The Golden Globe nominees were announced yesterday, bringing with it the predictable annual mix of responses that range from outrage over who was perceived as being snubbed, complaints about those nominated seemingly only because the HFPA wants to party with them and more. Whatever the case, below is a list of the movies nominated for Best Picture to remind you all how they were sold to the audience for their theatrical run. Some of these are more recent than others and it excludes 20th Century Women, which comes out later this month.
The movie’s personal focus and touch really comes through in this campaign. Everything here is focused on making sure the potential audience sees that it’s a human story with a very small scale, focusing on Chiron’s journey and emotions. The trailer, the press push and the posters all work to make it clear the spotlight will never leave him and his struggle for identity and acceptance.
It’s hard to get a sense of the scale of the actual movie from the campaign. This seems like a big release and an important movie. But there’s only one trailer, a mismatched TV campaign and a press push that was kind of light for what seems like it should be an awards contender. It just seems like there should have been more. And there certainly should have been something on the official site that offered a bit more background on Doss, considering his story is so important.
And the campaign conveys all that. It relies heavily on Reynolds’ inherent charm to sell a character a very small percentage of the audience is likely familiar without outside his one premious ill-fated cinematic outing. The sense of humor of the movie comes through in all elements of the movie to sell something that may not be a laugh-a-minute time at the movies but which certainly looks like it’s going to work hard to entertain. The focus on gags over story in the campaign has me *slightly* worried there’s little of the latter to be found, but we’ll see.
The entire campaign is meant to evoke a timeless nature. The throwback images that were used in early posters and the way the trailers make you think the movie could take place this year or in 1961 all creates a sense that the story exists out of time to some extent, reinforcing the slight nostalgia-esque approach to the marketing. Add to all that the almost universally positive word of mouth that’s resulted from festival screenings and the love the soundtrack has received and you have a campaign that’s…yeah, it’s ridiculously charming
All that aside, it’s a solid, consistent campaign for a movie that instantly shot to the top of your parent’s To See Soon List. It’s hard to see this generating much interest in the under-45 age group outside of a few individuals who are big Streep fans. My guess, though, is that’s fine and the older crowd of white people might be enough to turn it into a modest hit. The marketing promises the audience won’t be challenged at all but instead be taken for a moderately enjoyable ride on a story that is charming and slight. You know, like a super hero movie but with some Oscar aspirations.
In terms of the marketing itself, it’s more or less consistent across the elements as to what it’s selling, which is Saroo’s search to uncover his true identity and find his family. That comes through just about everywhere. The website is lightest on this angle, but considering it sacrifices story for a charitable appeal, it’s hard to fault it on that front. The repeated use of the search box in the graphical elements works pretty well once you figure out what’s going on and helps to setup the story. All in all this is a decent campaign for a movie that counts on emotions more than other traditional commercial appeals to turn out the audience.
Somewhere around the second trailer, though, that started to turn and it became more and more interesting as the story came more into focus. Foster’s performance came more to the forefront and the dynamic between him and Pine was more clear and the campaign started to show audiences what the movie was trying to say, what it’s message was. If the audience caught that message it could be enough to turn out some specialty box office success.
But what is here is good. The campaign certainly conveys the same attitude as Once, even if the details are different. It’s a coming of age story, something that always plays well with certain audiences, and so the marketing should resonate with them. It’s selling a movie that, like its main character, loves music and what it can do, particularly how it can affect the relationships around us. It’s sweet, it’s personal and it’s got a soundtrack that those of us of a certain age will relate to at the very least.
There’s a ton of emotion in this campaign and it’s great to see. As with other movies from Lonergan, the focus is clearly on the relationships that are driving the story here. These are not shallow emotional waters we’re wading into, something that comes through in most every aspect of the marketing. The audience is expected to connect with all the characters, from Lee to Patrick to Randi, throughout the campaign.