The second round of Lincoln/Matthew McConaughey work has been out a little over a month, and at least one writer is already questioning its effectiveness. In Karl Greenberg’s
Marketing Daily article, he argues that McConaughey has helped perception, but not consideration; and that the “awareness jolt” is wearing
off.
While Greenberg is right that campaigns are likely to benefit more in year than two, there’s more at play here than the waxing and waning of a celebrity endorser.
The execution of the campaign, and resulting cultural conversations, is very different year one to two.
First, the launch work was a cultural sensation that extended the reach
of the campaign dramatically. “Saturday Night Live,” “South Park,” and even Tommy Chong got into the parody act and collectively boosted viewership by millions. It was
more than the work itself that “tripled perception.” Second, the new cars were much more integrated into the work. The action took place exclusively in the cars. The imagery around the
cars was largely negative space (e.g., high-contrast desert). McConaughey talks about the brand and cars in the scripts. This blend of cultural significance and car centricity, in addition
to the celebrity factor, is what helped drive consideration up from 6% to 9%.
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Obviously, no brand sets out to be an “SNL” parody, and for round two, they dialed down the quirkiness. But to me, they’ve overcorrected. They’ve taken a man who’s delivered lines so well
they’ve become pop culture vernacular, and put him in a silent movie. It’s not bad film. But it’s quiet. And so stylized, you can almost hear the conversations people had about what
type of shoes he should be wearing. Even something that could deliver a more intriguing “high noon” moment, playing poker, mostly serves as an introduction of the other characters. Art
direction is no substitute for story.
The cars only play an incidental role. The lines of the cars are obscured by black paint and a night sky. There’s the moment when
McConaughey backs his car into a spot between an antique Lincoln, a new Aston Martin and a classic ’70s Bronco, but there’s nothing that helps the MKZ to fit in this handcrafted peer
set.
The net effect is a set of films that is literally less remarkable than the original work. Last year Lincoln garnered thousands of comments. The main film this time garnered
two. One of which was asking to see more car.
But what I’ve liked about the partnership, from the beginning, is its ambition. McConaughey is a bold choice, and his
“go your own way” vibe is perfect for a brand that wouldn’t be the popular choice. At it’s best, the work is reminiscent of Volkswagen’s “Pink Moon” and BMW films; two wildly successful efforts
that told very engaging stories within the context of a car. This campaign wants to be great, but seems to be struggling to find its voice.
But we have to recognize the fact
that Lincoln is neither a lifestyle ad away from relevance, nor a car away from prominence. McConaughey and the new cars can help both aspects. I think it’s a matter of being braver with
McConaughey, more intentional with their story and their car’s place in it. Then they have to be disciplined enough to stick to it.
As Greenberg noted, sales for September are
strong. It will be interesting to see where they take year three, and maybe that’s the best thing that McConaughey can bring to Lincoln—a sense of anticipation.