Author Topic: The Adventures of Tintin: Secret of the Unicorn; USA Release Date December 23  (Read 43187 times)

Offline Aloysius J. Gleek

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For a cub reporter on his first assignment, a curious remark.

(Ha! I thought  so!)


http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/article5461005.ece?&EMC-Bltn=KKRB2A



From The (London) Times
January 7, 2009


Of course Tintin's gay. Ask Snowy
His adventures have sold more than 200 million copies and been translated into 50 languages, and this weekend he celebrates his 80th birthday. But how well do we really know Tintin? One thing's for certain...




by Matthew Parris

Billions of blue blistering barnacles, isn't it staring us in the face? Sometimes a thing's so obvious it's hard to see where the debate could start. What debate can there be when the evidence is so overwhelmingly one-way? A callow, androgynous blonde-quiffed youth in funny trousers and a scarf moving into the country mansion of his best friend, a middle-aged sailor? A sweet-faced lad devoted to a fluffy white toy terrier, whose other closest pals are an inseparable couple of detectives in bowler hats, and whose only serious female friend is an opera diva...

. . . And you're telling me Tintin isn't gay?

And Liberace was a red-blooded heterosexual. And Peter M... oops - steer clear - burnt fingers once there already. But really, what next? Lawrence of Arabia a ladies' man? Richard the Lionheart straight? And I suppose the Village People were a band of off-duty police officers, YMCA was a song about youth-hostelling, and Noddy and Big Ears are just good friends.

But I'd better make the case because, astonishingly (and though when I googled “Tintin” and “gay” I got 526,000 references), there are still Tintin aficionados who remain in denial about this.

Last year, as part of my BBC radio Great Lives series, my guest, the international photojournalist Nick Danziger (who had nominated the life of Tintin), and my expert Tintinologist, Michael Farr (author of Tintin: The Complete Companion and numerous other Tintin-related works), stunned me by not only denying hotly that their hero could have been gay, but even insisting that the thought had never occurred to them. Don't you find, though, that it's often the people closest to someone who never tumble to it?

The argument I set out was straightforward. These are the facts: what we know of Tintin's life:

Background and origins: A total mystery. Tintin never talks about his parents or family, as though trying to block out the very existence of a father or mother. As psychologists will confirm, this is common among young gay men, some of whom find it hard to believe that they really are their parents' child. The “changeling” syndrome is a well-known gay fantasy.

Other sources on background: His Belgian creator, Hergé, whose only and enigmatic reference to Tintin's origins was to describe him as having recently come out of the Boy Scouts.

Early career: On January 10, 1929, Tintin first appears, spreading Catholic propaganda in the church newspaper Le Vingtième Siècle,  where in his comic strip he visits Russia (Tintin in the Land of the Soviets ) to describe the horrors of Bolshevism. Early entanglements with High Church religion are, I fear, all too common among young gay men.

His journalism: Claiming to be a journalist, Tintin's only recorded remark to his editor (on departing for Moscow) is “I'll send you some postcards and vodka and caviar”. For a cub reporter on his first assignment, a curious remark.

Subsequent career: Appearing sometimes as a reporter and sometimes as a detective journalist, Tintin's baffling failure to show any evidence of dispatching copy to a newspaper (except once) or any sense of deadlines in his life has always puzzled his fans. It is possible to dismiss him as a mere dilettante but more likely that he was some kind of spy. As the remotest acquaintance with (for instance) British espionage will confirm, secret intelligence has always attracted gay men. I myself applied for and was offered a post in MI6.

Domestic circumstances: Tintin does not, in fact, move in with his sailor-friend, Captain Haddock, until 1940 (The Crab With The Golden Claws ). As is so often the case with male homosexual couples, a veil is drawn over how and where the couple met, but Tintin and his mincing toy dog Snowy (Milou!) are invited to share Haddock's country home, Marlinspike Hall. The relationship, however, is plainly two-way, for although when Haddock first meets Tintin (before the sea captain's retirement) he is drinking heavily and emotionally unstable, he is calmed over the years, settles down and is finally ennobled by his younger friend's companionship when, in Tintin in Tibet,  he offers to lay down his life for him.

Other friends: Almost all male - as are their friends in turn. Indeed, only Professor Calculus displays any attraction (though frequently confused) towards the opposite sex. However, he never marries.

Thomson and Thompson: Tintin first meets the flamboyantly moustachioed couple on a cruise in 1932 (Cigars of the Pharaoh),  learning to distinguish between them by their different moustaches. The Thomson and Thompson life is a fancy-dress party: the pair love dressing up in exotic costumes and are once mobbed in the street for their Chinese opera costumes (The Blue Lotus ). On other occasions they are seen (often with their signature bowlers still on) in striped swimming costumes, and a variety of folkloric garbs, always absurdly over-the-top. There is no evidence that either has ever had an eye for women, let alone a girlfriend.

Rastapopoulos: Even Tintin's evil arch-enemy, a cigar-smoking movie impresario and drug dealer (alias: Marquis di Gorgonzola) who is first encountered at a banquet in Chicago (Tintin in America), is never given the blonde on his arm or villain's moll that one would expect. He remains solitary.

Snowy: The only unambiguously heterosexual male mammal in Tintin's entire universe. We know that because of Snowy's tendency to be distracted by lady dogs: a tendency in which he is consistently foiled by his master and by Hergé's plot. Pity this dog, wretchedly straight and trapped in a ghastly web of gay human males.

Bianca Castafiore: “The Milanese nightingale” is the only strong recurring female character in Tintin's life, and his only identifiable female friend. A fag-hag if ever there was one. With her plump neck and beauty spot, this vain, self-dramatising diva with an ear-splitting voice is genuinely fond of Tintin. Significantly, Bianca refuses to remember Captain Haddock's name, calling him variously Maggot, Hammock and Havoc. Equally significantly, Haddock detests the very sight of her. Perhaps most significantly of all, Tintin's creator, Hergé, hated opera.

Peggy Alcazar: So apart from a diva fag-hag, the only other remotely significant woman in Tintin's life is a curler-wearing virago. Peggy Alcazar, the butch, bitchy, bullying, cigar-smoking, hard-drinking, flame-haired wife of General Alcazar, may well have been lesbian.

Supporting cast: In fact I can count only eight figures identifiable as women (about 2 per cent) from the complete list of some 350 characters among whom Tintin moves in his life. There are no young women at all, and no attractive women, in any of his adventures.

Oh please, what more could Hergé do to flag up the subtext? Well, you say, how about a real affair of the heart, a proper gay relationship, rather than a convenient domestic arrangement with an old sailor?

Step forward Chang Chong-Cheng, the Chinese boy whom Tintin meets in The Blue Lotus when he rescues him from drowning, who later appears in his dreams, and for whom he is prepared to lay down his life, and finally rescues, in Tintin in Tibet. In this story Tintin hears of a plane crash and dreams that his friend Chang was on board but has survived. He sets out on an odyssey to Asia to find him.

Only three times in his life is Tintin seen to cry: most affectingly when he is temporarily persuaded that his friend Chang has died. But Chang is alive, as Tintin suspects when he finds Chang's teddy bear mislaid in the snow. Chang has been trapped by the Abominable Snowman. Tintin rescues him. This, written after Hergé had had a nervous breakdown and split from his wife, and the story of which he was most proud, completes a change in Tintin's outlook which begins in The Blue Lotus.  Over time Tintin's attitude alters from that of a Belgian chauvinist and narrow-minded young Catholic adventure-seeker to being a tolerant, almost peace-loving, teddy-bear-hugging seeker after truth. In The Blue Lotus  he sympathises with the lonely Yeti, now deprived of Chang's (enforced) company, and even refuses to call the Snowman abominable. Tintin has seen the folly of prejudice. In Hergé's last (unfinished) story, Tintin and Alph-Art, the youth is even seen as a motorbiking peacenik, wearing a CND badge on his helmet.

The time-sweep of these stories, 1929 to 1983, may have altered Tintin's attitudes but never his appearance. He remains about 16 throughout. But then, as we all know, gay men don't age as others do. He was probably moisturising.

We'll never know. Tell yourself, if you like, that it was just that Tintin hasn't yet met the right girl. Or maybe that it's only a stage he's going through. But if you expect a Belgian Catholic born in 1907 to have unmasked the hero of his blockbuster series of comic adventures as an out-gay activist and homosexual icon, you expect too much. Hergé was no Andy Warhol (Hergé's great admirer). But Snowy saw everything; Snowy knows all. And Snowy never tells.

- - - -

Could it be true? (writes Hugo Rifkind)

Were Asterix and Obelix also gay?

Almost certainly not. True, the formidable Gallic warriors spent an awful lot of time together - and true, Obelix did seem to sleep over at Asterix's house quite a lot, despite having a nearby house of his own. Nonetheless, they each had frequent and intense crushes on various long-limbed beauties (Asterix principally with Panacea; Obelix with Mrs Geriatrix) and in one later work (see Asterix and the Class Act ), Obelix is also revealed to have eventually sired a long line of warriors.

Was Dylan on drugs?

Probably. There was surely an unspoken pusher/addict dimension to the relationship between Florence and Dougal vis-à-vis the provision of sugar lumps, but Dylan, unquestionably, was the real stoner in The Magic Roundabout.  He was a hippy rabbit, he was always far too out of it to understand anything, and he played the guitar. And, well, he was called Dylan. In 1965. Carrots, indeed.

Was George from the Famous Five a lesbian?

Tricky. As one of the two girls in the Famous Five stories, George wore boy's clothes, had boy's hair and wandered around saying “I want to be a boy”. Still, any sort of subsequent homosexual or transgender adulthood seems unlikely. For one thing, in the 2008 television series Famous 5: On the Case the adult George is happily married to a car mechanic called Ravi. For another, this is Enid Blyton we are talking about, and she was about as socially progressive as Bernard Manning.

Was Aslan a white supremacist?

Totally. Or at least, C.S. Lewis was. Throughout the Chronicles of Narnia  Aslan's avowed enemies are the Calormemes of Calormen, a country that is in the desert and full of people who wear turbans, baggy trousers and pointy shoes. They have arranged marriages, put the symbol of the crescent on their money, fight with scimitars and, in The Last Battle, are referred to as “darkies”. Let's face it, they're not from Norway, are they?

Was there anything dodgy about Captain Pugwash?

Absolutely not, aside from the way that it put a rather favourable gloss on the whole “pirate” thing. In fact, at the beginning of the 1990s, the creator of Captain Pugwash, John Ryan, successfully sued two newspapers that had fallen for the urban myth that there was. In truth there was no Master Bates, no Seaman Staines, and the cabin boy was called Tom. There was a character called Pirate Willy, mind, but that was probably an oversight.
« Last Edit: July 17, 2011, 08:21:54 am by Aloysius J. Gleek »
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Offline MaineWriter

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Re: "Of course Tintin's gay. Ask Snowy"
« Reply #1 on: January 08, 2009, 06:51:30 pm »
Zo! Dit is prima!

Thank you, John!

L
Taming Groomzilla<-- support equality for same-sex marriage in Maine by clicking this link!

Offline Jeff Wrangler

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Re: "Of course Tintin's gay. Ask Snowy"
« Reply #2 on: January 08, 2009, 07:33:41 pm »
Maybe he's just metrosexual. ...
"It is required of every man that the spirit within him should walk abroad among his fellow-men, and travel far and wide."--Charles Dickens.

Offline Ellemeno

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Re: "Of course Tintin's gay. Ask Snowy"
« Reply #3 on: January 08, 2009, 07:45:46 pm »
Steven Spielberg to direct Tintin (2010).  The kid from Love, Actually to star.

http://us.imdb.com/title/tt0983193/

Offline Aloysius J. Gleek

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Re: "Of course Tintin's gay. Ask Snowy"
« Reply #4 on: January 08, 2009, 07:55:51 pm »

Zo! Dit is prima!

Thank you, John!
L



 ;)



Maybe he's just metrosexual. ...

Jeff, I don'no about that...  ::)






Steven Spielberg to direct Tintin (2010).  The kid from Love, Actually to star.

http://us.imdb.com/title/tt0983193/


Elle, we shall see!



http://buzzsugar.com/1138079

The Kid From Love Actually Might Play Tintin!


Check out my favorite casting rumor in recent history: Thomas Sangster, known to me as Liam Neeson's son Sam in Love Actually,  might be playing Tintin in the Steven Spielberg and Peter Jackson project.

This is all speculation so far, and the Daily Mail  is far from the most credible source, but apparently Sangster has been traveling to L.A. for "preproduction test sequences with both directors" and that "an executive who worked with Sangster in Los Angeles" told the Mail,  "Thomas seems to be the one. He was just great, but I'm not certain if anything has been finalised yet." The one certain casting decision is that Andy Serkis will play Tintin's sidekick Captain Haddock.

This kid — who is now 17, if you can believe it! — couldn't possibly be more endearing. What do you think about this casting choice? Would he make a good Tintin?
"Tu doives entendre je t'aime."
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and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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Less a trailer than a tease...
[youtube=425,350]http://www.youtube.com/watch?v=Rg8uQ-L62V0[/youtube]
hmmmm.....

 :-\ :-\ :-\


http://en.wikipedia.org/wiki/The_adventures_of_tintin

Steven Spielberg has directed a motion capture 3-D film, The Adventures of Tintin: Secret of the Unicorn,  for a planned 2011 release, based on three stories published in the 1940s, The Crab with the Golden Claws, The Secret of the Unicorn  and Red Rackham's Treasure.  Peter Jackson's company Weta Digital will provide the animation and special effects and Jackson will direct the second movie of the trilogy, an adaptation of Prisoners of the Sun.

"Tu doives entendre je t'aime."
(and you know who I am...)


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and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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The Adventures of Tintin:
The Secret of the Unicorn (2011)
 

Credited cast:

  Daniel Craig  ...  Red Rackham 
  Simon Pegg  ...  Inspector Thompson 
  Jamie Bell   ...  Tintin 
  Andy Serkis  ...  Captain Haddock 
  Cary Elwes  ...  Pilot 
  Toby Jones  ...  Silk 
  Nick Frost  ...  Thomson 
  Mackenzie Crook  ...  Ernie 
  Tony Curran  ...  Lt. Delcourt 
  Sebastian Roché  ...  Pedro 
  Daniel Mays  ...  Allan 
  Phillip Rhys  ...  Co-pilot 
  Gad Elmaleh  ...  Ben Salaad 
  Mark Ivanir  ...  Afgar Outpost Soldier 
  Sana Etoile  ...  Moroccan Reporter 


"Tu doives entendre je t'aime."
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Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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The new trailer....

[youtube=425,350]http://www.youtube.com/watch?feature=player_embedded&v=YEj3UsAl0K8[/youtube]
"Tu doives entendre je t'aime."
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and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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Uhhh--in the trailer, they call him Tintin, pronounced like 'tin can.'

 :-\ :-\ :-\ :-\ :-\

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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--much later than the rest of the world! Boo hoo!



The Adventures of Tintin:
The Secret of the Unicorn


Release Date:


Netherlands, UK : 26 October 2011
Germany, Russia: 27 October 2011
Norway, Spain, Sweden: 28 October 2011
Poland, Turkey: 4 November 2011
Argentina: 10 November 2011
India: 11 November 2011
Japan: 1 December 2011
Canada, USA: 23 December 2011




"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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Tintin and Snowy/Milou enter the strangely eerie 3-D Transmorgraphying Field!








http://www.viewsbuzz.com/the-adventure-of-tintin-the-secret-of-the-unicorn-movie-preview/
"Tu doives entendre je t'aime."
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and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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They keep pulling down the trailers--why??   ???
Well, see if this  stays up--


[youtube=425,350]http://www.youtube.com/watch?v=f3Xwta_XIJo&feature[/youtube]
&feature




"Tu doives entendre je t'aime."
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Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
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Offline Meryl

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  • There's no reins on this one....
Looks cool!  I love the poster art, too.  8)

Ich bin ein Brokie...

Offline Aloysius J. Gleek

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[youtube=425,350]http://www.youtube.com/watch?v=xz3j8gKRUTg&feature=fvwrel[/youtube]
&feature=fvwrel



"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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http://www.bbc.co.uk/news/entertainment-arts-15420480?utm_source=twitterfeed&utm_medium=twitter



Tintin UK premiere set to take place
23 October 2011 Last updated at 11:38 ET






Stars are set to attend the UK premiere of Steven Spielberg's take on Herge's classic comic character, Tintin, in London's Leicester Square.

The Adventures of Tintin: Secret of the Unicorn  tells of how the intrepid reporter sets off on a treasure hunt for a sunken ship with Captain Haddock.

Billy Elliot  star Jamie Bell portrays the hero in Spielberg's computer-generated 3D animation.

The film had its world premiere in Belgium on Saturday.

It uses motion-capture techniques similar to those used in Lord of the Rings, King Kong  and Avatar,  where actors wear special suits which record all movement.

The data is then transformed into a computer-generated three dimensional image.

The film also stars Daniel Craig as criminal Ivanovich Sakharine, Simon Pegg as Inspector Thompson and Andy Serkis as Captain Haddock.

First created in 1929 by Brussels-born author Georges Remi, who wrote under the name Herge, Tintin  books have sold more than 220 million copies around the world.

Spielberg said he hoped his film would find fresh fans in the US, where the character is not as well known as it is in Europe.

"American audiences will look at this as an original movie," the director - who bought the rights to the character in the 1980s - told reporters.

"Hopefully, if it is successful in America, perhaps for the first time in 80 years the books will start being published in America."

Belgian press were broadly positive about the adaptation, with Belgian French-language magazine Le Vif  writing: "Action and humour dominate in a very pleasant spectacle."

French daily Le Soir  added: "Herge would have loved this Tintin, full of character."
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Offline ifyoucantfixit

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   I can't wait to see this.  It looks really cool.     :D



     Beautiful mind

Offline Aloysius J. Gleek

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.


"Tu doives entendre je t'aime."
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http://www.guardian.co.uk/culture/2011/oct/16/tintin-adventures-secret-of-unicorn


The Adventures of Tintin:
The secret of the Unicorn

Steven Spielberg's ghostly Tintin is best left on the page
By Xan Brooks
guardian.co.uk
Sunday 16 October 2011 15.18 EDT


Belgium’s most famous boy reporter, played by Jamie Bell, in
The Adventures of Tintin.



When the Belgian animator Hergé died in 1983, he left behind one last, unfinished Tintin adventure. Entitled Tintin and Alph-Art,  the story hinged on an evil scheme to abduct Tintin and encase him in liquid polyester. The gallant boy reporter would therefore become a "living sculpture", beautiful but dead. "Your corpse will be displayed in a museum," the villain (according to Hergé's notes) would cackle. "And no one will suspect that the work constitutes the last resting place of Tintin."

Three decades on, this dastardly plot may just have been completed. Out of the blocks comes The Adventures of Tintin,  a rip-snorting Indiana Jones-style romp from director Steven Spielberg, darting from the cobbled streets of Paris to the bazaars and hill towns of north Africa in search of buried treasure. On the face of it, all is well. But look closely at the film's protagonists, with their strange vestigial features and blank, marbled gaze, and one comes to suspect that here, at last, is the version of Alph-Art we assumed would never see the light of day.

Officially speaking, The Adventures of Tintin  is a conflation of three antique Hergé tales (The Crab with the Golden Claws, The Secret of the Unicorn and Red Rackham's Treasure ), with the ambiguities ironed out and the emphasis on the action as opposed to the comedy. It shows how the boy reporter (played here by Jamie Bell) plucks a model ship from a bric-a-brac stall and immediately finds himself targeted by all manner of gun-toting goons. The ship, it transpires, contains a rolled parchment that points the way to a long-lost stash of gold and jewels. Along the way, Tintin hooks up with Captain Haddock (Andy Serkis), the turbulent, whisky-sozzled descendant of seafaring nobility, now kept as a virtual prisoner aboard his boat.

In one superbly executed sequence, Tintin, Haddock and Snowy the dog must steal into the cabin to pluck the keys from the hand of a sleeping sailor as the ship rolls and pitches in a heavy sea. Except that once inside, Haddock keeps groping for an elusive bottle of whisky and Snowy for the uneaten sandwich on the upper bunk. Only Tintin – as ever, an emblem of resolute virtue – has the presence of mind to go straight for the keys.

Yet while the big set pieces are often exuberantly handled, the human details are sorely wanting. How curious that Hergé achieved more expression with his use of ink-spot eyes and humble line drawings than a bank of computers and an army of animators were able to achieve. On this evidence, the film's pioneering "performance capture" technique is still too crude and unrefined. In capturing the butterfly, it kills it too. What emerges is an array of characters (puffy, moribund Haddock; opaque, inexpressive Tintin) that may as well be pinned on to boards and protected by glass.

Viewed from a distance, The Adventures of Tintin  stands proud as freewheeling, high-spirited entertainment. But those close-ups are painful, a twist of the knife. There on the screen we see Hergé's old and cherished protagonists, raised like Lazarus and made to scamper anew. But the spark is gone, their eyes are dusty, and watching their antics is like partying with ghosts. Turn away; don't meet their gaze. When we stare into the void, the void stares back at us.

• In cinemas from 26 October
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Offline Jeff Wrangler

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Quote
When the Belgian animator Hergé died in 1983, he left behind one last, unfinished Tintin adventure. Entitled Tintin and Alph-Art,  the story hinged on an evil scheme to abduct Tintin and encase him in liquid polyester. The gallant boy reporter would therefore become a "living sculpture", beautiful but dead. "Your corpse will be displayed in a museum," the villain (according to Hergé's notes) would cackle. "And no one will suspect that the work constitutes the last resting place of Tintin."

Hmm. Saw that plot in House of Wax, with Vincent Price.

"It is required of every man that the spirit within him should walk abroad among his fellow-men, and travel far and wide."--Charles Dickens.

Offline Aloysius J. Gleek

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http://www.telegraph.co.uk/culture/film/filmreviews/8830386/The-Adventures-Of-Tintin-The-Secret-Of-The-Unicorn-review.html

The Adventures Of Tintin:
The Secret Of The Unicorn

Steven Spielberg's 3D adaptation of the Hergé classic
lacks a twinkle in the eye

By Robbie Collin
6:43PM BST 16 Oct 2011



Cert: PG, 106 min. Dir: Steven Spielberg; Starring: Jamie Bell, Andy Serkis, Daniel Craig, Simon Pegg, Nick Frost


It’s testament to either the genius of Hergé or the limitations of computer graphics – or more probably both – that two dots of ink from a Belgian cartoonist’s pen can express more wit and artistry than £82 million of the best 3D special effects Hollywood can conjure.
 
The difference, you see, is in the eyes. And in this first of three planned Tintin films by Steven Spielberg and Peter Jackson, the eyes do not have it – ‘it’ being that vital, twinkling difference that separates a character worth caring about from a dummy in a Debenhams’ shop window.
 
The Adventures Of Tintin: The Secret Of The Unicorn (actually a mishmash of Unicorn  and The Crab With The Golden Claws,  with dashes of Red Rackham’s Treasure  and other Hergé works thrown in) is a perfectly decent animated adventure, comparable to the better output of DreamWorks if perhaps not Pixar.
 
Using The Secret Of The Unicorn’ s hunt for three scrolls as its starting point, the film hares from the cobbled streets of ... well, wherever it is Tintin lives, to the fictional Moroccan port of Bagghar and back, via the high seas and the Sahara desert, without ever pausing for breath. Hot on the tail of the young reporter and his faithful (and very well-animated) dog Snowy, is Sakharine (Daniel Craig), whose role has been expanded here from model ship-collecting oddball to ruthless international crook.

While Tintin’s breakneck pace is totally at odds with the spellbinding logic of Hergé’s books and the irresistible bounce and flow of Spielberg’s own Indiana Jones movies, it often works in the film’s favour. A terrific motorbike chase through a Moroccan marketplace, presented in one impossible, continuous take, should impress the stuffiest 3D refuseniks and capture even the shortest attention spans. Likewise, an hallucinatory sequence that brings galleons crashing through the moonlit Saharan dunes is pure blockbusting spectacle.

But there’s a mechanistic quality to Spielberg’s craft that’s undoubtedly disappointing: a film directed by one such distinctive artist and based on the work of another shouldn’t feel like it could have been made by almost anyone.
 
The main personality-stifler is the film’s use of performance capture; the method by which the cast’s movements and expressions have been translated into computer-generated visuals. However much more successful the technique is here than it has been elsewhere, crucially it’s not successful enough: even if Jamie Bell wasn’t so monotonously earnest as Tintin, he’d still look about as conscious as a bollard with a quiff.
 
Simon Pegg and Nick Frost also disappoint as the inept sleuths Thomson and Thompson, but through no fault of their own: the soupy physicality of the CG world and Spielberg’s restive camerawork saps their slapstick of rhythm and impact. Only Andy Serkis, a performance capture veteran, convincingly breathes life into his character’s pixels, delivering a full-blooded and frequently hilarious turn as Tintin’s sozzled ally Captain Haddock.
 
The script, co-written by Doctor Who writer Steven Moffat and British filmmakers Edgar Wright and Joe Cornish, is well-intentioned but misjudged, occasionally falling back on facile screenwriter-ese (“The bad news is we’ve only got one bullet!” “What’s the good news?” “We’ve got one bullet!”) and some very English here’s-one-for-the-dads innuendo. Both sit uneasily with the wry humanism and neat satire of the books: this is less an adaptation of Hergé’s writing than a kind of airless pastiche of it.
 
On its own terms, The Adventures Of Tintin: The Secret Of The Unicorn  is a success, although it’s debatable whether these are the terms on which every audience member will approach it. As a family-friendly adventure romp it ticks every box, but the unique appeal of the Tintin  books does not lie in seeing boxes being ticked.
 
Famously, Spielberg only discovered Hergé’s work when a French critic called the first Indiana Jones film, Raiders Of The Lost Ark,  an obvious homage to it. Even more famously, Hergé later said that Spielberg was the only director capable of successfully bringing it to the big screen. That probably remains true. But this film hasn’t done it.
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Offline Meryl

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Quote
even if Jamie Bell wasn’t so monotonously earnest as Tintin, he’d still look about as conscious as a bollard with a quiff.

Hunh  ???
Ich bin ein Brokie...

Offline southendmd

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even if Jamie Bell wasn’t so monotonously earnest as Tintin, he’d still look about as conscious as a bollard with a quiff.

Quote
Hunh  ???

I think it's an insult.   :laugh:


bollard


quiff

Offline Meryl

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Offline Jeff Wrangler

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Hunh  ???

Bollard: a wooden or metal post

Quiff: (Brit) a prominent forelock

So he's about as lively as a post with a curl on his forehead.

I'd consider that an insult, too.
"It is required of every man that the spirit within him should walk abroad among his fellow-men, and travel far and wide."--Charles Dickens.

Offline Aloysius J. Gleek

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Quiffs!





Tin Tin

Sir Alex Ferguson, CBE, Manager, Manchester United

Random Model

Suzy Menkes, OBE, head fashion reporter and Editor for the International Herald Tribune  since 1988

Janelle Monáe Robinson, singer

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Offline Meryl

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http://www.salon.com/2011/12/20/the_adventures_of_tintin_spielbergs_weird_action_cartoon/

 
“The Adventures of Tintin”
Spielberg’s weird action cartoon
A exciting animated adventure tries to update the classic tale
of the Belgian boy reporter. Should Americans care?


By Andrew O'Hehir
Tuesday, Dec 20, 2011 3:11 PM 21:51:25 EST





Frankly, the life and work of Belgian comics artist and writer Georges Remi, better known to the world as Hergé, is much more interesting than Steven Spielberg’s “The Adventures of Tintin,” an expensive, ambitious and relentless animated film that struggles to drag Hergé’s aesthetics and worldview into the 21st century. (It’s also, bizarrely, the first of two Spielberg films to open this Christmas, just before “War Horse.”) I’m not saying the movie isn’t worth seeing for Tintin fans, animation buffs and other interested parties; far from it. A collaboration between Spielberg and Peter Jackson (who serves as producer) with a reported $130 million budget, this first installment of a proposed Tintin trilogy breaks new ground in 3-D performance capture animation, in an effort to split the difference between live-action filmmaking and Hergé’s clean and colorful “ligne claire” cartooning. Although I personally still find the rubber-faced, pseudo-human figures produced by this technique unsettling, the work done by Spielberg and Jackson’s animation teams here is exquisite.

As you’d expect, Spielberg’s characterization is lively, with Jamie Bell voicing the intrepid, if almost personality-free boy reporter Tintin (who never actually seems to write anything) and Andy Serkis, aka The Man With No Face, as his alcoholic sidekick Captain Haddock. Simon Pegg and Nick Frost are perfectly cast as the comic-relief duo of Thomson and Thompson, a pair of inept but indistinguishable bowler-hatted detectives. (Sadly, Prof. Cuthbert Calculus, along with his hearing impediment and his ludicrous inventions, do not appear in this chapter.) Some of the numerous action set-pieces are absolutely spectacular, such as a memorable chase through the streets of a Middle Eastern port city (pre-modern Dubai or Bahrain, perhaps) involving a motorcycle, a grenade launcher, a jeep, a rushing canal, a falcon, a tank, a moving hotel and a clothesline.

That scene, mind you, does not appear in any of the three Tintin graphic novels from the 1940s — “The Crab With the Golden Claws,” “The Secret of the Unicorn” and “Red Rackham’s Treasure” — from which screenwriters Steven Moffat, Edgar Wright and Joe Cornish (along with uncredited collaborators, one suspects) have cobbled together this film’s story. Perhaps understandably, Spielberg has sought to translate the naïve, idealistic and distinctively European colonial-era worldview of Hergé’s hero into a more familiar idiom — pretty much that of Indiana Jones. How well that works for viewers around the world is very much an open question, but it’s certainly no accident that “The Adventures of Tintin” opened more than a month ago in Europe, and is only now reaching American theaters. Hergé’s books are enormous cultural landmarks both on the Continent and in Britain, but have never been more than a marginal, Europhile eccentricity in the United States. If the movie succeeds here, it’ll be in spite of its source material, not because of it.

Charles de Gaulle supposedly once said that Tintin was his only rival for supremacy in the French-speaking world, and the more you know about the history of those two, the funnier that is. There’s considerable debate over how to interpret the Tintin books in social and political terms, but let’s start with the fact that Hergé began as an illustrator for Belgian Boy Scout manuals and a right-wing Catholic magazine, and those origins are clearly encoded in the fearless boy reporter and his globetrotting adventures. If Hergé wasn’t quite a Nazi collaborator during the occupation of Belgium, he certainly wasn’t a resister either. All three of the books incorporated into Spielberg’s film were deliberately apolitical works originally published in a pro-German newspaper. Early Tintin books contain both grotesque racist stereotypes and disturbing anti-Semitic caricatures, which Hergé later disavowed and/or redrew. In the original version of “Tintin in the Congo,” we see our hero at the blackboard, delivering a lecture to a class of benighted natives: “My dear friends, today I’m going to talk to you about your country: Belgium!” (I’ve never read Hergé’s overtly propagandistic “Tintin in the Land of the Soviets,” in which the boy reporter discovers Lenin and Trotsky’s secret cave of stolen treasure, but that one turned out to be ahead of its time.)

What point am I making about Spielberg’s movie? I don’t know, maybe none, except that I think the original Tintin adventures, in all their Hardy Boys  Go to Fascist Europe sinister innocence, strongly resist contemporary translation. For good or ill, they remain defiantly themselves. Furthermore, as impressive as the Spielberg-Jackson motion-capture technology is, it’s only a vague approximation of the blinding color palette and richly detailed cartoon panels of Hergé, who pioneered the graphic novel before the term was invented and became a major influence on Roy Lichtenstein and Andy Warhol. (Warhol said he thought Hergé was as important as Walt Disney.)

“The Adventures of Tintin” takes us from an unnamed European capital — it isn’t quite Brussels and isn’t quite London — to rip-roaring shootouts on the high seas and a small-plane crash in the sands of the Arabian peninsula, as Tintin and Captain Haddock strive to beat a sinister collector named Sakharine (voiced by Daniel Craig) to a treasure hidden by Haddock’s 17th-century ancestor after his defeat of the legendary pirate Red Rackham. Taken on its own terms, the movie offers plenty of excitement — but the thing is, I’m not quite sure about those terms. Serkis gives a terrific performance, but do we really need a disturbing, quasi-naturalistic portrait of Haddock as a sweaty, red-faced loser battling a lifelong addiction? (In the books, his drinking is strictly played for laughs, “Thin Man” style, and I recognize that you can’t and shouldn’t get away with that today.)

I’m a lifelong fan of Hergé’s work (within certain obvious limits) and I’ve now seen the movie twice, the second time in the company of a seven-year-old who’s inherited my Tintin collection. We found it alternately thrilling, baffling and eventually exhausting; it’s as if Spielberg gets frustrated with his inability to capture Tintin’s true spirit, or worried that viewers are getting bored. He keeps ramping up the violence, speed and pace of the action sequences, which are plenty of fun at first but conclude with a chaotic dockland duel between Haddock and Sakharine, using giant cranes, which my son found terrifying and incomprehensible. (Again, it’s an invention not found in Hergé.) I recognize that “The Adventures of Tintin” is a labor of love, a work by two important filmmakers in tribute to a unique and peculiar artist. That doesn’t mean it was worth doing, in the end, or that it rises above the level of intriguing technical curiosity.
"Tu doives entendre je t'aime."
(and you know who I am...)


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Offline Jeff Wrangler

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At least in some pictures I've seen, I think Captain Haddock looks like Walter Matthau.
"It is required of every man that the spirit within him should walk abroad among his fellow-men, and travel far and wide."--Charles Dickens.

Offline Aloysius J. Gleek

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Uhhh--in the trailer, they call him Tintin, pronounced like 'tin can.'

 :-\ :-\ :-\ :-\ :-\


Thank  you! Whew!!

(Great little video, by the way!)



Arts
Tintin, Boy Reporter
Charles McGrath looks at Hergé‘s graphic novels.

By Gabe Johnson and Charles McGrath
Wednesday, December 21, 2011




http://video.nytimes.com/video/2011/12/21/movies/100000001238011/tintin-boy-reporter.html
"Tu doives entendre je t'aime."
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Offline Jeff Wrangler

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Uhhh--in the trailer, they call him Tintin, pronounced like 'tin can.'

 :-\ :-\ :-\ :-\ :-\

Wouldn't the French pronounce the entire name to rhyme with "can-can"?  ???

As Prof. Higgins says, "The French don't care what they do, actually, as long as they pronounce it properly"  ;D
"It is required of every man that the spirit within him should walk abroad among his fellow-men, and travel far and wide."--Charles Dickens.

Offline Aloysius J. Gleek

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Wouldn't the French pronounce the entire name to rhyme with "can-can"?  ???

As Prof. Higgins says, "The French don't care what they do, actually, as long as they pronounce it properly"  ;D


Jeff, click on the short NYTimes video above (it's really worth it, by the way); after the reporter first opens the piece by saying that the character "Tin-Tin" is not very well known in America, he then says he will properly pronounce the name ("snobbishly") the way the Belgian boy would have preferred his own name pronounced: "Tah[n]-tah[n]."

People say there is no explanation as to why  Hergé chose the name. When I  was a kid, I made up my own  explanation--when I saw the cover of my very first Tintin book ever,  it was: The Adventures of Tintin: The Black Island (Les aventures de Tintin: L'Île Noire)


http://en.wikipedia.org/wiki/The_Black_Island







Well, Tintin was wearing a Tam o' Shanter (a “Tammy” or “Tam”) http://en.wikipedia.org/wiki/Tam_o'_Shanter_(cap)

--and as far as I could figure, the character's name sounded sort of like "Tamtam," if the French were to pronounce it, I  thought.

Oh well, it seemed as good as any other explanation at the time-- ??? ::) ;D

(Can you guess I really, really  liked Tintin??  ::) ;D )
"Tu doives entendre je t'aime."
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Offline Aloysius J. Gleek

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Ooooo!  :o
Look what I just found!   8)
(I so love "the Internets!"   ;D )





http://www.guardian.co.uk/culture/2010/dec/07/man-who-inspired-tintin


Was this the man who inspired Tintin?

The story of Palle Huld, a globetrotting, red-haired 15-year-old,
may have provided the inspiration for Hergé's comic-book hero, Tintin


By Jon Henley
Tuesday 7 December 2010 15.00 EST

guardian.co.uk


Palle Huld, the fresh-faced boy with freckles, a snub nose and a shock
of bright red hair (left), and Tintin.



Early in 1928, a Danish newspaper ran a competition to mark the centennial of the celebrated author Jules Verne. The winner would re-enact the globe-circling voyage undertaken by Phileas Fogg in Verne's bestselling novel, Around the World in 80 Days.  For reasons a 21st-century parent can only wonder at, however, Politiken  decided the contest should be open only to teenaged boys, who – if they won – would have to complete the circumnavigation unaccompanied, within 46 days, and without using planes.

Fresh-faced, freckled, with a snub nose, a shock of bright red hair and a penchant for plus-fours, 15-year-old boy scout and car showroom clerk Palle Huld left Copenhagen on March 1 and duly circled the globe – including then-wartorn Manchuria and foreigner-unfriendly Moscow – by train and passenger liner. He returned 44 days later to be greeted by a crowd of 20,000 cheering admirers and his mightily relieved mother, who, according to the Copenhagen Post,  "had been prescribed sleeping tablets for the duration".

The following year, an intrepid, globetrotting boy reporter – fresh-faced, freckled, with a snub nose, a shock of bright red hair and a penchant for plus-fours – made his first appearance in a Brussels newspaper called Le Petit Vingtième.

Over the following 50-odd years, Tintin, the creation of a Belgian comic artist called Georges Rémi, better known as Hergé, went on to star in some two-dozen comic books with more than 200 million volumes being sold worldwide.

Meanwhile, Huld, who died last week, went on to a glittering career as a stage and screen actor in Denmark, performing for years with the Danish Royal Theatre and appearing in 40 movies.

But was he the inspiration for Tintin? Huld certainly suggested so. However, some Tintinologists believe their hero was more likely to have been inspired by a French war and travel photojournalist called Robert Sexe – who not only, like Tintin, rode a motorbike, but also had a best friend called René Milhoux (Tintin's dog, Snowy, is called Milou in French) and toured the Soviet Union, the Congo and the US in the same order as Tintin's first three books.

It is not, sadly, a dispute that is ever likely to be solved: Hergé died in 1986, and in any case always claimed that "Tintin, c'est moi".
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Offline Jeff Wrangler

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"Tintin, c'est moi".

Somebody needs to paste that under a picture of Louis XIV.  ;D

I heard of Tintin in a French class. But I preferred Asterix.  ;D
"It is required of every man that the spirit within him should walk abroad among his fellow-men, and travel far and wide."--Charles Dickens.

Offline Aloysius J. Gleek

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Somebody needs to paste that under a picture of Louis XIV.  ;D

I heard of Tintin in a French class. But I preferred Asterix.  ;D



I should have been in your class--no Tintin or Asterix in mine. Too bad!




http://docmo.hubpages.com/hub/The-Amazing-Adventures-of-Tintin

(....)

Inspirations      



Palle Huld, The Danish teen adventurer


Some say that the character of Tintin was inspired by Herge’s brother Paul Remi who was a soldier in Belgian army. Others point to a Danish teenager called Palle Huld. In 1928 a Danish newspaper ran a competition to celebrate the spirit of Jules Verne at his centennial. The winner would replicate the voyage of Phileas Fogg and would be asked to travel around the world in 80 days. It was restricted to only teenage boys.

It was won by a ‘fresh faced, freckled, snub nosed teenager Palle Huld with a shock of red hair and a penchant for plus fours’ and he duly travelled around the world including Manchuria and Russia and returned to a hero’s welcome 44 days later. As this was the year before Tintin ws launched one cannot deny the similarities. Hulld went on to become a famous Danish actor and always claimed he was the real Tintin!




Robert Sexe
Robert Sexe

Tintinologists ( or Tintinophiles- choose whichever) also claim that the wartime journalist Robert Sexe who became famous in Belgium for his exploits in the motorcycle and travelling around the world reporting on adversity and adventure, could also be a strong influence.

It is rather curious that Robert’s first country of travel matches Tintin’s. His first trip was to Russia, and the timing of his next adventures match the Tintin albums.The similarities don’t just stop there, The correspondent's travel companion and close friend on the motorcycle rides was called Rene Milhoux. Tintin’s faithful companion Snowy is called Milou in the original French. Coincidence or Curiosity?
"Tu doives entendre je t'aime."
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Offline Jeff Wrangler

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Such a Tintin-abulation. ...  ;D
"It is required of every man that the spirit within him should walk abroad among his fellow-men, and travel far and wide."--Charles Dickens.

Offline Aloysius J. Gleek

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http://www.slate.com/articles/arts/movies/2011/12/adventures_of_tintin_review_spielberg_s_motion_capture_adventure_has_its_charms_but_it_s_no_raiders_.html





Tintin, So So
Steven Spielberg’s motion-capture adventure
has its charms, but it’s no Raiders.


By Dana Stevens
Posted Wednesday, Dec. 21, 2011, at 4:45 PM ET



The Adventures of Tintin is Steven Spielberg's first animated movie


For his first animated feature and his first foray into the waters of 3-D, Steven Spielberg, that most American of filmmakers, has chosen to adapt a distinctly un-American property. The classic Hergé comic The Adventures of Tintin  has been translated into more than 50 languages since its first appearance in a Belgian newspaper in 1929. In this country, however, it remains a cult item for comic aficionados.
 
Spielberg has said that he first discovered Tintin after the release of Raiders of the Lost Ark  in 1981, when someone told him the retro-styled heroics of Indiana Jones reminded them of the Belgian comic. The director’s bold, if not always successful, gambit here is to yank the orange-haired boy reporter out of the 20th century and into the 21st, replacing Hergé’s bright, clean line drawings with the latest in performance-capture technology.

Was The Adventures of Tintin  a movie that I personally vibed with? Not really. It felt overstuffed and busy, its charm a little calculated, its outsized budget (reputed to be upward of $130 million) a tad too ostentatiously on display. But it’s a rollicking yarn told with scads of invention and energy, not to mention a technical marvel of the first order. The film’s motion-capture know-how comes courtesy of producer Peter Jackson, the Lord of the Rings  director whose Weta studio provided the post-production digital effects. This technique has come a long way since Robert Zemeckis freaked out audiences with The Polar Express,  whose motion-captured characters had a doll-eyed, automaton-like quality that repelled audiences.

With the possible exception of the title character, the animated cast of Tintin narrowly escapes entrapment in the so-called “uncanny valley,” a name coined by cognitive psychologists and robotics experts for the disturbing effect created by realistic human facsimiles that are almost, but not quite, convincing. Why does Tintin alone teeter on the brink of that dreaded valley, while the other characters clear the bar of acceptability? My viewing companion and I both guessed that it’s because realistically proportioned, conventionally “attractive” characters tend to come off worse in digital animation than their more exaggerated comic sidekicks (This is a variant of the Toy Story  rule—think about the human characters in the early Toy Story  movies, who came off as a bit creepy and fake next to the vibrant, googly-eyed toys. The problem lessened as the series progressed and CGI got more sophisticated, but it was early evidence that animals and inanimate objects were better suited to digital re-creation than human beings.)

Even the non-Tintin characters can be a little unsettling at first, these hyper-real living cartoons with their out-of-proportion heads and liquid eyes. But once you grow to accept them as inhabitants of the movie’s candy-colored pseudo-world, they’re expressive, even endearing. If there’s no one on screen who approaches the complexity of Caesar, Andy Serkis’ motion-captured chimp protagonist in Rise of the Planet of the Apes,  it’s the fault of the film’s frantically action-packed pacing, not the animation technique.

The film’s story combines elements from the plotlines of three different Tintin comics, principally 1943’s The Secret of the Unicorn.  After Tintin (Jamie Bell) buys a model ship at a flea market, he’s kidnapped by the evil Sakharine (Daniel Craig), who’s searching for a map that will lead him to a sunken treasure. Tintin escapes, along with his faithful pup Snowy, and teams up with the perpetually drunken sea-salt Captain Haddock (motion-capture stalwart Serkis) to beat Sakharine to the ancient shipwreck. Along the way they’ll be stranded at sea in a burning lifeboat, crash-land a plane in the Sahara Desert, and engage in a manic chase through a terraced Middle Eastern city, a tour-de-force action sequence that Spielberg films in a single unbroken shot (if the words “film” and “shot” have any meaning in the context of all-digital animation).

“Performance” is another word that’s thrown into question by new animation technologies. Rather than just lending their voices, the likes of Bell and Craig literally embody their character, providing, in essence, a moving skeleton that’s then “clad” in digital flesh. I’m inclined to say there isn’t an actor in Tintin who gives a less than terrific “performance,” but given how many other artists it required to create each character, it seems somehow wrong to give all the credit (or blame) to an individual performer. Still, it’s worth noting that Serkis, as the drunken, self-pitying Scotsman Haddock, is a standout. It’s a strange, dark role—so dark it nearly takes the PG-rated Tintin into not-fit-for-children territory—and Serkis plays it as big and broad as a barn—a very sincere barn. There’s no hip remove between him and the character, no sense of condescension to the role. Maybe it’s Serkis’ familiarity with acting in a motion-capture suit (in addition to Caesar the ape, he’s also played Gollum and King Kong), but Haddock, for all his cartoonish bluster, feels more like a living presence than anyone else onscreen.

There are some witty fillips in the script, which was co-authored by three British writers high on the comedy food chain: TV writer and producer Steven Moffat (Dr. Who, Coupling ) and the writer/directors Edgar Wright and Joe Cornish (Shaun of the Dead, Attack the Block ). Simon Pegg and Nick Frost are amusing as Thomson and Thompson, two near-identical detectives cheerily oblivious to their own incompetence. And by moments, the laws-of-physics-violating possibilities opened up by motion capture make for imaginative sight gags that would have been impossible with flesh-and-blood stuntmen—for instance, a group of sleeping sailors sliding wildly from one bunk to another as the ship pitches in the water, snoring all the while.

But Tintin suffers from a fundamental pacing problem. In essence, it’s an unbroken 107-minute chase, with very little down time to explore the nuances of character or story. Even Indiana Jones took time out once in a while to teach an archeology class or sweet-talk a lady friend. Is it possible that the eternally boyish Spielberg is so thrilled by these new digital toys that he’s neglecting his usually impeccable sense for the beats of classic Hollywood storytelling?

Tintin fans who are open to a technologically sophisticated but still sweetly nostalgic reworking of their beloved comic will likely respond well to The Adventures of Tintin,  as will children between the ages of, I’d say, 8 and 12 (though the frank ongoing subplot about Captain Haddock’s drinking problem may require some parental pussyfooting—this is a man who, in a pinch, downs a bottle of medicinal alcohol from a first-aid kit). Even if this hyperactive movie isn’t your cup of tea, there’s much to admire on-screen, including Spielberg’s astonishing attention to visual detail and John Williams’ jaunty score (which evokes the Raiders  theme without ever becoming quite that whistle-able.) Like Martin Scorsese’s Hugo, The Adventures of Tintin  is clearly a labor of love on the part of the filmmaker, even if the result feels more labored than lovable.
"Tu doives entendre je t'aime."
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Offline Shakesthecoffecan

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OK so was this the strip that Rin Tin Tin was named after?
"It was only you in my life, and it will always be only you, Jack, I swear."

Offline Meryl

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Such a Tintin-abulation. ...  ;D

 ;D

Love the background articles.  Have you seen it yet, John?
Ich bin ein Brokie...

Offline Aloysius J. Gleek

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;D

Love the background articles.  Have you seen it yet, John?



I haven't, no--maybe we should!   8)

"Tu doives entendre je t'aime."
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Cowboy Curtis (Laurence Fishburne)
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Offline Aloysius J. Gleek

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Wow, it looks hard work!
[youtube=425,350]http://www.youtube.com/watch?v=JmdK4NdwYkY[/youtube]


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Cowboy Curtis (Laurence Fishburne)
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Offline Meryl

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I haven't, no--maybe we should!   8)

Sounds good!  8)

How's the day after Christmas look for you?  Or maybe we could incorporate it into our plans for New Year's Eve Eve.
Ich bin ein Brokie...

Offline Aloysius J. Gleek

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Sounds good!  8)

How's the day after Christmas look for you?  Or maybe we could incorporate it into our plans for New Year's Eve Eve.



Meryl and I went last night, on our New Year's Eve Eve, to see Tintin--and we quite liked it! Actually I really liked it as this  former 10 year-old Tintin fan (who is now an old, grumpy NON-Spielberg fan) wasn't expecting much, and was quite surprised!

Yay!

 :D :D :D

"Tu doives entendre je t'aime."
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Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
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Offline Meryl

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I thought it was charming, too, John.  The animation was bright and the action fast.  Tintin and his little dog were just right.  The story wasn't much, and the villain seemed to give up too easily, but it was fun.  There was even real opera singing with music by real opera composers, though it was strange to hear the soprano enter to the strains of "Barber of Seville" and then start singing from Gounod's "Romeo et Juliette."  :laugh:
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Offline Aloysius J. Gleek

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Well, at least Tintin
knows how to
pronounce his own
'nom' in
Aventures de Tintin:
le Secret de la Licorne
!
[youtube=425,350]http://www.youtube.com/watch?v=u8vV5Nq7h0Q&feature=relmfu[/youtube]


[youtube=425,350]http://www.youtube.com/watch?v=lsPobwRsZFU&feature=endscreen&NR=1[/youtube]


[youtube=425,350]http://www.youtube.com/watch?v=ZLosPTdOfTM&feature=related[/youtube]
Unfortunately, though--
Jamie Bell IS  better, I
think, rather than the
Francophone
voice actor--who knew??
(Hilarious Quif Montage
at 0:03 - 0:07 by the way!!)
[youtube=425,350]http://www.youtube.com/watch?v=7SWUfutE8mk[/youtube]

Ooooo, Look!!
The full trailer for
the new Tintin movie,
with all footage replaced
with clips from the
1990s cartoon series!
[youtube=425,350]http://www.youtube.com/watch?v=5vbFwqGu9aI&feature=related[/youtube]
Charming!!

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Amazing--I have
never seen these
before!
[youtube=425,350]http://www.youtube.com/watch?v=YbQYOZ3VlYs&feature=related[/youtube]


[youtube=425,350]http://www.youtube.com/watch?v=hfzFNW5VmnM&feature=related[/youtube]


[youtube=425,350]http://www.youtube.com/watch?v=BpHjP6p_Qqs&feature=related[/youtube]


[youtube=425,350]http://www.youtube.com/watch?v=fECQkSh_ASY&feature=related[/youtube]


http://en.wikipedia.org/wiki/Nelvana
http://en.wikipedia.org/wiki/Ellipse_Programm%C3%A9
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
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Offline Sheriff Roland

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I went to the theatre cinema to see this on Boxing Day (Dec 26). It was a family affair, a Christmas gift - my treat, for many of my nephews & neices (and grand-nephew/neice) when I was up in Timmins. All seven of us represented about 15% of the entire 8:00 pm showing's audience.

Even though the city is nearly 50% francophone (well the region it services IS), and they DO show french language movies from time to time, we were exposed to yet another form of assimilation with the offensive English version of what is internationally recognized as being francophone, including having to hear his name being anglicized - a definite negative right off the bat. (BTW, my brother tells me that it's been showing en français in Montréal for a couple of weeks already.)

The 12,50$ price (another negative) was based on the least appreciated aspect of the movie - it's supposedly 3D effect - hated having to wear the glasses (negative #3). The critics I've read got it pretty much right in that the (quote) animation (end of quote) made the acting flat (#4) and the convoluted storyline (based on 3 books?) made the story hard to follow (#5). One of my oldest neice went to the washroom as the film was ending; there was not a sense that the end (of the story) was imminent (#6). And what an ending it was - promissing franchise-building follow-ups (#7).

On the positive side, there was a lot of action. And it was something to do together - something we had never done before. I told my grand-nephew that I had taken his father to his first viewing of E.T. when he was only 8 years old. Needless to say, this was no E.T.

(end of post - with no likelyhood of there being a franchise-building follow-up  :laugh: )
2015 - Toronto: Pan Am Games
2015 - Edmonton, Montréal, Ottawa, Vancouver, Winnipeg: Woman's World Cup of Soccer

Offline Aloysius J. Gleek

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Even though the city is nearly 50% francophone (well the region it services IS), and they DO show french language movies from time to time, we were exposed to yet another form of assimilation with the offensive English version of what is internationally recognized as being francophone, including having to hear his name being anglicized - a definite negative right off the bat.



As an anglophone, I agree--I HATED them calling 'Tintin' as 'Tin-Tin' as if he was a tin can. When I bought the tickets at the theater earlier in the day (Cinema Village East doesn't have on-line ticketing) the young woman in the ticket booth didn't understand the title as I said it--she looked at me and said: "What? What movie do you want?" Whether it was snobbishness or something else, I couldn't  say 'Tin-Tin', so I repeated, slowly, with lots of prior circumlutionary information: "I would like TWO tickets for the SEVEN o'clock 3D movie for--Tintin." And she got it.

Hmmmm. Since so many (U.S. variety) Americans had supposedly never heard of Tintin before, why just pronounce the name correctly--everybody would have figured it out. Written English is not  like Italian, where everything has  to be pronounced in a certain way, it's pretty loose--and the character's name is his name,  goddamn it, why change it?? Very annoying! (I have to say, though--I do say 'Snowy' instead of 'Milou'--oops!   ::)  )

Oh well. Spielberg, already a rich, influential movie director, hadn't even heard of Hergé or Tintin--
what can you expect.



The 12,50$ price (another negative) was based on the least appreciated aspect of the movie - it's supposedly 3D effect - hated having to wear the glasses (negative #3).



3D Ticket price in New York: $17.50US ($17.88CAN at the moment)!!



The critics I've read got it pretty much right in that the (quote) animation (end of quote) made the acting flat (#4) and the convoluted storyline (based on 3 books?) made the story hard to follow (#5). One of my oldest neice went to the washroom as the film was ending; there was not a sense that the end (of the story) was imminent (#6).



Both Meryl and I were surprised at the end--Wwhaa'?? We were both expecting that there would be--something--before the very abrupt end. Very strange.



(end of post - with no likelyhood of there being a franchise-building follow-up  :laugh: )



Well--we shall have to see what the box office totals will be!   ::)

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
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Offline Aloysius J. Gleek

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Wow!!!

GREAT, amazing, amazing documentary. BRILLIANT!!!

Tintin et moi  by the director Anders Høgsbro Østergaard (after interviews with by Numa Sadoul).




[youtube=425,350]http://www.youtube.com/watch?v=2lbmYbcHM3k[/youtube]



[youtube=425,350]http://www.youtube.com/watch?v=T-QRpmZ0nLE&feature=related[/youtube]



[youtube=425,350]http://www.youtube.com/watch?v=V5bPk0NTRVw&feature=related[/youtube]



[youtube=425,350]http://www.youtube.com/watch?v=FbhSni8eHAA&feature=related[/youtube]



[youtube=425,350]http://www.youtube.com/watch?v=BW2AV_g0QS0&feature=related[/youtube]
http://en.wikipedia.org/wiki/Tintin_and_I

Tintin and I
From Wikipedia, the free encyclopedia


Tintin and I  (French: Tintin et moi ) is a 2003 documentary by Anders Høgsbro Østergaard, about Belgian writer-artist Georges Remi, better known as Hergé , and his creation Tintin. The film is a co-production of Denmark, Belgium, France, and Switzerland.
 
The film is based around Numa Sadoul's revealing interviews with Hergé from the 1970s, and goes into detail about Hergé's life and how the success of Tintin affected it.
 
The film is based strongly around Hergé's experiences and state of mental health leading up to the writing of Tintin in Tibet ,  often heralded as Hergé's most personal album. The history of Tintin is examined through Hergé's life and the way that he was affected by the growing popularity of his character.
 
The underlying theme of the film would appear to be the way that Hergé's, or rather Georges Remi's, private life affected his work; for example, Bianca Castafiore is a subconscious (or perhaps conscious) reflection of Georges' first wife, Germaine, and the way that Captain Haddock responds to her reflects the way Georges often felt towards his wife. Specifically, the mothering instinct that Germaine had toward him is shown most explicitly in The Castafiore Emerald.  The subject of religion is also discussed, including Georges' gradual disillusioned view of the Catholic church, and the opposition he came up against due to Wolff's sacrifice in Explorers on the Moon.  The influence of Chang on Georges' work is also highlighted, using reconstructed footage and actual archive footage of their meeting in 1981.
 
Technically, the film employed an interesting choice of graphic effects to "re-animate" video footage of Hergé speaking, to match up with the audio being played (from the interviews conducted with Sadoul). Panels from the albums were also animated to allow movement through them, the plane crash from Tintin in Tibet  and the Shanghai street scene from The Blue Lotus  both being used in such a manner. Interviews are reconstructed using actors, but the viewer never sees their faces; hands and arms are used, holding the albums, flicking through them, drinking tea and the like.
 
The film has been broadcast several times in the UK on the BBC's digital television channel, BBC Four.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline oilgun

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Meryl and I went last night, on our New Year's Eve Eve, to see Tintin--and we quite liked it! Actually I really liked it as this  former 10 year-old Tintin fan (who is now an old, grumpy NON-Spielberg fan) wasn't expecting much, and was quite surprised!

Yay!

 :D :D :D



LOL. I'm also a long time fan of Tintin and a non-fan Spielberg (You couldn't pay me enough to watch War Horse) and I too enjoyed the film.  I watched the original English version because I love Jamie Bell but I might see it again in French.  Milou is so much better than Snowy.

Offline Aloysius J. Gleek

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LOL. I'm also a long time fan of Tintin and a non-fan Spielberg (You couldn't pay me enough to watch War Horse) and I too enjoyed the film.  I watched the original English version because I love Jamie Bell but I might see it again in French.  Milou is so much better than Snowy.


Many many, many  years ago, this beautiful French boy I had a crush on was chatting amiably with me about Tintin, and I stupidly mentioned Snowy. "His name is Milou! " said my crush, frostily.

Oops!!   ::) :laugh:



BTW, don't laugh, but--I actually did  go to see War Horse over the holiday weekend, and--wonder of wonders, I didn't hate it!  Of course, it has something to do with the very earnest Mr. Jeremy Irvine, I think....   ;D



« Last Edit: January 03, 2012, 10:41:43 am by Aloysius J. Gleek »
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Offline Aloysius J. Gleek

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Tintin’s Father, Nobody’s Son
The complicated life of Hergé, in two new biographies—one written, one drawn.
By Sam Adams
Posted Thursday, Dec. 22, 2011, at 4:45 PM ET


In Steven Spielberg’s The Adventures of Tintin,  adapted from the comic books that have enthralled generations, the intrepid boy reporter joins forces with the perpetually soused skipper Captain Haddock to unravel the mystery of Haddock’s birthright. But Tintin himself has no origin. He simply exists, with no ties to past or future generations, a fate that his creator might have wished for himself. The Belgian cartoonist Georges Remi, better known as Hergé, became an international celebrity thanks to the success of Tintin’s collected adventures, which have sold more than 350 million copies worldwide. But he showed little taste for the spotlight, and still less for those who wished to poke into his past.

The Tintin books are models of economy and grace, mixing meticulous detail and stylized tableaux in perfect proportion so that the story is neither generic nor bogged down by excessive rendering. Two newly translated biographies, Benoît Peeters’ traditional Hergé: Son of Tintin  (Johns Hopkins University Press) and the comics biography The Adventures of Hergé (Drawn and Quarterly),  attempt to achieve a similar balance, and together suggest the challenges in telling the story of a man who subsumed himself in his work.

Georges Remi’s back story is as convoluted as any of Tintin’s adventures, if somewhat less romantic. His father, Alexis, was one of twin boys born to a Belgian chambermaid by a man who immediately disappeared. The boys’ upbringing was provided for by their mother’s employer, a countess; their surname came from their mother’s cousin, who signed the marriage certificate as the boys’ father despite the fact that he was only 11 when they were born. Although he dispenses with the prenatal intrigue in a few pages, Benoît Peeters, the author of Hergé: Son of Tintin,  returns again and again to the structuring absence of Hergé’s bloodline, suggesting that his pen name—the phonetic pronunciation of his initials, reversed—was a means of “closing off this false Remi.”

Peeters also makes brief, and strangely distant, mention of a far more troubling aspect of Remi’s childhood: “It seems the that young Georges was the victim of sexual abuse by his mother’s younger brother, his uncle Charles Arthur, nicknamed Tchake, who was ten years his senior.” Apart from a letter written by Remi to a friend in which he makes reference to “the images seared into my mind during my youth and adolescence,” Peeters offers only vague references to childhood trauma as proof, and certainly nothing to support the specificity of the charge. (He also lists, without elaboration, a number of “more or less confirmed pedophiles” among Remi’s close associates.) But it’s undeniable that there’s an arrested quality to the Tintin  books, which Peeters accurately calls “resolutely asexual and antifamilial.”

In reading the Tintin  books—23 completed between 1929 and 1976, plus an unfinished 24th—it’s hard not to be struck by the uniformly masculine universe in which they take place. “For me, women have nothing to do in a world like Tintin’s, which is a world of male friendship,” Remi told an interviewer. In The Secret of the Unicorn,  which forms the basis for a large chunk of Spielberg’s film, a grand total of four lines are allotted to female characters, giving new meaning to the term “boy’s own.” The only woman among the series’ cast of recurring characters is the voluptuous opera singer Bianca Castafiore, a grotesque caricature of feminine excess whose surname translates as “chaste flower.” [And the first name, Bianca, is white!  :o  JG ]

Although Remi eventually gave Tintin’s age as 17, the same as Remi’s when he left school, the character is truly ageless. He’s old enough to hold a job as a journalist, although he does little actual reporting after the first few books, but his interests—treasure, adventure, gadgetry—are uniformly those of a boy, and that went for his creator as well. For all the attention Remi paid to the design of automobiles and the details of place, exquisitely rendered in the clear-line style, his characters are two-dimensional, as simple as the flat planes of color that fill their “clear-line” outlines. It’s not hard to see the appeal of Tintin’s world to Steven Spielberg, a child of divorce forever exploring the aesthetics of adolescence.

Peeters wrestles mightily, and often tediously, with the accusations of racism and right-wing bias that have attached to Remi since the Second World War. Remi began chronicling Tintin’s exploits for the Catholic newspaper Le Vingtième Siècle,  whose editor, a priest named Norbert Wallez, dictated the setting for Tintin’s first two adventures: Tintin in the Land of the Soviets  and Tintin in the Congo.  Although the latter’s colonialist attitudes and thick-lipped caricatures were toned down when Remi and his associates reworked the early black-and-white stories for republication in color [Uhm, no, I still have the French edition of the color version, and the drawings are racially grotesque. JG ], both books are routinely omitted from otherwise complete collections. (In the Land of the Soviets  circulated primarily as samizdat until the 1980s.) The stories’ propagandistic origins are clear—in Soviets,  Tintin observes Russians being forced to vote for the Communist Party at gunpoint—but their agenda is carried out without conviction.

In a scene from The Shooting Star ’s 1941 newspaper run, omitted from the collected version, two bearded, hook-nosed merchants discuss the end of the world as an opportunity to shirk their debts, an anti-Semitic caricature in line with the politics of his wartime outlet, Le Soir,  which actively supported the Nazi occupation of Belgium. Peeters unhelpfully concludes that Remi “was no more racist than the next person”—which next person, exactly?—but the overriding impression is that of a man too naïve, even immature, to consider his own views.



The Adventures of Hergé'  by Jose-Louis Bocquet, Jean-Luc Fromental,
and Stanislas Barthelemy

 
The Adventures of Hergé,  a comic-book biography written by José-Louis Boucquet and Jean-Luc Fromental and illustrated by Stanislas Barthélémy, is episodic by design, compressing Remi’s life into a scant 62 pages. But the progression of discontiguous two-page segments aptly mirrors the style of the Tintin books, whose plots were often devised week by week, with each lower right-hand panel stranding the heroes in some predicament or other. A handful of expository passages notwithstanding, it’s hard to imagine following the book’s story without a significant familiarity with Remi’s life. A coy smile between Remi's wife, Germaine, and his editor, Wallez, is confined to a single panel, implying that she might have held her husband's employer in higher regard than Remi himself—a notion Peeters, in his more detailed account, pinpoints as an early sign of their marriage's weaknesses.

Barthélémy wisely evokes Remi’s style without attempting to copy it, but he’s close enough that it’s almost jarring when women work their way into the narrative. These are not the pillowy caricatures of the Tintin books themselves, but sexualized adult women: Hergé’s wife, his mistresses, and the objects of various unrequited affections. The Adventures of Hergé  is by no means a comprehensive portrait, but by telling Remi’s story in an approximation of his style, the book evokes an unspoken fusion between its subject and his work, implying resonances that Peeters struggles to consign to black-and-white type.

Both books attempt to craft a continuous narrative out of the life of a man who resolutely resisted analysis, by himself and by others. As the strain of producing the Tintin  strip, as well as other assorted other projects, took its toll on him, Remi suffered an array of psychosomatic symptoms, including outbreaks of eczema and boils, and was plagued by recurring nightmares of whiteness. (Evidently there was nothing more terrifying than a blank page.) Remi seems to have retained an unhealthy distance from his own life, disappearing into his work until the work itself became the problem. In many respects, it seems as if the most interesting parts of Remi, and certainly those he was most willing to share with the public, went into his art, leaving little for his chroniclers to pick over.

One can almost imagine slipping the pages of The Adventures of Hergé  between the Tintin  albums themselves, filling in blanks and bridging gaps. Somewhere between this episodic but evocative comic-book bio and Tintin’s own adventures lies the story of Georges Remi, hidden in the white expanses that separate one panel from the next.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Charles de Gaulle once declared that in terms of international fame, Tintin was his only rival. We, on the other hand, don’t even know how to say his name right.






Steven Spielberg’s new film “The Adventures of Tintin” took in roughly $12 million during the past holiday weekend. This is not tremendous box office (“Mission: Impossible — Ghost Protocol,” by contrast, exceeded $30 million), but it’s more than some skeptics had predicted for a movie about a cartoon character who, though beloved in most parts of the world, is practically unknown in the United States. Charles de Gaulle once declared that in terms of international fame, Tintin was his only rival. We, on the other hand, don’t even know how to say his name right. In the original cartoons Tintin, the creation of the Belgian artist Hergé, spoke French, and thus his name should be pronounced “Tanh-tanh,” and not, as the movie has it, to rhyme with “win win.”

Tintin is the antithesis of a superhero, which may account for why he seems so alien to Americans. He has an upswept red forelock, wears plus fours and argyle socks and lives alone with his dog, Snowy. He has no exceptional powers, no sexual identity and seemingly no inner life at all. Hergé began drawing the character in 1929 and was working on a full-length Tintin adventure (it would have been the 24th) when he died in 1983, and in all that time Tintin never aged, remaining a barely pubescent 14 or 15. He ostensibly works as a journalist, though we almost never see him write or file a story. .

The books are long by comic-book standards, with more pages and many more words to a page than usual. They’re genuine graphic novels, to use the current terminology, and require from the reader time and attention and a kind of childlike surrender. If the Spielberg version encourages a new American audience to read and appreciate these sweet, charming and visually arresting books, the way the rest of the world does, that may be its greatest accomplishment.

The new movie is based on three Tintin adventures that Hergé drew during World War II: “The Crab With the Golden Claws” (1941), “The Secret of the Unicorn” (1943) and “Red Rackham’s Treasure” (also 1943). They are a slightly misleading introduction to Hergé’s work, which typically has a more documentary quality and dispatches Tintin to solve mysteries in exotic locales.

In the beginning the Tintin adventures were intended to show the world to Belgian children, and the series never entirely lost that globe-trotting curiosity. Other books are set, for example, in Peru, India, Egypt, China, the United States (where in 1931 Tintin runs into Al Capone) and the Moon.

For all the variety in the stories, though, there is also a formulaic similarity, with the same supporting characters reliably turning up: Captain Haddock, a blustering, alcoholic sea captain; Professor Calculus, an absent-minded, hard-of-hearing scientist; Thompson and Thomson, bumbling, look-alike, bowler-hatted detectives; the beak-nosed, shrill-voiced diva Bianca Castafiore. From volume to volume they make variations on the same jokes, and that too is part of the reassuring appeal of the series.

Mr. Spielberg has said that he first heard about Tintin in 1983, when he learned that French reviewers were comparing his “Raiders of the Lost Ark” to some of Hergé’s work. Curious, he bought a couple of Tintin books in the original French and, though unable to read them, was immediately smitten.

It’s easy to understand why. Not only is there an Indiana Jones-like quality to some of Tintin’s adventures — he’s forever discovering secret passages or getting trapped in a crashing plane — but Hergé’s drawings have an inherently cinematic quality. They look like storyboards or a movie shooting script, with close-ups, telescopic shots, jump cuts and action sequences.

Hergé, who grew up watching silent comedies, clearly loved the movies, and in 1948 even offered to adapt some of his books for Disney. The studio passed, possibly because the stories were more complicated, more grown-up, than the ones it was then making, or maybe because Hergé’s style was so unlike Disney’s. Hergé was a brilliant draftsman, and his drawings, devoid of cuteness and sentimentality, are a compelling mixture of simplicity and precise detail. Tintin’s face, for example, is just a Charlie Brown-like assemblage of dots and squiggles, but cars and airplanes are so carefully rendered that they can be identified by make and model.

Hergé’s drawings are also insistently two-dimensional, with no shadows, very little shading and not many perspective tricks. They are content to lie flat on the page. To adult fans, who have included Andy Warhol and Roy Lichtenstein, the purity and creativity of the drawing is what most recommends the Tintin series. And to readers used to the original books, the most disconcerting thing about Mr. Spielberg’s film is the way it jumps off the screen.

One British literary critic, stunned by the transformation to film, said he felt he had “witnessed a rape.” The movie was shot using the motion-capture technique, which creates not only a plusher look than in most cartoon movies but also a more rounded one. It brings Tintin, who in Hergé’s conception is practically an abstraction, to a kind of realistic-seeming life in which he looks a little uncomfortable. When he speaks (in the voice of Jamie Bell), it is even more startling, if you’re used to hearing him only as words in your own head.

Hergé once said that Tintin was a projection of his inner self and his own spirit of bravery and adventure, which is true only up to a point. In many respects Hergé, whose real name was Georges Remi, was a good deal less appealing than his creation. In person he was a bland, unsociable man whose politics, in the beginning, anyway, were noxiously right-wing. His drawings for the 1931 adventure “Tintin in the Congo” were so racist that he later redrew them, and he also had to redo a later book, “The Shooting Star,” because it was anti-Semitic. It included a pair of characters named Isaac and Salomon who looked forward to the end of the world because it meant they wouldn’t have to pay their debts.

During the war, when many Belgians refused to cooperate with their Nazi occupiers, Hergé happily went to work for the pro-German paper Le Soir  (the same publication for which, as a young man, the literary critic Paul de Man wrote anti-Semitic articles).

In later years Hergé mellowed a little and, formerly a strict Roman Catholic, even took an interest in Eastern religions, which may be reflected in “Tintin in Tibet” (1960), the most beautiful and heartfelt of the books. But Tintin himself, by never growing up, by never even updating his 1930s-style wardrobe, remained a timeless blank slate on which readers could project their own feelings and imaginings. It’s this innocence and indeterminacy — his unworldliness — that probably makes Tintin feel so alien to American readers, and it’s also what most recommends him.





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With his round face, button nose and pointy orange tuft of hair, the character Tintin looks familiar, even to those who may think they haven’t seen him before. Long beloved in Europe, he is making his American big-screen debut in the 3-D animated film “The Adventures of Tintin,” which opened on Wednesday in the United States, two months after its debut overseas.
 
The character sprung from the mind and pen of the Belgian illustrator Hergé in 1928 while he was working at a daily newspaper. Tintin, a boy journalist with an enterprising spirit and a trusty dog named Snowy, became the star of a series of “Adventures of Tintin” comic books that Hergé illustrated until his death in 1983. The character seemed an ideal match for the director Steven Spielberg, who said he saw much of himself in Tintin and sought to adapt his adventures into a feature film.
 
“I became enthralled with the way Hergé told his stories,” Mr. Spielberg said in an interview. “Grand, epic, global adventures about a young reporter who goes all around the world looking for stories to tell and then gets himself deeply involved in the stories he’s telling. I always related to that because I do the same thing.”
 
The new film uses performance-capture technology made by WETA Digital, the effects company that brought the character of Gollum to life in the “Lord of the Rings” films and created photorealistic worlds in James Cameron’s “Avatar.” But Tintin’s visual journey — in images large and small — has been as varied as his journeys in the books. Here’s a look back at some of the various iterations of the character leading up to and including the latest film.


Start the Slideshow:

"Among the appealing elements of the Tintin books are how action and expressions are evoked in each drawing. While characters were designed with clear, simple lines, their actions conveyed a full range of emotion and became a fundamental part of how each book progressed...."


http://www.nytimes.com/slideshow/2011/12/25/movies/tintin-phases-slideshow-1.html
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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http://www.kk.org/thetechnium/archives/2012/01/beyond_the_unca.php



Beyond the Uncanny Valley
ByKevin Kelly
2 January 2012


I saw the Tintin movie last night, which was super. I think we have passed beyond the uncanny valley into the hyperreal.




What's the uncanny valley? As we make robots and animations more human-like, we increase our emotional attachment to them, but only up to a point. As they become nearly human, that very tiny remaining difference of inhumanness can creep us out. That's the theory of the "Uncanny Valley," which supposedly explains why audiences found the animated humans in the movie Polar Express, or the baby in the Pixar's first short movie, so repulsive. They were too human to dismiss, but not human enough to embrace. Computer artists long ago passed the test for 100% realism in artificial beings, such as the Navi in Avatar, or Golum in Lord of the Rings. Now they have passed the test for humans (at least for me) in Tintin.




In the first few minutes of the Tintin  movie, there is a momentary hesitation when you first see the face of the characters; a feeling they are just a bit shy of something. But that moment passes quickly and thereafter the humans (and animals) seem totally real. Their movements, skin texture, hair, expressions, eyes, everything says they are real -- even though they are only simulations. It helps that the environments are also 100% believable, including the elements of water, weather, atmosphere, sand, and city.

In fact, I believe that we have passed beyond the uncanny valley into the plains of hyperreality.




One of the great charms of the Tintin  movie (besides its solid story, and uplifting sensibility) is the incredible degree of detail, texture, lighting, and drama that infuses every scene. Because the whole movie is synthetic, every scene can be composed perfectly, lit perfectly, arranged perfectly, and captured perfectly. There is a painterly perfection that the original Tintin  comics had that this movie captures. This means that the stupendous detail found in say Tintin's room, or in a back alley, or on the ship's deck can be highlighted beyond what it could in reality. You SEE EVERYTHING. When Tintin's motorcycle is chasing the bad guy and begins to fall apart, nothing is obscured. Every realistic mechanical part is illuminated realistically. This technique gives a heightened sense of reality because every corner of the entire scene is heightened realistically, which cannot happen in real life, yet you only see real-looking things. This trick lends the movie a hyperreality. Its artificial world looks realer than real.




Now that we have passed throughout the uncanny valley, and audiences will accept totally synthetic actors, filmmakers will begin to explore the limits of the hyperreal. Yes, we'll have more realistic aliens and alien environments in science fiction films, but we'll also have hyperreal suburbs and hyperreal urban cities with hyper real ordinary people in the present tense. I'm expecting that for the next ten years or so, directors will create more and greater hyperreal films, until we tire of it (like we have with hyperreal high dynamic range still photography). And then we'll see shaky, gritty, unfocused, hand held camcorder type totally synthetic worlds as well. And every variety of in-between hybrid worlds.

In 20 years we will simply stop asking the question of whether this or that part was real.

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Meryl

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Quote
In 20 years we will simply stop asking the question of whether this or that part was real.

We may be there now.  Suspension of belief happens pretty automatically if the story and the art are good and don't draw undue attention to themselves.
Ich bin ein Brokie...

Offline Aloysius J. Gleek

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In 20 years we will simply stop asking the question of whether this or that part was real.



We may be there now.  Suspension of belief happens pretty automatically if the story and the art are good and don't draw undue attention to themselves.



David was staring out of the window. "Teddy, you know what I was thinking? How do you tell what are real things from what aren't real things?"
 
The bear shuffled its alternatives. "Real things are good."

. . . . . . . . . . . . . . . . . . . . . . . .

David started to draw a jumbo jet on the back of his letter. "You and I are real, Teddy, aren't we?"
 
The bear's eyes regarded the boy unflinchingly. "You and I are real, David." It specialized in comfort.

. . . . . . . . . . . . . . . . . . . . . . . .
 
"Teddy - I suppose Mummy and Daddy are real, aren't they?"

Teddy said, "You ask such silly questions, David. Nobody knows what 'real' really means. Let's go indoors."
 
"First I'm going to have another rose!" Plucking a bright pink flower, he carried it with him into the house. It could lie on the pillow as he went to sleep. Its beauty and softness reminded him of Mummy.
 


http://downlode.org/Etext/supertoys.html


"Super-Toys Last All Summer Long" by Brian Aldiss was the literary basis for the first act of the feature film A.I. Artificial Intelligence, which was an unrealized film project of Stanley Kubrick, posthumously developed and filmed by Steven Spielberg and released in 2001.

http://bettermost.net/forum/index.php/topic,49626.0.html
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline oilgun

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Many many, many  years ago, this beautiful French boy I had a crush on was chatting amiably with me about Tintin, and I stupidly mentioned Snowy. "His name is Milou! " said my crush, frostily.

Oops!!   ::) :laugh:



BTW, don't laugh, but--I actually did  go to see War Horse over the holiday weekend, and--wonder of wonders, I didn't hate it!  Of course, it has something to do with the very earnest Mr. Jeremy Irvine, I think....   ;D





Yes but I hear he NEVER takes off his shirt! Epic Fail!  ;)

Offline Aloysius J. Gleek

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Yes but I hear he NEVER takes off his shirt! Epic Fail!  ;)


Well, in War Horse,  he does  expose a single (albeit chaste) nipple!



 ;D :laugh: :laugh:
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"