Instead, it was down to a savvy deal struck between the Singapore Tourism Board and the film's producers, who also signed similar deals with the likes of Hindustan Petroleum's Power brand, Acron Rangeela and ITC's John Player.
It was a contractual marriage between the makers of the blockbuster and the media agencies representing the brands that took the involvement of brands in movies to more than mere product placement. In Lage Raho Munnabhai, for example, real-life radio station Worldspace was used as a crucial location, thanks to a deal struck between Starcom, Worldspace's media partner, and the movie's producers. In fact, lead actress Jhanvi plays a radio DJ in the film, uttering Worldspace's familiar call — "Good morning, Mumbai!" — as part of her scripted dialogue.
Major spenders in in-film advertising come from the FMCG, youth and lifestyle and liquor categories. Coca-Cola plays one of the leading roles in Dhoom II and has unveiled an ad campaign which ties in with the movie, wherein Bollywood star Hrithik Roshan endorses the brand, sporting the same gear as he did on-screen. Other examples include Thums Up (Kaante), Sugar Free (Dhoom II), Coca-Cola and Haywards (Rang de Basanti) and Tag Heure (Don).
Brands have long made their way into Hindi movies, albeit as a prop — an occasional banner flying in the background or a bottle of a leading soft drink somewhere in a scene. But the concept of associative marketing, whereby scripts integrate brands and use them as a significant part of a story concept, is as new as it is different.
"Indian films, especially Bollywood (Hindi) and Tamil/Telegu, are a powerful medium to reach a very wide cross-section of Indian audiences," says CD Mitra, president, OMS (a specialist media venture of the Mudra Group).
"Apart from being a communication and entertainment medium, they are mirrors and influencers of contemporary culture."
Additionally, being part of a film allows brands access to multiple media at different points in time. "A brand can organise the year in a bouquet that comprises strategic placements and tactical opportunities. The latter could include meet-and-greets with the cast, special screenings, autographed CDs, movie merchandising, co-branding in theatres, promotions and contests, satellite/cable TV and DVD releases," says Pranay Athwal, GM, Starcom Entertainment.
In 2000, in-film advertising was insignificant; today, the market is estimated to be worth in the region of US$16 million to $23 million.
The brand-movie alliance has also ushered in an era of matchmakers. Agencies such as GroupM, Starcom, Madison and Percept have spun off divisions looking at in-film branding, celebrity management, media planning and creative and client-servicing.
"With India's youth segment increasingly moving out of home towards more engaging and experiential media, cinema advertising has strong potential," says Premjeet Sodhi, SVP, Initiative, Lintas Media Group. However, he warns that if brand tie-ups are too subtle, they risk being invisible. If they are too overt, then they become irritating. Unless content integration is at fundamental brand DNA level, it may be unconvincing— and an intrusion in the experience.
