July 1994 Winner!! MOTOLITE "Tawid" TVC by Basic/FCB
Humor is
the charm of this MOTOLITE Brake Fluid TV ad that won a nod from the Creative Guild judges as the best
commercial for July 1994. Blame it on the hyperbolic acting of the well-cast talents
who dramatized to the max the fear of being run over by a brake-less vehicle.
The
over-the-top acting was so sit-com funny, that the models could give even
present-day comedians a run for their money. The composition of the shots and the
editing added to the ridiculous hilarity of the situations. The judges weren’t
even looking at the production design (was there any?) or listening to the score gone haywire--they were just riveted
at the paradoxical effect of the comedy happening in the face of impending tragedy.
Now that’s funny!!
CREDITS
Advertiser: CC. UNSON Product: MOTOLITE
Agency: BASIC ADVERTISING Creative Director: BOY LEUTERIO Copywriter: EMIL REINTAR Art Directors: REY TOLENTINO / EGAY OLIVA Artist: PETE CLEMENTE Producer: PAM PAJARILLO Caster: TESS GELLA
Production House: ELECTROMEDIA
Director: MANDY REYES Producer: MERIE VILLAMAYOR Cinematographer: LESLIE GARCHITORENA Prod. Designer: GAY GUILLERMO Post Production: VIDEOPOST Recording Studio: HIT PRODUCTIONS Sound.Music Composer: BRIAN CHUA
The 1993 TV Ad of
the Year was an 11-second video commercial with no budget, no production
expenses, and no human talents involved. In fact, the pig that hogs the camera
lens proved to be the underdog that beat several other more expensive efforts
for the plum prize.
The ad was one of the many pro bono efforts handled
annually by Basic/Foote, Cone & Belding. The client was a
non-governmental organization called Anti-Smut Philippines, and creative
director Tere Filipinia recalls how two members of the two-year old organization
approached them one day with no advertising experience , no parameters, nothing
but an intention: to fight smut.
“They didn’t even know what advertising was,”Filipinia
recalls. “It’s when we have accounts like these na puwede kaming magwala.”
The whole agency was gathered for some brainstorming , and ideas were scattered
like dirty tabloids. Copywriter Chris Martinez remembers some of the far-out
examples. “May kumakain ng tabloid, may lolong masama ang tingin sa apo.”
“Several ideas were just too sexy,” Filipinia recalls. “I guess the challenge
was how to show smut without having to show smut.”
Filipinia relied on plain consumer insight to figure out
the proper approachto hitting the market of downscale, libidinal tabloid
readers. “You couldn’t get these guys by making them feel guilty. It definitely
wouldn’t work, either, if you told them they were wasting their time, that they
should just read books. Manhid na ang mga taong ‘iyan.”
Watch the 1993 TV AD OF THE YEAR "Anti-Smut-Baboy" TVC HERE
Source: 4 As Philippines you tube channel
Martinez opted for insulting the viewer in the most
harmlessly graphic and unbelievably literal way possible. The ad, he says, may
have worked because of its “pure concept. It’s almost stark.”It opens with a
frontal shot of a smut publication, presumably hiding the guilty reader, whose
face the first-gime viewer is immediately dying to see. The surprise comes when
the page is dropped, and an extreme close-up of a real pig , snout practically
on the lens, is revealed, accompanied by the accusation that’s almost spat out: “Ang baboy mo!”.
Filipinia recalls how enthusiasm almost died down for the
project, and how the creative team rushed last-minute production to make sure
the ad made the cut-off date for qualification for a Creative Guild award.
“It’s much easier to aim for awards with pro bono campaigns,” she reveals. “We
call these our ‘therapy accounts’ , because they allow us to create what we
want.
The ad involved a team effort of professionals who all
worked gratis: visualizer Jo-Ann Cordero, producer Juliet Mutia, director Jun
Austria, production house Production Village, and composer Jimmy Antiporda, who
produced an excellent soundtrack that gave the ad its high-impact,
straightforward drama minus a catchy jingle or sound effects, aside from the
pig’s punctuating snort.
The ad received inconsistent exposure, also because air
time was given away gratis, but it was apparently seen on the air often enough
to be noticed, and to be adjudged a winner. It even attracted the attention of
piggery owners, Filipinia reports, who then wrote a formal letter to lament how
the ad was giving the business a dirty name. Interestingly, the ad failed to
win recognition on any of the international competitions it was entered in.
Martinez believes the discrepancy is cultural. “It’s probably only in the
Philippines that the word baboy has such a string meaning.”
CREDITS:
AGENCY: Basic /FCB
CREATIVE DIRECTOR: Tere Filipinia / ART DIRECTOR: Jo Ann Cordero
PRODUCER: Juliet Mutia / DIRECTOR: Jun Austria
SOUNDTRACK: Jimmy Antiporda / PRODUCTION HOUSE: Provil
SOURCE: Butch Uy and Alya Honasan, Perfect 10: A Decade of
Creativity in Philippine Advertising, p. 60,published by the Executive
Committee of The Creative Guild of the Philippines, an affiliate of the 4A’s of
the Philippines.
PASALUBONG (or more popularly known by TV viewers as "Jennifer") Basic Advertising, 1991.
The unforgettable fastfood commercial that sold hundreds of
thousands of Jollibee products also sold thousands of Coralyn dolls---the same
doll brand featured prominently in the TVC.
The commercial , originally entitled “Pasalubong”, was the brainchild of the Jollibee creative team of Basic Advertising, renown
for creating “very Filipino” commercials.
WATCH JOLLIBEE'S "Jennifer" TVC here:
The venerable Minyong Ordoñez, being Basic's Chief Creative
Officer, oversaw the creation of the campaign written by veteran Kiko
Gargantiel. The theme of the one
minute-commercial revolves around the domestic challenges faced by busy working
couples, particularly a mother, who has to leave her child (Tricia) at home in distress over a missing doll,
Jennifer. Feeling guilty, she reassures her daughter that she will find her
doll, a promise sealed with a pasalubong of Jollibee treats. Indeed, the doll
is found, and the family celebrates with a Jollibee eating spree.
The project was assigned to production house Electromedia.
Chosen to direct the TVC was rising star director Mandy Reyes, who had
previously worked on minor projects before being given the chance to handle a
major production for an icon brand, Jollibee. Mae Paner ( now recognized more
as Juana Change) was assistant director for the October 1991 shoot date.
He remembers the project briefing. “In the original board, the child was missing a pet cat—instead of a
doll. But at that time, the “pusa sa siopao” story was going around
so, a ragdoll replaced the pet”.
The child talent who portrayed Tricia was 5 year-old Tricia Coronel. It was she who tearfully uttered the line “Nawawala si Jennifer..”,
and who kept calling out her name “Jennifer”, in a tone so touching, it moved
many viewers and led to a high TV recall.
Direk Mandy recalls shooting that pivotal scene inside a Bel-Air house location: “I remember
rolling the camera continuously (film pa yon) in that crying scene “Nawawala si Jennifer”, and I kept
on telling her—“isa pa, isa pa, isa pa.
Na medyo makulit na ko, then she just broke down crying while saying the line”.
Needless to say, the director got his perfect take and called it a wrap.
The commercial was aired to a rousing reception. Children imitated
Tricia’s plaintive cry—“Nawawala si Jennifer!”--and proceeded to call her name. That scene from the commercial was even spoofed in the musical comedy film "Andrew Ford Medina: "Wag kang Gamol!" (1991) that launched Tricia Coronel's brief showbiz career. The movie soundtrack even featured a song inspired by the commercial, entitled--what else--"Jennifer"!
TRICIA reprises her Jollibee role in the 1991 Andrew E. movie "'Wag kang Gamol" Screen grab: Courtesy of retrovologs.
Listen to "Jennifer", from "Wag kang Gamol"
It is claimed that many baby girls born in late 1991 (when the ad
was aired) were named “Jennifer”. Coralyn Dolls, also had their heyday, with a surge in demand and sales of their iconic cloth dolls.
As for “Jennifer”—she is still around, secured in a glass
case in the home of Direk Mandy Reyes, who spirited her away after the
shooting!
One of the most enduring brands of brilliantine pomade was THREE FLOWERS, made by Richard Alexander
Hudnut way back in 1915, an American perfumer and cosmetics maker based in New
York, with a European office in Paris, France.
It was distributed locally in the Philippines by Edward
A. Keller & Co. sometime in 1950 to capitalize on the growing hairstyle
trend of the midcentury--pompadour, side parts, slick-backs and cowlicks—popularized
by screen legends as Cary Grant, Elvis Presley, James Dean, and later, Sean
Connery. THREE FLOWERS Brilliantine
Pomade became a favorite grooming aid to
style hair and give it a good sheen and, subtle masculine scent.
The most handsome matinee idols of the 50s were tapped to
become celebrity endorsers for THREE
FLOWERS’ 1956-1957 print campaign that primarily ran in leading magazines.Four print ads from this series are shown on
this page, each with a testimonial from a chosen actor-model.
LUIS GONZALES, for THREE FLOWERS,1956
Luis Gonzales, (b.
8 Aug. 1928/d. 15 Mar. 2012) was born Luis Mercado, and grew up I Tondo. The prolific actor made over 100 films with Sampaguita
Pictures and he is bets known for his portrayal of Pres. Ferdinand Marcos in
two propaganda-cum-drama films: “Iginuhit
ng Tadhana” and a“Pinagbuklod ng Langit” ("Heaven was Gathered", 1965).
He was often paired with actress Gloria Romero. Of THREE FLOWERS, Gonzales says: “
Women love the masculine fragrance of THREE
FLOWERS…so do I!”.
MARIO MONTENEGRO, for THREE FLOWERS, 1956
Mario Montenegro, (b. 25 Jul. 1928/d. 27 Aug. 1988) aka Roger
Collin Macalalag of Pagsanjan, Laguna, was a Fine Arts student of UP, and was
discovered while helping build sets for films. In his teens, he also was a member
of Hunters ROTC guerrilla unit that saw action in the war. He is best known for
his period films that showed him as a swashbuckling hero. Montenegro, who
married fellow actress Letty Alonso, says that he “prefers the finest to look my best: THREE FLOWERS”.
EDDIE ARENAS, for THREE FLOWERS, 1957
Eddie Arenas, (b.
7 Jul. 1935/d. 31 Mar. 2003) was a featured actor of Sampaguita Pictures and
made many films with actress Lolita Rodriguez, who eventually became his wife.
Some of his notable films include “Ang Tangi kong Pag-ibig” (1955), Gilda
(1956), “Busabos” (1957),”Tanikalang Apoy” (1959). Before his passig, he was
last seen in the 2002 movie, “Mahal Kita: Final Answer”. Of the product, Arenas
opines that “I always look my best with THREE FLOWERS”.
RIC RODRIGO, for THREE FLOWERS, 1956
Ric Rodrigo (b. 1931/d.?) was born as Paul Albert Bregendahl, the son of
a Filipina mother and a Danish father . He isbest-known for his appearance in “Igorota”
(1968), where he was hailed as Asia’s Best Actor. Other significant films
include “Dahil sa Isang Bulaklak” (1967) and “Ina, Kapatid, Anak” (1979). A son
from actress Rita Gomez, Ronald Bregandahl, also became an actor. “THREE
FLOWERS gives my hair a healthy sheen that is admired by all my friends”,
says the good-looking Rodrigo.
THREE FLOWERS
was a consistent advertiser through the 60s, but fell out of favor with the rise
of modern pomade sticks, gels and cream, and it was only in 1979 that the brand
was resurrected with the memorable relaunche campaign conceived by Basic
Advertising—‘Lalaking Disente’. Needless
to say, all the actors that appeared in the print ads from way back 1956, all
fitted that “lalaking disente” mold—thanks
to THREE FLOWERS!
The adorable duo that drove Filipino kids to pester their
mothers to buy cans and cans of Sustagen came to life in 1985. SUSY AND GENO
were the marketing brainchildren of Mead Johnson, the company behind the
nutrition supplement , Sustagen. Mr. Chichi Barros, Consumer Products Director
for Marketing conceived the idea of having a tandem of adorable mascots who will
epitomize the values of parents and children alike.
Sustagen, with its “23 Resistensya Builders”was, undoubtedly,
a superior chocolate-flavored health supplement, but it looked and felt so
serious to most kids.
The mascots were the perfect answers to make the premium
brand more relatable. SUSY was designed as a young girl with lots of charming
personality, a perfect complement to the friendly, wholesome GENO.
The SUSY AND GENO tandem,
both embodiments of happy, healthy children, turned Sustagen as the no.
1 selling milk in the 80s decade. SUSY AND GENO not only appeared in
countlessTV ads, but also went on school and supermarket tours to perform, dance, sing and promote the
health benefits of the brand.
WATCH A 1980s "SUSY & GENO" TVC HERE:
The brand mascots were the stars of their own Sustagen’s
Kiddie Club, that had over 45,000 members at its peak. They went around the
Philippines—attended town fiestas, visited classrooms, hosted week-end gatherings,
led puppet-making workshops, and
received countless invitations to grace birthday parties! Wherever they went, SUSY
AND GENO spread the message of good health together with Mead Johnson’s professional
nutritionists who often accompanied them on tours.
The high cost of mounting these activities forced their
temporary retirement, but by late 1990s,
SUSY AND GENO staged a comeback. In 2013, SUSY AND GENO were seen again as
adult mascots, leading separate lives and careers. This generated some interest
on facebook, where the drama of their reunion played out.
SUSY AND GENO are often held up as perfect examples of
the effective use of mascots in marketing promotions and
communications—especially to kids who have to grapple with abstract ideas such
as health, nutrition and friendship. The brand mascots have succeeded in explaining
these in fun, engaging ways that allow kids to learn without losing their sense
of wonder.
WATCH "SUSY & GENO" CASE STUDY HERE:
SOURCE:
Susy & Geno
Photo: De la Torre, Visitacion. Advertising in the Philippines: Its Historical,
Cultural and Social Dimensions. Tower Book House, 1989. P. 102.
Creative Guild of the Philippines' Top Talent Discovery for 1987 was the refreshingly beautiful Filipina-mestiza,ALICE DIXSON, whose appearance in a Palmolive Commercial created a sensation with its signature "shoulder shrug" choreography.
Watch the 1987 Palmolive commercial here.
Born as Jessie Alice Celones Dixson on 28 July 1969 to an American father and a Filipina, Alice barged into showbiz via the beauty contest route. She first joined the quest for Reyna ng Santacruzan on "Eat Bulaga" which she won. At age 18, Dixson joined the more prestigious Bb. Pilipinas and was chosen as Bb.Pilipinas-International 1986. She went to Nagasaki, Japan to compete in the Miss International Beauty Pageant where she placed among the 15 semifinalists.
Watch her at Miss International 1986 here:
Commercial casters began calling immediately, and she was chosen along with 4 other girls for an undisclosed shampoo project, which was revealed only after they were approved. The product was Palmolive Shampoo.Dixson was supposed to share equal billing with the other girls, but she registered so well that she was featured in the product demo--and ended the commercial with the memorable "shoulder rotation shrug" as she exuberantly sang "I can feel it!"
Dixson suddenly became a household name in 1987 through that highly popular Palmolive TV ad, jumpstarting her showbiz career. She was cast in a TV sitcom, Okay Ka, Fairy Ko as the fairy princess, Faye, who fell for a mortal. It was just a matter of time that she transitioned to movies, even earning plaudits for Hanggang Saan, Hanggang Kailan (1993), Sa Isang Sulok Ng Pangarap,Pangako Ng Kahapon (1994), Sana Dalawa Ang Puso Ko (1995) and Sambahin Ang Ngalan Mo (1998).
Watch Dixson recall her Palmolive commercial here
Dixson left a flourishing career to move to Canada in 1999 where she wed IT specialist Ronnie Miranda, a marriage that would last 3 years. She made a successful comeback in 2011, starring in Babaing Hampaslupa and Ang Panday II.
She co-starred with Christopher de Leon and Richard Gomez in the smash hit telenovela, Ang Iibigin Ay Ikaw (2002 to 2005).
In December 2013, she pose for FHM Philippines, making her the oldest woman to cover on that men's magazine, at age 44. As of 2015, she can be seen on TV as Mia Corcuera in the local adaptation of "Marimar."
Dixson's Palmolive TV ad has since become a classic, and, in 2002, the TVC was included as one of the 25 Pilak Awardees, representing the best Philippine ad of the last 50 years--"patalastas na walang kupas".
