The Adventures of Tintin

It goes without saying that franchise films are getting a little wearisome. We’re sick of “Hollywood” taking things we used to love and using them as a sort of irresistible wrapping paper for a new product that’s rarely as good as we remember the original and often bares little resemblance to its namesake. I approached The Adventures of Tintin, therefore, fully prepared to find myself pandered to and eager to take offense at yet another grave cinematic insult. "Based on a French comic book from the 1930s?? And they want me to watch it in the 3rd dimension? Paramount, the Critics Corner shall be the sword with which I vanquish you."

Or so I said when I took my seat. A hundred minutes later, the credits rolled up. And while I admit I was disappointed at having been robbed of the opportunity to wield the wrath of my mighty pen, I was mostly just excited about the film I'd just seen.

Considering the formidable creative team of Steven Spielberg and Peter Jackson behind Tintin, I should have been less surprised. Not only are these two of the greatest showmen remaining in Hollywood, but they are also, arguably, the industry’s deftest and most experienced when it comes to handling a good franchise. No one can compete with Spielberg when it comes to launching a series, with a track record that includes Indiana Jones, Jurassic Park, and Back to the Future. Jackson, for his part, knows better than anyone how to take an established property and update it for today’s audience while keeping true enough to the original that longtime fans can still enjoy it.

Their collaboration on Tintin has brought out the best in both of them, and the film clearly shows the contributions of each. It’s basically a Spielberg story with a Jackson scope. An adventure story in which a studious but courageous protagonist, part nerd-part action hero, uses his smarts, his expertise, and his daring to navigate a story fraught with mystery, peril, and excitement--but decked out with the fabulous set pieces and exotic locales that Jackson so efficiently packs his films with. In this sense, the film feels very much like an Indiana Jones affair, with Jackson supplying Spielberg with the same type of globe-trotting spectacle that Lucas has contributed to Spielberg’s work in the past (for despite their similarities, Jaws and Jurassic Park do not have the same scope as Indiana Jones and the Last Crusade). Then again, Jackson’s brand of spectacle is not quite the same as Lucas’. Whereas Lucas’ tend to elevate the mythic, universal elements in the stories he touches, Jackson’s tend to contribute an almost melodramatic flair. The collaboration results in a wonderful journey, both impressively epic and undeniably a whole lot of fun. Tintin moves effortlessly from the city to the sea to the desert and back, never losing steam but varied enough in the beats it hits that it doesn't leave you exhausted at the end.

But if Tintin is a good film, it's an even better adaptation. Very few Americans are well-versed in the rich world of Tintin, a plucky, earnest, British reporter, who investigates his cases with the enthusiasm of a very young man and the insight and cunning of an experienced journalist. Those who already know and love the character, however, will find little to deplore in the new film. Though the set pieces and the action has been amped up, and the slapstick humor reigned in, much everything else has been preserved. The tone is still one of eagerness and innocence. The humor retains the unique flavor of the original: tongue in cheek, but straightforward about being tongue in cheek, not winking slyly at the adult portion of the audience while trying to leave younger viewers blissfully unaware. Most importantly, however, the new Tintin stays true to the characters to an extent that we rarely find in adaptations today. Not only does the central cast look the same, talk the same, and act the same, not only do they play the same roles in this story world as in the original, but they relate to the audience in almost exactly the same way as well--though admittedly, Snowy the dog’s role has definitely been increased. This, more than anything else, makes Spielberg and Jackson’s Tintin feel more like a rebirth than a reimagination of the same Tintin that Belgian writer/illustrator Hergé introduced to audiences almost 83 years ago.

Considering that in between those 83 years, Tintin has moved from the scale of inch-long panels to the glory of perhaps the best motion capture and 3D technology seen to date, retaining the original feel has been no small feat. But Spielberg has never been a particularly audacious director, and he gears all the technology at his disposal towards creating a modern equivalent to Hergé’s style. The bright colors, especially the blues and yellows, flawlessly mimic the comics. The motion capture brings the artist’s simple lines and contours vividly to life, allowing Spielberg to maintain the delightful essence of the original drawings instead of converting them to a more modern hip or cutesy look. Likewise, Spielberg’s take on 3D refuses to draw attention to itself, and instead functions primarily to add depth and reality to the image, almost never stooping to the level of jumping out at audience. The result is a beautiful homage to Hergé, and easily one of the most gorgeous films I’ve seen this year. The sumptuous animation alone is worth the price of admission, and Tintin ranks as one of the best 3D experiences I’ve ever had, one that immersed me in the world rather than distracting me from it, even made me more comfortable in my seat than less.

How well Tintin performs in the U.S. remains to be seen. The film has had impressive box office success in Europe, but the original comics are better known and better loved there. Here, unfortunately, my generation seems to know the coiffed crusader as nothing more than a round face and a weird haircut that they saw one time in a comic book they barely remember being given by their aunt when they were seven. But even if nostalgia for the comics doesn't draw audiences in, I have a feeling that Spielberg and Jackson’s humble deference to the feel and spirit of the comics may still pay off. Tintin isn’t just another remake, reboot, sequel, or adaptation. By staying true to its source material, Tintin manages to feel like one of the most original films of the season, with a distinct flavor all its own. Viewers who go to see the film will be able to taste the difference--that is, if the blander fare Hollywood’s been serving up hasn’t completely dulled our taste buds.

                                             Gus Spelman