Happydent 'Chamking Gum: Chamka Muskaan, Jagmag Jahaan' brings a fresh cinematic twist to its iconic storytelling
Happydent, one of India's most beloved chewing gum brands from the house of Perfetti Van Melle India, has launched a striking new ad film that takes a playful yet purposeful turn. The New Campaign 'Chamking Gum: Chamka Muskaan, Jagmag Jahaan', rekindles the brand's legendary storytelling with a fresh, cinematic lens—celebrating the magic of a radiant smile and its power to inspire imagination, drawing viewers into a visually rich narrative world.
Conceptualized by McCann Worldgroup India, the campaign is led by renowned creative leader Prasoon Joshi, who has written the lyrics for the background song and lent his unique voice to it, set to the music of Bollywood's renowned music maestro, Shantanu Moitra. The campaign is thoughtfully crafted to resonate with a new generation of consumers who value authenticity, playfulness, and purpose. At the heart of the film is a storyline revolving around a group of performers who, with the help of visual-red paint and bright smiles, highlight the improper conduct of needlessly littering their surroundings. It is an imaginative yet insightful reminder that small acts of brightness can spark larger societal change.
Rooted in cultural insights and everyday behavior, the film blends relatability, warmth, and a subtle message to highlight how simple gestures can inspire collective responsibility. With rich, high-impact visuals, the campaign pays homage to Happydent's iconic legacy—including memorable classics like the Palace and Photographer ads while evolving its storytelling for today's world.
Commenting on the launch, Nikhil Sharma, Managing Director, Perfetti Van Melle India, shared 'At Perfetti Van Melle India, our goal has always been to build brands that resonate culturally and emotionally while delivering business impact. Happydent perfectly embodies this vision. 'Chamka Muskaan, Jagmag Jahaan' reflects our strategic intent to stay relevant with modern consumers while staying true to the brand's core. Our enduring partnership with McCann Worldgroup continues to deliver creative excellence that is both distinctive and meaningful.'
Gunjan Khetan, Marketing Director, Perfetti Van Melle India, added 'Happydent has always believed in the power of imaginative storytelling—narratives that don't just entertain, but connect. This campaign celebrates the sparkling smile as a symbol of imagination, expression and meaning. 'Chamka Muskaan, Jagmag Jahaan' isn't just a tagline—it's the spirit of the brand and the times we live in. As we engage with Gen Z and modern audiences, we're proud to create stories that reflect purpose and emotional resonance with visual brilliance.'
Prasoon Joshi - Chief Creative Officer & CEO McCann Worldgroup India said: 'Writing for Happydent has always been close to my heart. But this project would not have been possible without the unwavering trust and collaborative spirit of the Perfetti team. Special acknowledgment goes to Nikhil and his belief in bold ideas. Along with Gunjan who gave us the creative freedom we needed to soar. They have kept the legacy of visionaries like Sameer Suneja who redefined Perfetti's advertising. The day I met Vinil for this project I knew he would be the right person to give life to this idea and script. He has an exceptional eye for craft and storytelling, and it shines through in every frame. A shout out to my wonderful team at McCann Utsav, Gaurav, Jeet, Abhishek and my old partner in melody, Shantanu'.
The new Happydent commercial is a film that isn't just another commercial—it's a reminder of what advertising can be when it dares to dream, laugh, and feel.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
2 days ago
- Time of India
Entertain or Fade Away: The New Imperative for Brands
By Prasoon Joshi Lines between advertising and entertainment have been blurring for quite some time now. Today, we openly acknowledge the role of entertainment in messaging—reflected in its recognition as a separate category at festivals like Cannes. But if we look back at the fundamentals of advertising, entertainment has always been rooted in its essence. We needed creativity to communicate. The subtle art of crafting a message was always valued. But somewhere along the way, we tried to crack a formula or templatize the process, and it became predictable. We forgot how to reward the audience. That's where entertainment re-emerged, reminding us of a basic truth. While judging at Cannes this year, one thought kept returning to me: to share an idea, you must first engage. You need to entertain. McCann Worldgroup's 17-minute documentary on Ilon Specht, which won multiple honors, served as a reminder that long-form storytelling, when done with authenticity and emotional depth, can build brand equity with lasting resonance. It might not look like a conventional ad, but it communicates with grace and intention. It also reminded us that entertaining doesn't always mean making people laugh or dance. It can be serious—but it still needs to connect, to strike a chord. And this documentary did that beautifully. Today, creative power rests with filmmakers, gamers, poets, editors, and storytellers. Collaboration is essential. Some of the strongest work this year came from hybrid teams—strategists, filmmakers, copywriters, producers—blending perspectives and expertise. Today's creatives are hybrids: producer-directors, strategist-anthropologists, creator-editors. Advertising is no longer just a medium; it is a cultural stage where content and collective experience merge. The future of branded content lies in human stories created within platform-native ecosystems. The Entertainment Lions for Music and Sport are brimming with brand-artist collaborations, sonic branding, and narrative music videos that feel like mainstream releases. More than ever, brands are not just observers of entertainment culture—they are active participants. This calls for a shift from announcement to narrative, from presence to participation. As creative leaders, our goal is not merely to craft better ads—but to build ecosystems of meaning. Campaigns that people choose to engage with. That become part of their lives. That feel less like marketing and more like memory. Our opportunity lies in creating not just ads, but culture-rich, resonant, and measurable entertainment ecosystems. Audiences are demanding, and platforms are evolving. And as the Cannes Lions Festival underscored: entertain—or fade away. (The writer, Chief Creative Officer & CEO, McCann Worldgroup India and Chairman McCann Worldgroup APAC, is an attendee at the Cannes Lions International Festival of Creativity 2025. Views expressed are personal.)
The Hindu
2 days ago
- The Hindu
When the silver screen gives space to tribal land struggles
In Khalid Rahman's Unda (2019), a police officer from Kerala, played by Mammootty, who is given the responsibility of leading a team of officers to ensure that elections are conducted smoothly in Maoist-hit areas of Chhattisgarh, says to a tribal boy, 'This is your land, do not die'. Kerala has a strong, eventful, and often forgotten history of land struggles by tribal societies. While often sidelined, these struggles occasionally get its hands bloody (or find itself bleeding) and land a blow on the conscience of mainstream society, becoming the topic of intellectual discussions for a while, after which they again move to the shadows. However, once in a while, the Malayalam movie industry takes note of these events with either subtle nods inside a story or by creating an entire movie around such events. Three movies, different perspectives While Ranjan Pramod's Photographer (2006), K.M. Kamal's Pada (2022) and the recently released Narivetta by Anuraj Manohar effectively do only what the events themselves did — that is, nudge these issues into discourse for a short while — by etching them permanently in film however makes sure that the struggles of some of the most exploited communities are not forgotten. All three of the movies mentioned above are centred on or framed against the backdrop of the struggle of tribal communities in Kerala for autonomy over their own land, and how the State responded. In Narivetta, which is based on the true events surrounding the Muthanga protests and subsequent police shootings and brutalities, theprotagonist finds himself being a complicit part of the state machinery that is working to put out a peaceful protest by tribals for land that was promised to them. In Photographer, starring Mohanlal, the protagonist encounters a tribal boy facing police violence in a forest area. This was also based on the Muthanga incident detailed in Narivetta. In Pada, the makers revisit the actions of the 'Ayyankali Pada' — the youth organisation of the Kerala Communist Party formed under Maoist ideologies by former members of a Marxist-Leninist organisation that was dissolved in 1991. Pada shows how four members of the Ayyankali Pada held the collector of the Palakkad district hostage in response to amendments made to the Kerala Scheduled Tribes (Restriction on Transfer of Lands and Restoration of Alienated Lands) (KST) Act, 1975, in 1996. The KST Act deemed all tribal lands in the possession of non-tribal people through sale, lease, mortgage or by force after 1960 illegal, giving way for tribal people to take back their land. But it was never implemented in the way it was envisioned. In 1993, the Kerala High Court ordered the State government to implement the Act within six months, but that too went unfulfilled with the State asking for continuous extensions. And finally in 1996, the the Left-led government under E.K. Nayanar passed an amendment making transactions of tribal land made till 1986 legal. While Pada is an immediate response to the amendment, events of Narivetta take place after years of unfulfilled promises regarding the question of tribal land. While it can be criticised that the movie took the spotlight away from the struggling tribal people and gave it to the protagonist (highlighting his 'saviour complex'), it manages to disturb the blissful existence of the comfort class, much like Vetri Maaran with his Visaaranai and Viduthalai. Lesser-valued lives While it is commendable that movie makers choose to portray such events and bring them back to public discourse, there is a line that distinguishes genuine representation from mere tools for character building. Arousing sympathy in the audience for the downtrodden can easily slip away into re-establishing class politics. What Narivetta fails to do is break away from the idea of the need for a saviour to help bring up the downtrodden. It is necessary here to note another police movie that came out in Malayalam, a slow burner, that can describe the Muthanga incident in an even powerful way than Sikshayum (2022) by Rajeev Ravi is a simple tale of a group of policemen going out of their home turf in search of the accused who got away with a jewellery store heist. But the lead actor played by Asif Ali is plagued by his past, a montage that the movie opens with, where he shoots down a protester from an advancing group in a forest area. While the movie contains the disclaimer that the events are fictional, the protest can be compared to the Muthanga incident. But what Kuttavum Sikhshayum does is wrap up the whole conflict in a monologue before entering the climax, where the police officer opines how the killing, from the bullet that he fired, has vanished now, with no evidence and no one held responsible. The character played by Alencier, a subordinate to the protagonist, listens silently as the protagonist describes how protesters pelting stones forced the then-young officer to shoot, and how his aim went at the protester's chest rather than his legs, how higher officials saved him from any serious actions save enforced leave and how he is still tormented by the act. Alencier then breaks the fourth wall and stares at the audience for a split second, maybe to remind them of the killing, asking them how it got swept under the rug. Near the end of the movie, the protagonist once again, with a gun in his hand, comes face to face with a person who could pose harm to him. But the police officer does not shoot. Struggle for property has been a part of human life ever since nomadic hunter gatherers decided to settle down and cultivate the land around them. And for tribal people, who co-exist with 'modern' society, this struggle is not just for stability, but for existence. And cinema has its own way of reminding society of these struggles.
Mint
3 days ago
- Mint
‘Real reason' why Prince Harry and Meghan Markle left royal family; biographer reveals
Prince Harry and Meghan Markle's dramatic exit from royal life in 2020 may have had less to do with family tensions and more to do with money and personal ambition, according to royal biographer Valentine Low. In his book Courtiers, Low claims the couple left the British monarchy not just for privacy, but for the freedom to build their brand, explore political engagement in the US, and—most significantly—generate independent wealth, the New York Post reported. The Duke and Duchess of Sussex, who relocated to California shortly after stepping back from their royal roles, reportedly found the constraints of royal protocol incompatible with their personal and professional aspirations. According to Low, Meghan's desire to earn on her terms was a decisive factor in their departure. 'Some suspected that in the end, she wanted to make money. And the only way to do that was by leaving the royal life behind,' he writes. While the couple initially proposed a hybrid model—engaging in select royal duties while living independently—the Palace reportedly declined, citing concerns about preserving the neutrality and decorum of the Crown. Queen Elizabeth II is said to have taken a firm stance: members of the Royal Family must follow its protocols or step aside entirely. The Sussexes' post-royal chapter has included headline-grabbing deals and strategic brand building. In 2020, they inked a reported $100 million content deal with Netflix, marking their entry into the global streaming and storytelling space. Markle has since launched a lifestyle brand and podcast, while also planning new digital ventures. These business moves have turned the couple into high-profile entrepreneurs on the world stage. Their proximity to US political circles has also stirred speculation. Though they have stopped short of formal political involvement, both have shown support for the Biden administration, including collaborations during the Invictus Games. Meghan's connections with top Democrats—including Valerie Biden Owens, the US president's sister—have fuelled ongoing rumours about a potential future in politics.
