IN MY VISION OF HELL, A MARKETING MANAGER WOULD BE IN CHARGE
(First published in the Nelson Mail and Manawatu Standard, May 23.)
Whatever you think of James Bond, his name is undeniably
associated with a certain sense of style.
Bond drove a vintage Bentley and smoked hand-made cigarettes (60 a day) made by tobacconists Morlands of Grosvenor St, using a blend of Balkan and Turkish tobacco.
He wore Sea Island cotton shirts bought from Turnbull and
Asser of Jermyn St (who, unlike Morlands, are still very much in business,
promoting themselves as shirtmakers by appointment to HRH the Prince of Wales).
More formal occasions called for a dark blue suit of serge, tropical worsted or
alpaca, depending on the climate, with a heavy white silk shirt and thin black
knitted silk tie, dark blue socks and black moccasin shoes.
A famously fussy drinker, Bond stipulated that his martinis
should consist of three measures of Gordon’s gin, one of vodka and a
half-measure of Kina Lillet (a French aperitif wine), well shaken and served
ice-cold in a deep champagne goblet with a slice of lemon. He was also fond of Taittinger and Krug champagnes and had a
taste for fine red wines from Bordeaux.
These details were more than merely incidental to Ian Fleming’s
stories. Bond’s tastes may seem quaintly dated now, just as his attitude to
women seems patronisingly sexist by contemporary standards, but they were integral to the appeal of
Fleming’s books. They were all part of the fantasy the author wove around his
famous character.
They were Fleming’s idea of how a hedonistic, sophisticated
man of the world with expensive habits might live. Bear in mind that British
readers, Fleming’s primary target market, were still living with wartime
rationing when the first Bond book (Casino
Royale) was published in 1953, and the British spy’s racy, exotic lifestyle
must have seemed a perfect avenue for escapism from the dreary real world.
Even now, well into the 21st century, the Bond
formula remains commercially potent: a 25th Bond film, Skyfall, is currently in production, which
brings me to the point of this column.
Skyfall will mark
a departure from previous Bond films. For the first time, Bond (played by
Daniel Craig) will be seen drinking beer. And not just any beer, but Heineken,
because the Dutch brewery has struck a deal with the film’s producers – one that
takes “product placement”, whereby companies pay to have their products
displayed prominently on the screen, to a new level.
The Heineken deal, rumoured to be worth $US45 million,
illustrates the all-pervasive influence of marketers in modern capitalism. To
these cold-eyed hucksters, everything – whether it be a film, a major sports
event or even a TV news bulletin – is reduced to a marketing opportunity. Nothing,
not even the 60-year legacy behind James Bond, is sacred in the scramble to
promote the all-important brand.
I was particularly interested in the comment of Heineken
spokeswoman Lesya Lysyj, who was reported as saying: “James Bond is a perfect
fit for us. He is the epitome of the man of the world.”
Note the language. “Perfect fit” is classic marketing-speak.
In the world of the marketing executive, perfect fits, market share and brand
positioning are all that matter. Bond may have drunk martini and champagne for
nearly 60 years, but fidelity to Fleming’s character counts for nothing once a big
Dutch brewery waves a big cheque under the noses of Skyfall’s producers. Now Bond is to become just another
lager-swilling prole.
Product placement was already rampant in Bond films, leading
one to wonder whether storylines and dialogue have now been wholly subordinated
by commercial motives.Entire websites are devoted to “leveraging” (another wretched
marketing word) off the products exposed in the Bond films. You can find sites
that tell you the brand of every item of clothing worn by Daniel Craig in his
role as Bond, right down to braces and swimming togs.
Such promotional opportunities don’t come cheap; the
marketing arrangements negotiated with each new Bond film must almost rival the
box office takings in terms of the revenue generated. It’s no coincidence that
in movie industry parlance the Bond films are collectively described as a
franchise, a term synonymous with the right to sell merchandise. But the
Heineken deal is perhaps the most brazen example yet of commercial tinkering
with Fleming’s legacy.
Does the fact that Bond will now drink a bland Dutch lager really
matter, in the grand scheme of things? Of course not. What does matter is the baneful
influence of the marketers, who now contaminate everything within reach.
They have captured professional sport with their exclusive
sponsorship deals and obsessive, heavy-handed suppression of competition (as we
saw during the Rugby World Cup), and they are increasingly invading the media.
In television, the influence of marketing executives even influences the
content of news bulletins.
In my vision of Hell, marketing managers would be in charge.
Commercial dominance is all they understand; no other values exist in their
narrow, soulless world. Often they have no interest in the goods they
are selling, only in the precious brand.
Even in the wine industry, which calls for a degree of
personal affinity with the product, I have come across marketing managers who
might just as well have been promoting tractors or ballpoint pens. Some
would have been barely capable of distinguishing Chateau Haut-Brion from Diet
Coke. And why should they? To the marketing executive, the intrinsic merit of
the product is of little or no consequence.
Oh, well ... I’d long since lost interest in the James Bond films
anyway. Fleming’s fund of original stories was exhausted long ago and the
scriptwriters struggle to come up with fresh ideas – the more so, no doubt,
when those infernal product placement opportunities keep getting in the way.
The overrated Craig – the sixth actor to play Bond – has
been credited with breathing new life into the franchise, but he has all the
emotional range of a piece of 4x2. He exhibits none of
the panache that most of his forerunners (especially Sean Connery, who remains
the definitive Bond) brought to the role. It would be fitting, then, if the film that finally ended
Bond’s extraordinary run was one that the marketing hucksters had
hijacked.