Every Tintin Adaptation–And How Spielberg Stacks Up

Tintin

Steven Spielberg’s new Adventures of Tintin is the most technically ambitious film version of Tintin to date, but it is hardly the first time Hergé’s boy reporter has been brought to life. To help place Spielberg’s efforts into context, we turned to someone far more qualified than us, French writer and artist David Calvo. In this exclusive piece for Cartoon Brew, he takes a look at the highs and lows of prior Tintin screen adaptations and helps us understand where Spielberg’s performance capture film fits into the picture. When he’s not being a Tintinologist, Calvo is a creative consultant and writer at Ankama, where he has played a key role in developing the popular MMORPG Wakfu. He has also written numerous novels, comic books and short stories, and draws the on-line comic Song of Beulah.

The History of Tintin Adaptations: From Misonne to Spielberg
by David Calvo

It’s been a long time coming. We can read everywhere how Steven Spielberg and Hergé missed their rendez-vous, at the dawn of the 1980s, a few weeks before the Belgian comic master passed away. We’re now resigned to the American side having the upper hand. Today, we can feel Spielberg and Peter Jackson oozing in every frame of the new Tintin, childhood memories and artist’s pride perspiring behind the dual banter of the Thomson and Thomson. The star filmmaking duo have managed to bring this hot, harshly defended property to a new media. Without delving into the technical aspects of this production, adapting Hergé’s master comic book is already a daunting task. It has been done before–sometimes for the best, mostly, for the worst.


“The Crab with the Golden Claws”

The crowning jewel of all Tintin adaptations is the “The Crab with the Golden Claws” handkerchief puppet extravaganza by Hergé’s friend Claude Misonne and her husband João B. Michiels. Splendid and boring, so abstracted, this stop motion tour de force managed to be a scrupulous, if non-inventive, duplication of the comic, filled with wonderful voice performances, horrendous stock shots, and plagued by severe budget problems. The movie was shown only once in theaters, in December, 1947, in front of two thousand kids. The film was seized next morning by the justice, because the adaptation fees wee never paid. The movie has now achieved cult status as the first Belgian animated feature, a visionary precursor in stop motion history.


“Tintin et le Mystère de la Toison d’or”

Often cited as the worst thing you can do to Hergé, the two live-action movies of the Sixties, “Tintin et le Mystère de la Toison d’or” (“Tintin and the Golden Fleece”, Jean-Jacques Vierne, 1961) et “Tintin et les Oranges bleues” (“Tintin and the Blue Oranges”, Philippe Condroyer, 1964), deserve to have their reputations rehabilitated today. If “la Toison d’Or” fares better than the “Oranges Bleues,” it’s because of the exoticism, the touristic adventures, and the multiple references to the Tintin canon. Despite their cruel lack of any cinematic values and terrible scripts (both are original stories by André Barret), these playful, lush productions were able to pull the major feat of having perfect main characters: a Tintin superbly played twice by Jean Pierre Talbot, and two Haddock incarnations, Georges Wilson and Jean Bouise–both major French actors bringing uncanny depth to this difficult character.


Belvision’s Tintin series

The Sixties were the apotheosis of the Franco-Belgian comic-book school, and Belgian studios Belvision, founded by Le journal de Tintin editor Raymond Leblanc, had a winning streak of flair. First they adapted Tintin as a cartoon TV show. Produced by Ray Goossens, the seven serials were aired between 1959 and 1964 as five-minute shorts, for a total of 50 episodes (only “The Calculus Affair” was bundled as a feature film). Despite having brought the best animators in Europe to Brussels, the old-fashioned animation and funny characterization perks struggled to overcome the horrid scripts and schematic action. To fit the format, the albums were condensed and chopped, often badly, but the overall thrust of non-stop action and cliffhangers, typical of any serialized mystery, worked perfectly on TV. Curiously, Belvision also produced a stunning fifteen-minute industrial film, “Tintin et la SGM” (1970), to promote a Belgian mining company. (Watch a clip from the industrial film.)


The animated feature “Tintin and the Temple of the Sun”

Next, Belvision seized the big screen with two animated features, which are still a Christmas fixture in France. “Le Temple du Soleil” (“Tintin and the Temple of the Sun,” 1969) was a deeply faithful adaptation of the source material (with thoughtful alteration by comic book artist and journal de Tintin editor Greg). A more technically challenging endeavor, enhanced by a splendid soundtrack featuring a song written by Jacques Brel, the musical alter ego of Hergé. Even if the movie only focused on the second part of the two-album story arc (which will be “adapted” next by Peter Jackson), it retains a large part of the adventurous setting and rhythm. The next feature, “Tintin et le lac aux requins” (Tintin and the Lake of Sharks, 1972) is a funny, original Tintin story pitched by Greg, featured an awesome visit to Syldavia and touching characters, though lacking animation brio and depth.


Opening titles for The Adventures of Tintin

In 1992, The Adventures of Tintin, a new animated TV series aired on FR3, co-produced by France Ellipse studios and Canadian outfit Nelvana (directed by Stephen Bernasconi, assisted by Tintinologist Philippe Goddin). It had a huge success in primetime. The sheer scope forces the admiration: all Hergé’s albums are converted, except for the most controversial (“Tintin in the Congo” and “Tintin in the Land of the Soviets,” while “Tintin in America” was heavily tweaked to erase the Native American problems). Eighteen 45-minutes episodes, and three 24-minute ones, achingly faithful and masterfully executed, were produced. Maybe too faithful. Clean and respectful, lacking any hint of craziness, this adaptation got rid of most of Tintin’s quirky element–guns, politics, alcohol–to provide neutered family entertainment devoid of any risk. One of the key aspects of Hergé’s work was his perfect balance between reality and fantasy. The episodes have been syndicated many times since, cut up and chopped in every possible combination to re-create a serialized experience.

At the dawn of the 21st century, Tintin is back for the masses. Belches and zoophilic jokes aside, it is a clever twist thrusting a quaint, old-school narrative into the future. The movie texture is stunning, everything reflects the overwhelming obsession of Spielberg, including reflection itself, and the fabric gives a sense of depth and place achingly relevant in achieving that “ligne claire” dryness to every overexposed shape. The details are inspiring: the tiny, drunkards eyes of Haddock, his cartoon nose, Tintin’s hands (beautiful), the Thomson’s moustaches and greasy skin. The somewhat jumble of the script, blending two majors storyline with details from all over the oeuvre, manages to remain faithful and utterly sacrilegious at the same time. The whole movie lacks the whimsical, restrained tempo of Hergé, that, despite their short-comings, the previous adaptations managed to pull out.

Tintin

This over-emphasis on heavy action set pieces, with barely a pause for the characters to breathe, is deeply troubling. Are world mass audiences hungry for more action, more technical bravado, trampling the subtle inheritance of of the most idiosyncratic saga of our time? The shiny, invisible center of Hergé’s mind is still missing from all these adaptations. The endearing success of Tintin is not one of motion, nor emotion. It is tied to the page, to the frame. Subject and Form linked in a perfect, beautiful harmony that cannot translate, giving birth to a singular expression of a universal time frame, frozen forever in a quaint space between conservatism and rebellion. We will have to wait again–this time for Peter Jackson bravado–to see if the Hollywoodization of Tintin’s quirky sensibility can exist in another space.


  • Bob

    I don’t understand your hate for the new movie. You don’t like it — fine. But this harping on your detestation smacks of silliness….

    I saw it a couple of weeks ago when overseas and thought it was magnificent — like an animated Indiana Jones. It was everything I wanted, and more. Some of us are going to like it — get over it.

    • http://elblogderg.blogspot.com Roberto

      I think this website has been a little harsh on the movie in previous posts but this entry is actually pretty fair about it, analyzing the good and bad aspects of each adaptation. I enjoyed the movie but I agree with these observations.

      • Grumpy Animator

        Yeah its fair because someone else did it.

    • http://www.hanielmasri.com Hani El-Masri

      You obviously didn’t grow up with the comic-book version…

  • swac

    I enjoyed the film overall, but found some moments less effective. There was some suprisingly stiff and jerky animation while Tintin was on a motorbike, and Snowy was never convincing, but I loved looking for hidden details and in-jokes in the fringes of the frame.

    I would have preferred more character moments over pell mell action sequences. The battle with the dockside cranes felt like one action scene too many; utterly unnecessary (and requiring one to accept that both characters would instantly know how to operate these complicated pieces of machinery with the finesse of Glenn Gould at a grand piano). Too bad we lost the introduction of Calculus and his shark submarine, a key element in the book Red Rackham’s Treasure, but I guess the good professor will rear his head in the next one.

    • Chris Sobieniak

      Yeah, it would’ve been sweet to see Calculus in this film since he does get introduced just as much as Haddock got introduced in Crab with the Golden Claws.

  • swac

    Also, I wish the old Belvision cartoons were still available, but their existence seemed to get snuffed out with the arrival of the Nelvana series. The only place I could find them for sale commercially was in Australia (where I also found the live-action Tintin features from the ’60s on DVD), where a triple disc set of The Calculus Affair, Temple of the Sun and Lake of Sharks is available for around $55.

    If anyone has a source for them beyond the handful posted on YouTube, I’d love to know about it!

  • anonymous

    Well said brewmasters, I am long time fan of hergé’s Tintin and I couldn’t of said it better myself.

  • Lib

    Like another reader said in the talkback post, Hergé felt that Spielberg was the right person to adapt Tintin after watching Raiders of the Lost Ark, so I wouldn’t be surprised if the emphasis on exciting set-pieces was exactly what he was hoping for. The Secret of the Unicorn is a better Indiana Jones film than Kingdom of the Crystal Skull, as a matter of fact.

    But even if we ignore this and assume that all the action is merely what Spielberg and Jackson wanted, I still don’t see what the heck is wrong with it. Tintin escaped from a tank on a sidecar motorbike years before Harrison Ford, he survived the approach of a doomsday asteroid before Bruce Willis, and fought in the South American jungle before Arnold Schwarzenegger.

    I’d still understand the criticism if the action sequences were poorly executed, but they are the complete opposite of that. Spielberg is possibly the most skilled filmmaker alive when it comes to handling action scenes. During the bike chase, clearly the most frantic sequence in the whole movie, you never lose track of any character and experience the entire chase as if you were right there, going downhill with them. That, along with the pirate ship flashbacks, is a marvelous example of cinematic brilliance and craftsmanship, a loud slap in the face to countless sequences from modern action movies that are extraordinarily clunky, confusing and plainly chaotic in their execution. Lowering Tintin to that same level, concluding that the skillful planning of its visual flow is nothing but a technical show-off, is nuts.

  • http://www.atomicbearpress.com Brian

    I just went to the official Tintin website and they have a full movie in the video section to watch and in English too, Tintin and the Lake of the Sharks

  • http://www.MouseTracksOnline.com/blog Greg Ehrbar

    EVERY adaptation? In the early ’90s, BBC Radio produced two six-part audio dramatizations, all featuring Andrew Sachs (“Manuel” on Fawlty Towers) as Snowy and either Leo McKern or Lionel Jeffries as Captain Haddock.

    You can still catch a few of the episodes here:
    http://www.bbc.co.uk/programmes/b00ps19q

    • http://www.songofbeulah.org David Calvo

      hey there :) i was only referring to screen adaptations :) sorry for the misunderstanding !

      • http://mousetracksonline.com/blog.php Greg Ehrbar

        Sorry to be so nit-picky! But it was a nice chance to mention the radio show anyway.

  • Chris Sobieniak

    Tintin & the gang also found their way into pimping products through advertising as well, like sunflower oil to cheese to dog food and automobiles!
    http://animehel.blogspot.com/2011/12/marketing-adventures-of-tintin.html

  • DonaldC

    …well I liked it.

  • Philippe

    Just a few additionnal informations:

    There is a documentary i co-directed with Dino and Sirio Sechi on the history of Belvision “La Mine d’or au fond du couloir” but i’m afraid it’s out of the circuit because the rights to dvd are too complicated (the films integrates images from Willy Vandersteen, Hergé, Raymond Macherot, Larry Harmon, Uderzo&Goscinny, Lucky-Luke etc.). I am afraid the story of this studio is too often carelessly narrated:

    Belvision made black and white cut-out animation of Tintin for Television in the end of the 50′s (le Sceptre d’Ottokar, L’Oreille Cassée). The hungarian Yvan Szucs directed them. The first animated & colored Tintin for television were made in Hollywood by the Larry Harmon studio (“Objective Moon” 1959) by experienced animators (director Paul Fennel) and with backgrounds by the young Lou Scheimer of Filmation fame! It was antwerp’s animator Ray Goossens that directed the other episodes in Belgium with the help of gag man Charles Shows and Greg, there was no other outside help, all members of the Belvision studio were belgians. Hergé recognized the quality of Harmon’s film. It’s business issues that landed the production back in Belvision in Brussels.

    Talking of Tintin on film is talking about by-products. It’s interesting economically and socially, rarely artistically…Hergé’s work being the real deal.

    • Chris Sobieniak

      Interesting to learn on the production of the Tintin series Philippe. Having watched a bit of “Objective Moon”, I sorta had some thought the production felt very American in the timing and pacing myself (let alone hearing Larry Harmon voicing Tintin and Prof. Calculus himself).

      I personally am intrigued greatly on the history of Belvision myself and wished that I’ve had a chance to see that documentary you worked on.

      • Philippe

        The first objective of Belvision was to fill in dead spaces on early national television…

        The problem with the studio was that it was taken as a technical machine to turn, very rapidly, comics from paper to film. I think these films should be regarded as by-products just like the socks, t-shirts and the happy meal boxes. They served as propaganda to sell more comics.

        Belvision made cut out adaptations of Macherot’s “Chrolophylle” and those had great charm, but certainly don’t match the quality of Raymond Macherot’s work. Ray Goossens did a Flinstones try-out that is very funny. All this material is mostly still in the hands of Belvision which remains a company structure, but who knows if this will pop back up again for the general public? Commercial companies are mostly uninterested in their past, it’s desastrous because most of the afterwar popular culture is made by big companies! Maybe copyrights and trademarks should come with legal obligations of safe guard?

      • Chris Sobieniak

        Certainly that Flintstones episode sounds pretty enticing!

    • http://www.songofbeulah.org David Calvo

      thank you for all this philipe. i ve been looking for this documentary forever…. i could only found snippets of it online, and no source at all… belvision is still a riddle wrappred inside a mystery, and a deep research source is badly needed…. *hint* ;)

    • http://mousetracksonline.com/blog.php Greg Ehrbar

      I can’t help asking — where does “Pinocchio in Outer Space” fit in here? It was produced at Belvision by Fred Ladd, who co-wrote the screenplay for Filmation’s “Journey Back to Oz” around the same time, so that must be where Ladd and Scheimer connected. It also had songs by Arthur Korb, who produced all those Peter Pan “Power” Records of the 1970′s.

      • Philippe

        “Pinocchio in Outer Space” was proposed to Belvision at the end of the 50′s by Norman Prescott and Fred Ladd. It’s part of a general scheme of usa’s outsourcing it’s animation for cheaper wages (the next stop being Prague, Tokyo, Taiwan, mainland china then North Korea and India (next stop africa?)). Ray Goossens invested himself in the picture, broading it’s original goal (a first storyboard made in NY for this picture seemed registred on tv-fieldguides and designed for limited animation). It finally took years to finish and came out in 1965. I wander if the film has anything to do with japan’s proposal of “Gulliver in space” at about the same time!

  • http://voodoochild9.blogspot.com Amanda H.

    I can’t speak for the movie because I haven’t seen it yet but the only other Tintin adaptation I’m familiar with was the Nelvana animated series because they used to show it on HBO Family.

  • http://pitchbibles.blogspot.com Steve Schnier

    I’m waiting for – in a few weeks time when the Christmas Box-Office numbers are in and EVERYONE on CartoonBrew suddenly LOVES Tintin.

    All the hatred and doubting will be mysteriously forgotten. It happened last time with Tangled, but nobody remembers that in the wake of the film’s Box Office success.

    Just sayin’…

    • Amy

      It opened # 5 at the North American box office. On over 3000 screens. Looks like North Americans hate crap.

      • http://pitchbibles.blogspot.com Steve Schnier

        So by your reasoning, “GLEE” is high art. Maybe in your finer trailer-parks…

  • http://animationinventory.blogspot.com/ teodor

    I hope that Americans will never see franquin’s spirou

    • Chris Sobieniak

      We did get a Disney-fied version of Marsupilami!

      • http://animationinventory.blogspot.com/ teodor

        Ouch.I forgot that.
        Stay away from Gaston

  • http://Elioliart.com Some Girl

    Nice to see a fair side to this, and it is very interesting. As for opening up as #5 in the box office…I mean, The weekend isn’t even over yet. AND it still hasn’t opened in Australia yet until the 26. I assume most tallies are determined by weekend box-office and not a day and a half box office. Give it some time. I hope the movie does generally well here.

    As for the “Americans hate crap”comment, which I don’t know exactly what that means in “crap”‘ figuring that is what America usually watches generally, is a bit unfair to say, figuring that I am an American and enjoyed a great piece of cinematic magic.

    For the action scenes, I was on the edge of my seat.So..
    some of you may be disappointed, but there’re high hopes for a sequel. I can’t wait.

  • James E. Parten

    I have always maintained that “Adventures of Tintin” will be a flop Stateside. If it started out at #5 on its first day, that prediction may prove accurate.

    I based this belief not on any particular animus against “motion capture” (which is naught but high-tech rotoscoping, as I see it!), although that seems to mark much of the criticism of the film on this here ‘blog. I went by the history of the franchise–such as it is–here in the States.

    The Tele-Hachette/Belvision series played in Los Angeles, but not to any particular success. It was dropped into an early-morning “Babysitter” package that included, besides Tintin, “Spunky and Tadpole”, “Q. T. Hush”, the Guild Films/7 Arts package of black-and-white “Looney Tunes”, some UPA leftovers from “The Boing Boing Show”, and, latterly, “The Mighty Mister Titan” and “The King And Odie Show”.

    These episides were run in particular order, but I don’t remember ever seeing one story from beginning to end, nor do I remember how many episodes made up a story. This I found frustrating at the age of ten, and I figured that these were just time-fillers and nothing more. I did not yet have a taste for “boy’s own” adventures.

    At least one of the feature films was part of a package that another Los Angeles station had in the ‘Seventies. I don’t remember it being very good, but the station probably got it cheap, perhaps in the same package that featured the U. K. production of “The Adventures of Jane” (1948) and a run of the Tod Slaughter melodramas of the 1930′s and 1940′s.

    I never saw the Nelvana series, as people of modest means did not then–and do not now–subscribe to Home Box Office. They are out on DVD today, but they don’t particularly attract me.

    Even the books have shown up at various times in the book stores. They don’t seem to be moving off the shelves–they just sit there, gathering dust!

    So, you see that, judging by past history, I cannot figure why Stephen Spielberg is throwing good money after bad in producing and promoting this project. If “Tintin” is a flop–and it’s looking like that’s the case!–then I wonder to whom I can say “I told you so!”

    • Chris Sobieniak

      Well the Nelvana series got aired on Nickelodeon sometime after it was on HBO as I watched it a lot back then.

      And hell, I’d watch that early morning babysitter stuff if it was possible!

      • James E. Parten

        I watched “that early morning babysitter” stuff back then m’self. It was all that was on, other than talk/news shows and test patterns.

        It shows you how the market has changed in fifty years that there is no such programmng on local television today. It’s all jabber-jabber, blab-blab-blab, with plenty of commercials. And local stations in those markets that have them (in addition to network affiliates) no longer run any kid programming in early-morning or middle-to-late afternoon time slots. It’s all infomercials in the morning, and pseudo-judicial shows in the afternoon!

        Heck, I’d even sit though those one-reel “Out Gang” shorts that were also a part of the package that had “Tintin”.

  • http://www.sweetposer.tk/urbmn/ Cameron A.

    I have a small problem with the “had a huge success in primetime” comment re: David Calvo’s article. In English Canada, the Nelvana/Ellipsanime Adventures of Tintin had a respectable run on The Family Channel. Global Television Network used it as Canadian filler content, like it did many Canadian/European co-productions (e.g., C.L.Y.D.E., Ovide and the Gang, The Smoggies, The Little Flying Bears, Sharky & George, Albert the Fifth Musketeer and The Legend of White Fang.) I’m not sure how the series performed in French Canada.

    I personally like the Nelvana/Ellipsanime Tintin, bowdlerized though it is. Its style and pacing stand out from the majority of 1980s/1990s European/Canadian co-productions.

    I also like how the theme music for the Belvision Tintin TV series is similar to Captain Fathom‘s. If that’s a stock music cue, where does it come from?

    • http://www.songofbeulah.org David Calvo

      hey Cameron :) i was only refering to the french airing, which was quite succesful – just quoting from memory… a french like me is culturally way too self centered, they assume everybody will get his biaised subtexts :) sorry about this…

      • James E. Parten

        Maybe I’m wrong in my observation, but it appears to me that, up in Canada, English is English and French is French, and ne’er the twain shall meet!

        And that’s too bad!

      • http://www.songofbeulah.org David Calvo

        i’m not sure if it s true, but it seems right. the french box office, and tv programs viewers (audimat), are not combined with french speaking canada numbers.

    • JMatte

      From memory, the tv serie did okay on french Canadian television. By okay I mean fond memories, but I bet I’d get my friends more excited about “Mysterious Cities Of Gold” than the old Nelvana’s Tintin series. As I said, it did okay.

      • Chris Sobieniak

        Seems like you can definitely get people in on MCOG if you said was “anime.” :-P

  • http://pitchbibles.blogspot.com Steve Schnier

    According to Boxofficemojo.com, as of yesterday (Dec 23rd) Tintin took in $11,532,000 Domestically + Foreign box office of $239,100,000 for a worldwide total (to date) of $250,632,000.

    Factoring in the production + marketing costs, the film looks to be fairly healthy. Interesting that people consider a film that earns a Quarter-BILLION-Dollars to be a flop.

    • James E. Parten

      Yes, but Americans DO appear to be staying away in droves.

      The film did almost half the business in Quebec (population of four or five million) that it did in the entire United States of America (three hundred million plus)!

      Spielberg and his friends are hoping that word-of-mouth will save it. It may be too early to make with the “told-you-so” palaver. But we shall see. . .

  • Paul

    The Original Herge comic books are the great source material. There never was a film or tv adaptation that come close to matching the storytelling intringe and adventure of the books. The animated Tintin in general is poorly drawn, flat, achingly slow paced and just plain boring reminder that one should have stayed home and reread the comics instead of shelling $ to see it in the theater. I felt cheated when i was a kid but did not know why. Now as a veteran animator these early adaptations are just a cruel joke perpetrated on the unsuspecting Tintin fans hoping to see a new adventure.
    Herge was very meticulous and painstakingly created his books and they were as eagerly awaited as new Disney animated film.
    The Spielberg Tintin bucks this trend and deliver characters that are true to the books and finally come to life. Yes they have changed the story details a bit. But this enhances and makes it more cinematic. It also allows Tintin and Haddock to have some get to know each other moments which is important as the first film of the series and caters to folks that might not know the books. That is an choice that is well worth taking. I must say the set pieces were extremely well done , expertly edited and assembled and had me on the edge on my seat. The film is epic and the facial animation some of the best work i have ever seen . Daniel Craig’s (rackam) character was particularly well executed.
    The ticket shot which last probably a good 5 minutes is a veritable tour de force. Cant wait to see it again on Blu Ray.

  • Ann Nonomous

    A couple of years back, Moffat and I spoke about “his” Tintin. He said he handed in a tight 3 act script. The heads would pass it along from writer to writer, screw it up, hand it back to him and say “For some reason it doesn’t work, will you fix it?” so he’d go back to his 3 act again.

    This went on for a year and he got fed up and was tied up with DR WHO anyway, and left the project. Steven is such a damn good writer, I can bet his original script had everything that’s missing from the “on screen” version…

  • http://okgrillo.blogspot.com Oscar Grillo

    I love the Tintin live action films, innocent and charming, as tintin shoud be. Jean-Pierre Talbot was wonderful as the hero. I
    n the UK you can buy the DVDs.

  • whoiseyevan

    For every existing adaptation of Sherlock Holmes, Tarzan or Batman there is a different “tempo” and “emphasis.” One cannot be completely true to the source material by simply relaying the written word on to the big screen. That is not what captures the imagination or allows these characters to endure. Nolan’s Batman is completely different from the simplicity of the original Bob Kane Batman, and yet we accept it… the same way we accept the Adam West Batman. However, to persecute either adaptation on the grounds of comparison to source material is ludicrous. What matters is that the character, their motivations, and their personalities are intact.

    On youtube, I actually created a series called “Premakes.” In it, I attempt study the evolution of character, genre and narrative in cinema. What I’ve learned through the exercise is that every decade produces it’s own interpretation of source material literature. There will always be a change in the aesthetics of cinema. What does and should be the only thing that endures are the archetypes of character and story. Tintin as a comic book will always exist as an original, historical but innovative piece of literature. For it to become approachable to newer and younger audiences, it will constantly be in need of a fresh treatment. Lest if follows the path of forgotten mythology.

  • M. Seegz

    Every Tintin Adaptation…

    …Played Simultaneously.

    *eardrums burst*

  • http://www.animationsfilme.ch Satoshi

    As producer Kathleen Kennedy said to The Playlist, they no longer adapt “Temple of the Sun” as the second movie, this comic was just an early discussion (maybe als third movie?). It seems they are going for “L’affaire Tournesol” (The Calculus Affair) now, as said on http://www.animationsfilme.ch/2011/12/16/tim-und-struppi-sequel-basiert-nicht-auf-der-sonnentempel/

    • Chris Sobieniak

      I was hoping they might go with the Moon stories myself, but this isn’t a bad option too!

  • Russell H

    Many thanks for this informative post. I was especially interested in the Belvision animated series from the 1960s, since I remember it playing on local New York TV at that time at least once. I remember watching “The Crab with the Golden Claws” early one Saturday morning and being utterly enthralled (this was my first exposure to Tintin) and baffled–it was unlike any other kids’ cartoons I’d seen at that time.

    It must have been an experiment, because I tuned in the following weeks at the same time but could never find any more episodes.

    Does anyone know who did the English-language dub for the US market? I clearly remember the voice-actors sounding “American,” so it probably wasn’t a British import.

    • Chris Sobieniak

      It was Dal McKennon and Paul Frees for most of those (Larry Harmon did voices in the first adventure “Objective Moon” such as Tintin and Calculus).

  • http://none JackieTheLion

    Well, the black-and-white picture on the right seems creepy, Is that the Belvision version? I’m creeped but curious.

    • Chris Sobieniak

      No that wasn’t Belvision, but someone else who did that film in stop-motion.

    • Philippe

      The picture on the right is Claude Missone’s version. Started during the occupation and screened after the war. The film has the merit of reconnecting with the puppet aspect of the character (and Pinchon’s Becassine). Hergé wanted Tintin to stop after his death like some puppeters, very connected to their tool, that decide to be buried with their puppets…Spielberg and Jackson are tombraiders!

  • Elci

    Those live action movies look interesting. But then, I never read the original Tintin, I think.

    In Brasil we mostly only know Tintin from the 90′s Adventures of Tintin, it was part of a lot of people’s childhood, along with “Doug” and other cartoons… it was well drawn, had great music, funny parts and the colors were so nice. Also we had a great dub and this opening: http://www.youtube.com/watch?v=34gJtgND6fQ

    Personally I haven’t seen the Spielberg version and I’m not sure if I really want to, or really don’t. I know I’ll compare it to the 90′s cartoon if I see it. We had the French names here, by the way.