Finally, for about six months, we know that plans for a Tintin staged by Sielberg will emerge. The first time we had talked about this project was in the days when Spielberg movies was still packed an enthusiasm worthy of the adventures of Tintin, and devoid of sentimentality clumsy. Although this adaptation project has not emerged 25 years ago, there is Indiana Jones became the tribute to Spielberg's Tintin, while Rio Man and the tribulations of a Chinese in China (Philippe de Broca, with Belmondo) films remain closest to the spirit insufler by Hergé's hero throughout his adventures (1).
Indiana Jones is a nobody, dressed as an archaeologist to give the density, immersed in adventures riddled with riddles and dangers he faces without scrolling. Tintin side is much more translucent, smooth and blissfully courageous. Indiana Jones himself is truly human, he has a geeky side, he is afraid of snakes, each time he runs behind the evil Nazis but never gives up. Indiana Jones is a brief Tintin rewritten to the public American cinema and it was good like that. On the other hand, the adaptations of Tintin cartoons took away much of the charm of the album, but allowed to introduce them to new generations, often taped to a display of books that even very colorful.
Technologies today will they give a new dimension to Tintin? Visual level it can trust the U.S. to be creative in keeping with the spirit of the original work, however I have more doubts in the story. Firstly I think we should ask Tintin more accurately than in books where it is vaguely described as a reporter. Again the writers do Americans know, but I hope they will even Hergé relearned their craft in terms of accuracy and rhythm. The worst thing for me would be that Spielberg directs it along the lines of Indiana Jones 3, which adds a father to his comic book heroes (2). This is not to recreate the environment of everyday heroes and unfortunately the trend in Spielberg's sentimental heaviness.
Personally, I found the album where Tintin camped in the most convincing in the sense that it is not just caught up in an adventure but precisely because a job as an investigative journalist, this is the beginning of the Country of Black Gold. Can reasonably take the canvas for the link to the plot of Crab Claws gold because it is, for the first film to meet Tintin and Haddock (Haddock is obviously because the one who brings humanity to his adventures). But how to link this meeting in the main adventure of the first part of this trilogy Secret of the Unicorn / Red Rackham's Treasure?
Basically I am quite skeptical at first because for the Secret of the Unicorn must already know Tintin Haddock, requiring traffic to chain the Crab with the Golden Claws (Ben Omar and interpreted Salaad by Gad Elmaleh) with the opposition to the wicked brothers Loiseau. Really weird. But above all I fear that this need all connected, Captain Haddock is no longer presented as an old alcoholic and just a colorful sea bass on his own property. Whatever the talent of writer, I am very skeptical.
responses certainly at the beginning with the first images.
(1) Hergé has also, for starters, was largely influenced by the cinema: in particular the pace of the silent comedies of the early albums (Harold Lloyd, for example) and some major filmmakers specific examples of pre-war including (Alfred Hitchcock, Fritz Lang), but he is the true creator of the iconic heroes of the twentieth century whose adventures are all over the world, blowing up part of the daily life of his contemporaries. In this sense James Bond is a variation of Tintin, the most prominent and enduring of course, but without the visual design, so dynamic, the hero of Ian Fleming's books were not worth much.
(2) and I do not even talk about this hideous patchwork of Indiana Jones 4 ... Spielberg Tintin almost killed her, hoping he has found a little youthful enthusiasm for Tintin. On this point I lost faith in Peter Jackson.
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