‘I want everybody in this two-bit town itchin’ to shop here,’ bellows the fictional Harry Carmichael in the first of three new Eatons spots – ‘Dilemma’, ‘Discovery’ and ‘Big Finish.’ To say there are three spots is a little misleading, as it is really one gigantic spot easily divided into three easy-to-swallow portions for television viewers who may not have the patience for a 270-second commercial.

The new Eatons ad, in its entirety – as it was arguably meant to be seen – does not feel like a commercial at all, but rather a very short (and expensive-looking) feature film. It first aired in full on ctv on the evening of Oct. 22 during a James Bond movie. Whether Canadian tv viewers like commercials or not, chances are they had never seen one like this. And chances are there are more than a few folks in tvland ‘itchin’ ‘ to give Eatons another shot.

The new Eatons campaign is the product of Ammirati Puris, where creative director/art director Doug Robinson and copywriter Tom Goudie racked their brains about how to relaunch the department store in a big, big way with Pat White producing for the agency.

‘It’s a fantastic brand and one to be dealt with with respect,’ says Robinson. ‘Paying homage to the Eatons name was always something that was in the back of our minds, and paying homage to the consumer who is watching any of our commercials is something we have to treat with respect.’

The spot is about Gracie and Arch, who have been given the difficult task of bringing Carmichael’s department store back to what it once was. The two have no idea what they are going to do and go their separate ways for the evening. As Gracie walks home, she is hit in the leg with a poster for the film Voyage to a Purple Planet. She has an epiphany, climaxing in a lavish song-and-dance number, the likes of which hasn’t been seen since the 1950s.

In an effort to convey Eatons as a fashion authority, an unique shopping destination with unexpected value, and above all, a fun place to shop, Robinson says he and Goudie (who also wrote the lyrics for the song) studied the epic musical films of yesteryear. Their mission was to make the relaunch of Eatons something everyone would be talking about.

‘Our first mission was to clearly define Eatons’ grand opening as the event of the season, hence the maybe extravagant look, size and feel of the whole thing,’ says Robinson. ‘We took this musical approach to it to give it size and stature and also because it ties in with fun. A musical has a very fun kind of feeling to it and we wanted to make sure we didn’t get taken too seriously, especially when you are talking about fashion. You have to have a little fun with it, otherwise you get very snotty quickly. We certainly don’t want to do that. This is a department store that will sell everything from fashion to toasters and refrigerators.’

Robinson worried for a time that a grandiose musical production approach would drive some younger women away from the Eatons shopping experience. He is delighted to have discovered otherwise.

‘[It was important to appeal] to the younger woman today and branding this as her store,’ says Robinson. ‘We want her to believe this is going to be her department store for the next 20 years as she lives and raises a family and has some fairly significant shopping needs. We kind of feel we are getting both ends. I’ve heard from 20-year-old women how appealing this is to them, and I’ve also heard from 40-year-old women, which is great news.’

And who was the person who could make such a grand, flamboyant and important commercial for Eatons and Ammirati Puris? Robinson handed the reigns to The Partners’ Film Company director Floria Sigismondi, who reveled in the opportunity.

‘I wanted to sink my teeth into some dialogue and this is the perfect platform for it, because normally in commercials you don’t really have that much time to develop story,’ says Sigismondi. ‘This was perfect for that. It was the whole fashion sensibility and it was an opportunity for me to show something else other than what people know me as.’

Clients usually have Sigismondi on speed-dial when they need a trippy, highly visual commercial or music video. She has shot many a dark ad and has become extremely respected for them. So much so, in fact, even Robinson was a little skeptical when first batting around the Sigismondi name for the spot.

‘When we looked at the piece we had no doubt that she could do the back half,’ says Robinson. ‘What we were a little insecure about was the front half, where all the dialogue is. When you get her reel and you look at her wild imagery and her videos you don’t see that. That’s the chance we took and she over-delivered. She handled it beautifully.’

Sigismondi was at the helm of the Eatons ad for six shoot days in Toronto, preceded by two days to prelight the two large studios Partners’ had booked for the project. She depended on longtime collaborator Chris Soos to serve once again as her dop.

Sigismondi says it was exciting to watch the large sets being built and the dancers preparing for the ‘Big Finish.’

‘They hired Michael Rooney – Mickey Rooney’s son – to choreograph it,’ she says. ‘He spent hours and hours with these dancers, and there it was. It was happening right before your eyes. They went on and on all day and not once did they lose their energy. It was pretty amazing to see it all happening, especially seeing it all together.’

Panic & Bob’s Michelle Czukar handled the editing on the huge project and a team of Inferno artists from TOPIX/Mad Dog in Toronto did much of the visual effects work. At topix, the team’s mandate was to give the spot the look and feel of an old classic. The shop was also responsible for things like making sure Gracie’s reflection could be seen in the window of Carmichael’s office as she enters and the compositing of a seven-foot ostrich next to a model in the ‘Big Finish’ (both were shot on green screen).

Pirate Radio’s Marc Hukezalie and producer Chris Tait provided the score. *

-www.partnersfilm.com

-www.topix.com