While not as popular today as the Sarah Palin bikini video, the new red-band trailer for Sacha Baron Cohen’s Brunois making its way around the blogosphere this afternoon to the delight of many a film writer. I was surprised by the video for two reasons:
1. Universal didn’t really need to release this thing so soon, because the NC-17 rating story brought plenty of buzz to the film for one month, let alone one week. As Steven Zeitchik wrote at Risky Biz Blog, word of the MPAA’s initial decision was already “like a really inexpensive trailer.”
2. Following the hype of the SXSW footage and the “objectionable” material referenced by the MPAA, this trailer actually seems a bit tame compared to what I was expecting, especially from a red-band trailer. It’s a perfectly funny ad and doesn’t do anything to my high expectations for the film, but considering all the excitement this week, I couldn’t help but find it disappointing.
Of course, as usual, few others agree with my disappointment. I know, I’m a cynical curmudgeon who is called a “goon” and a “muckracker” by his friends, but I’m just being honest. Anyway, I’m certain that I’ll be laughing my ass off when I see Bruno in its entirety, so my immediate — and slight — disappointment with the marketing isn’t affecting my anticipation whatsoever. Plus, the following bloggery ballyhooing is going to make more noise than anything I have to say, right?
The past two weekends have seen the release of two big, R-rated comedies, first Pineapple Express and then Tropic Thunder. Both featured stars who have, at least occasionally, dipped their toes into family friendly film waters and who have developed big followings across all age groups.
Both movies marketing campaigns also featured red-band trailers. Others and I have discussed the role of the red-band trailer in the campaigns for R-rated movies. They are great components for selling the movies to their adult audiences since, as I’ve said before, they are able to more accurately portray the movie as a whole. If a movie’s comedy or drama depends on the use of coarse language or violence then it’s better for the movie to be able to present those elements to the target audience in order to appear attractive.
Red-band trailers have come back into fashion in the last four or five years largely because of the rise of high-speed video online. On the Internet, studios can put into place safeguards, usually in the form of forms that require the inputting of name, birth-date and zip code, that are meant to keep those under 18 from seeing the trailer or other content. Invariably, though, these trailers wind up on YouTube or some other video sharing site – or directly on blogs – where there is no safeguard. This makes what’s supposed to be restricted content available to everywhere regardless of age. This is an obvious flaw in the process.
But the larger question about the advertising of R-rated films is: What advertising is appropriate?
I knew the whole red-band fad would come to this: Fox Searchlight is promoting the latest trailer for its Sundance-pickup Choke as “the raunchiest red-band trailer EVER.” Well, I don’t know if I agree with the statement — maybe if Fox hadn’t censored the sex scenes with “Big Screen Only” banners — but something about this latest spot makes me more interested in the film. Could it be the nudity? Or the swearing? Or maybe it’s simply the greater exposure to the coarseness we’ve come to expect from Sam Rockwell. And here he appears more depraved than usual.
On the film’s adults-only website (also available to kids who know how to pick the age-restriction locks), there are also four new promotional videos featuring strippers reading passages from Chuck Palahniuk’s novel, on which the movie is based. They’re pretty funny if you’re still into the dumb stripper stereotype (I prefer the smart MENSA strippers/porn stars like Asia Carrera, of course). Also on the site, you can kinda learn how to do the Heimlich Maneuver.
Choke won a Special Jury Prize for its ensemble cast (including my current celebrity crush, Kelly Macdonald) at Sundance this past January. It opens in theaters nationwide September 26.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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