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Let it be said that I never expected to see that dame of dames, the Milanese Nightingale Bianca Castafiore bleating her shrill soprano Jewel Song on a mammoth IMAX screen. It all opens with a charming animated title sequence that lovingly reproduces some of Tintin’s greatest moments in print. It’s bright and joyous and everything you could want from a wide-eyed adventure film. Tintin and Snowy share the kind of dynamic Charlie Brown has longed to cultivate with his own dog. Restricted to live action, Spielberg simply couldn’t have imbued the film with the cartoon logic and suspension of disbelief required for many sequences and jokes to work as they do. Tob Jones offers another standout performance as a meek and troubled pick-pocket called Silk.
I don’t have too much much experience with the Tintin comic, but I loved loved LOVED the cartoon series that they used to show here on Nick. I had plans to see this tonight with the one friend of mine who has ever heard of Tintin, but the the theater we wanted to go to was ONLY showing it in 3D, which I hate. I really, really, really want to see this movie, but with a newborn in the household, going to the movies is not really on the plate. Myown experience of Tintin goes back to around the age of 6 or 7 as it was the only real graphic type book you could get from the library (along with Asterix), so I entered the movie with some trepidation particularly as I’d have to agree this style of moviemaking has never worked. Georges Prosper Remi (22 May 1907 - 3 March 1983), better known by the pen name Herge, was a Belgian comics writer and artist. Georges Prosper Remi was born in 1907 in Etterbeek, in Brussels, Belgium to middle class parents, Alexis Remi and his wife Elisabeth Dufour.[1] His four years of primary schooling coincided with World War I (1914–1918), during which Brussels was occupied by the German Empire.
In 1920 he began studying in the college Saint-Boniface, a secondary school where the teachers were Catholic priests.[3] Georges joined the Boy Scouts troop of the school, where he was given the totemic name "Renard curieux" (Curious fox). Tintin in the Land of the Soviets, by "Herge," appeared in the pages of Le Petit Vingtieme on 10 January 1929, and ran until 8 May 1930. In January 1930 Herge introduced Quick & Flupke (Quick et Flupke), a new comic strip about two street urchins from Brussels, in the pages of Le Petit Vingtieme. The early Tintin adventures each took about a year to complete, upon which they were released in book form by Le Petit Vingtieme and, from 1934, by the -05-0023Casterman publishing house. At the end of his studies in Brussels, Chang returned home to China, and Herge lost contact with him during the invasion of China by Japan and the subsequent Chinese Civil War.
In these stories Herge placed more emphasis on characters than plot, and indeed Tintin's most memorable companions, Captain Haddock and Cuthbert Calculus (in French Professeur Tryphon Tournesol), were introduced at this time. In a scene which appeared when the story was being serialised in Le Soir two Jews, depicted in classic anti-Semitic caricature, are shown watching Philippulus harassing Tintin.
During and after the German occupation Herge was accused of being a collaborator because of the Nazi control of the paper, and he was briefly taken in for interrogation after the war.[21] He claimed that he was simply doing a job under the occupation, like a plumber or carpenter.
After the war Herge admitted that: "I recognize that I myself believed that the future of the West could depend on the New Order. Tintin had always been credited as simply "by Herge", without mention of Edgar Pierre Jacobs and Herge's other assistants. A cartoon of an overworking Herge suffering from the pressure of his characters published in a 1947 Tintin Magazine. In order to lighten Herge's workload Herge Studios was set up on 6 April 1950.[34] The studio employed several assistants to aid Herge in the production of The Adventures of Tintin. Published in Tintin magazine from September 1958 to November 1959, Tintin in Tibet sent Tintin to the Himalayas in search of Chang Chong-Chen, the Chinese boy he had befriended in The Blue Lotus. The last three complete Tintin adventures were produced at a much-reduced pace: The Castafiore Emerald in 1961, Flight 714 in 1966, and Tintin and the Picaros in 1975.
In a remarkable instance of life mirroring art, Herge managed to resume contact with his old friend Chang Chong-jen, years after Tintin rescued the fictional Chang Chong-Chen in the closing pages of Tintin in Tibet. Herge died on 3 March 1983, aged 75.[46] He had been severely sick for several years, but the nature of his disease was unclear, possibly leukemia or a form of porphyria. An animated cartoon version of Herge makes a number of cameo appearances in The Adventures of Tintin animated series (see List of Hergé cameo appearances). Herge gave all rights to the creation of dolls and merchandise after his death to Michel Aroutcheff. In 1989 an Anarchist graphic novel entitled -05-0122The Adventures of Tintin: Breaking Free was published in England under the pseudonym "Jack Daniels". This was just one of many cases of unofficial books being released, though often, as in the case of Tintin in Thailand, Herge's estate were able to take legal action.
2007: Selected as the main motif for a high-value commemorative coin, the Euro gold and silver commemorative 100th anniversary of Herge's birth commemorative coin minted in 2007, with a face value of 20 euro. Of all the things to inspire true fanboy awe, this is surely one of the strangest and most unexpected spectacles to unhinge a human jaw.
We follow silhouettes of the young adventurer and his faithful dog Snowy through chases and even a brawl or two.

Technically he’s addressing his dog, but even that explanation wares a little thin after a while. It’s that whole uncanny valley thing that makes Asian pleasure robots so horrendously chilling.
Abrams’ Super 8, The Secret of the Unicorn is a sprawling and wondrous film, rife with madcap action and downright silly pratfalls. One of my favourite movies this year; although, the three times in 2D were far superior to the one in 3D. But if it’s anything like my IMAX screening, you can ditch the glasses if you find yourself uncomfortable with it. Georges, who displayed an early affinity for drawing, filled the margins of his earliest schoolbooks with doodles of the German invaders.[2] Except for a few drawing lessons which he later took at l'ecole Saint-Luc he never had any formal training in the visual arts.
He began illustrating The Adventures of Flup, Nenesse, Poussette, and Cochonnet, a strip written by a member of the newspaper's sports staff, but soon became dissatisfied with this series. The strip chronicled the adventures of a young reporter named Tintin and his pet fox terrier Snowy (Milou) as they journeyed through the Soviet Union. For many years, Herge continued to produce this less well-known series in parallel with his Tintin stories.
Herge continued to revise these stories in subsequent editions, including a later conversion to color.
At the close of the previous story, Cigars of the Pharaoh, he had mentioned that Tintin's next adventure would bring him to China. Firstly, paper shortages forced Tintin to be published in a daily three- or four-frame strip, rather than the two full pages every week which had been the practice on Le Petit Vingtieme.[18] In order to create tension at the end of each strip rather than the end of each page, Herge had to introduce more frequent gags and faster-paced action. The story line involved a race between two ship crews trying to reach a meteorite which had landed in the Arctic.
One actually looks forward to the end of the world, arguing that it would mean that he would not be obliged to settle with his creditors (see the image on the Ideology of Tintin page).
The publisher and wartime resistance fighter Raymond Leblanc provided the financial support and anti-Nazi credentials to launch the comics magazine titled Tintin with Herge. As Jacobs' contribution to the production of the strip increased, he asked for a joint credit in 1944, which Herge refused. Foremost among these was artist Bob de Moor, who collaborated with Herge on the remaining Tintin adventures, filling in details and backgrounds such as the spectacular lunar landscapes in Explorers on the Moon.[35] With the aid of the studio, Herge managed to produce The Calculus Affair from 1954 until 1956, followed by The Red Sea Sharks in 1956--05-00701957.
The adventure allowed Herge to confront his nightmares by filling the book with austere alpine landscapes, giving the adventure a powerfully spacious setting.
Chang had been reduced to a street sweeper by the Cultural Revolution, before becoming the head of the Fine Arts Academy in Shanghai, China during the 1970s.
Following his expressed desire not to have Tintin handled by another artist, it was published posthumously as a set of sketches and notes in 1986.
The propaganda story is not related to any of the original Tintin novels, but mimics Herge's style and includes several Tintin characters. The typography used in this segment will be instantly recognizable to anyone who’s ever browsed Tintin book covers. And like Snoopy, this tenacious terrier is secretly the most courageous and intelligent member of his ensemble, typically a step or two ahead of even his capable pet journalist.
Still, the film rarely permits boredom to rear its ugly head, as those 107 minutes are jam-packed with one insane action set piece after another. You may have to make some allowances for Haddock’s tendency to solve plot problems with liquor induced delusions and moments of clarity, but the screenwriters do well to establish that the character has a very special relationship with alcohol. His best known  and most substantial work is The Adventures of Tintin comic book series, which he wrote and illustrated from 1929 until his death in 1983, leaving the twenty-fourth Tintin adventure Tintin and Alph-Art unfinished. Wallez asked Remi to create a young hero, a Catholic reporter who would fight for good all over the world.[8] He decided to create a comic strip of his own, which would adopt the recent American innovation of using speech balloons to depict words coming out of the characters' mouths, inspired by their use by established French comics author Alain St. The character of Tintin was partly inspired by Georges's brother Paul Remi, an officer in the Belgian army.
In June he began the second Tintin adventure, Tintin in the Congo (then the colony of Belgian Congo), followed by Tintin in America and Cigars of the Pharaoh.
Father Gosset, the chaplain to the Chinese students at the Catholic University of Leuven, wrote to Herge urging him to be sensitive about what he wrote about China. Secondly, Herge had to move the focus of Tintin's adventures away from current affairs, in order to avoid controversy. Herge chose a subject that was as fantastic as possible rather than issues related to the crisis of the times to avoid trouble with the censors.
Jacob also began collaborating with Herge on a new Tintin adventure, The Seven Crystal Balls (see above). In light of everything which has happened, it is of course a huge error to have believed for an instant in the New Order."[22] The Tintin character was never depicted as adhering to these beliefs. In fact, one or two stories published before the war had been critical of fascism; most prominently, King Ottokar's Sceptre showed Tintin working to defeat a coup attempt that could be seen as an allegory of the Anschluss, Nazi Germany's takeover of Austria.

The weekly publication featured two pages of Tintin's adventures, beginning with the remainder of The Seven Crystal Balls, as well as other comic strips and assorted articles.[28] It became highly successful, with circulation surpassing 100,000 every week.
The normally rich cast of characters was pared to a minimum — Tintin, Captain Haddock, and the Sherpa Tharkey — as the story focused on Tintin's dogged search for Chang. From the start of Tintin magazine, Raymond Leblanc had used Tintin for merchandising and advertisements.
Aroutcheff then sold on these rights only keeping the right to make Tintin's red rocket when he goes to the moon. Since the book was published without copyright and was released into the public domain, Herge's estate could not take legal action.
But if you can stick with the 3D, you’ll be treated to some truly astonishing visuals from the word go.
Tintin does a lot of deduction in the first act, and it’s a relief when he finally adds some human companions to his party. Dog lovers will be taken with Snowy unflinching loyalty and affection for Tintin as he races snoutlong into danger and solves the occasional riddle.
We also might not accept his level of guile and comprehension unless his fellow cast is just as heightened to cartoon exaggeration.
The first act consists mainly of shadowy intrigue, but eventually Tintin hits the high seas. I’m not a proponent for 3D in most cases either, but I do tend to enjoy it in animated films. Herge agreed, and in the spring of 1934 Gosset introduced him to Chang Chong-jen (Chang Chongren), a young sculpture student at the Brussels Academie Royale des Beaux-Arts.[13] The two young artists quickly became close friends, and Chang introduced Herge to Chinese culture and the techniques of Chinese art. He turned to stories with an escapist flavour: an expedition to a meteorite (The Shooting Star), an intriguing mystery and treasure hunt (The Secret of the Unicorn and Red Rackham's Treasure), and a quest to undo an ancient Incan curse (The Seven Crystal Balls and Prisoners of the Sun). Nevertheless, like other former employees of the Nazi-controlled press, Herge found himself barred from newspaper work. That sorted, we join him at an open air market, posing for a caricaturist who looks an awful lot like a particular Belgian cartoonist. The monologuing is a minor concern though, so don’t misconstrue the note as diatribe against Tintin and Snowy as a duo on their own.
There’s a moment when Haddock and Snowy are lowering themselves into the water in a lifeboat to escape a hostile ship. And though I was initially disappointed when Love Actually’s Thomas Sangster had to drop out of his role as Tintin, Jamie Bell does Herge proud. As a result of this experience, Herge strove in The Blue Lotus, and in subsequent Tintin adventures, to be meticulously accurate in depicting the places which Tintin visited. Dig around enough and you may even find photographic record of my attempts to mimic Tintin’s signature swoop, if not that same ginger hue. Soon, he finds himself haggling over a seemingly ordinary though highly sought-after model ship. By that tack, shouldn’t this project, bustling as it is with rotoscoped human characters, be closer to the less favorable Polar Express end of the spectrum?
Alternatively, full-on animation probably wouldn’t inspire the same kind of gravity provided by such lifelike movement, dramatic lighting, and photo-real textures. As a token of appreciation he added a fictional "Chang" to The Blue Lotus, a young Chinese boy who meets and befriends Tintin.
The franchise has made the leap to live action and animation before, but there’s still something joyously absurd about seeing these characters on the big screen with these kinds of names and technologies attached. It’s this little antique that leads our hero into a perilous chase and the audience into a wildly entertaining ride. As it turns out, Spielberg, Jackson and their talented team make a good case for the technique. We believe that Tintin can do what he does with a single bullet, and though he may not be as charismatic as Harrison Ford, he’s a charming and dauntless hero.
I say all this only to reflect on the pleasures of adaptation and sharing a favorite thing with a wider audience.
It’s one of the many reasons this filmmaking style really gels with the demands of the source material. It’s not that the source demands a bigger format, because those books work perfectly fine as they are and I still cherish those big floppy paperbacks. But they also strike a tone quite appropriate to the source material made possible only through this animation hybrid.

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