar.'' This is when we share a Coke,'' one says. "I didn't bring any,'' the other answers. "I never liked you." "Cause I'm prettier than you?" "No. because you're stupid." "You are." "No, you are.''And they're down on the floor, slapping each other. It's not amusing. It's not even well-written. It just leaves you with a kind of creepy, hollow feeling. "Family Portrait'' is better because it parodies a more familiar scene in advertising—four generations assembled, with perfect green lawns and little tykes gamboling with a watermelon. Grandma gets wheeled out to applause. "Can I get you anything?'' a kindly adult grandchild asks. "Yes, a Coke please,'' she says. "I don't think we have any," the young one replies. "What? I'm 101, and this is probably the last time we get together. We were supposed to have Coca-Cola!'' The delivery is made better by the fact the actress is truly 101, and she's able to put her wheelchair into reverse and decimate the buffet table.A stuffed doll gets destroyed in "Army," the spot involving a returning soldier. That one and "Exchange Student" are the best ads and will debut on the Olympics. After that, the agency plans to release entirely different work for Coke. That's wise, having gone the limit with "No Coke is it.'' Coke is the anti-fizz. We don't need no stinkin' glugsCoca-ColaAgencyCliff Freeman and PartnersNew YorkChief Creative OfficerCliff FreemanExecutive CDArthur BijurAssociate CDTaras WaynerArt DirectorJason Gaboriau CopywriterAdam ChasnowAgency ProducerMaresa WickhamDirectorJim Gartner, Gartner Santa Monica, Calif.

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Barbara Lippert's Critique

Barbara Lippert

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Barbara Lippert