I'm sure you've heard by now (first spread by The Hot Blog and Movies.com) about the woman in Detroit, Michigan who is suing Film District over what she felt was a misleading trailer for the Ryan Gosling vehicle Drive (review). Basically, she feels that the film was sold as an action-packed variation on The Fast and the Furious, but instead delivering a well, I'm guessing most of you reading this have seen the movie or at least know enough about it to fill in the blanks (my additional thoughts).
The lawsuit has the added spice of accusing the film of anti-semitism, I suppose because both of the villains were Jewish (as a Jewish film fan, I'm all for more Jewish bad guys). While we may agree that the trailer was a little misleading, it is just a part of a longtime pattern of selling somewhat artier films as if they were just normal mainstream genre entries. But you already knew that. Actually, the trailer's biggest sin was blatantly revealing the entire movie (including nearly every action moment) in nearly chronological order, but that's another story. So in honor of this relatively absurd lawsuit (long story short -- there were no real damages behind the movie ticket and no real pain/suffering to merit additional monetary reward), let's take a stroll down memory lane and look at some classic examples of film-marketing misdirection.
If you've seen the movie, you know it's a dark and depressing story about an alcoholic writer (Nicolas Cage, who won an Oscar for this film) who ends up in Vegas as part of a plan to basically drink himself to death. Along the way he meets a prostitute (Elizabeth Shue, who was nominated) and they have a somewhat complicated relationship that ends when Cage, indeed, makes good on his initial goal. But that doesn't exactly sell to mainstream audiences, so this trailer was cooked up to sell the movie as a redemptive and feel-good romance about two lost souls who find happiness with each other. Needless to say, they don't reference the rather violent rape scene that occurs about 3/4 of the way through the film. Despite, or because of ,this trailer, the film did gross a solid $32 million during its Oscar run at the end of 1995/start of 1996. In other words, mission: accomplished.
Batman and Robin (1997)
Point being, countless Bat-fans like me were up-in-arms about the apparently campy and kid-friendly Batman picture that was opening in just five months. So Warner Bros did a token amount of damage control, releasing this second trailer a couple months later that basically removed as much camp content as possible. The mood is grimmer, the potential of Alfred's death is emphasized, and the film highlights the various dramatic conflicts while removing any hint of humor from Mr. Freeze and Poison Ivy (ironically, both trailers contain images of innocent people being frozen to death onscreen). If you recall, there were even rumors that Warner Bros. had severely cut the film down and removed most of the 'offending humor' as a result of the backlash. But, of course, the first trailer was the accurate one, as audiences discovered on June 20th, 1997. It was a good try, but the film still opened lower than the other Bat-sequels (a still huge $42.8 million) and took a then-astronomical 63 percent second-weekend plunge.
The Sixth Sense (1999)
Reign of Fire (2002)
In a weird coincidence, one of the best films of 2006 and one of my favorite films of the last decade also has one of the most misleading movie trailers ever released for a mainstream picture. I wrote about this two years ago, but it really is an astonishing achievement. Using footage and dialogue that is 99 percent representative of the movie, and completely accurate onscreen text, the trailer concocts a completely false narrative that completely hides the actual narrative of the sweeping, amoral period drama. Instead, Chris Nolan's The Prestige is presented as a mystical good vs. evil thriller, pitting a good magician (Hugh Jackman) against an evil magician (Christian Bale) who may, in fact, be a real sorcerer. The best part about this trailer is that it's so disconnected from the actual film that it remains a stand-alone treat to watch after you've seen the real movie. It is a magic trick all on its own, using only clever editing to create a false plot out of whole cloth. It's still my favorite trailer of the last decade, even though I, of course, now know that it is a giant lie.
And that's it for now. For a look at marketing campaigns that didn't quit while they were ahead, click HERE. What are some of your favorite 'misleading movie trailers'? Please share below.
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