Tintin et le mystère de la Toison d'Or

This is easily the best of the two live-action Tintin adaptations(the other being TINTIN ET LES ORANGES BLEUES which was ok, but nothing special). For the uninitiated, Tintin is the well known Belgian comic book character created by Herge. Every French-speaking child and most European children have grown up following his many comic book adventures. The film is not an adaptation of a Tintin story but this does not matter greatly. Instead we have an exciting adventure that sees Tintin and Capitaine Haddock travel to Turkey to claim a boat(the Toison D'or)that the good captain inherited from a friend. The intrigue starts at this point as numerous people want the boat for some mysterious reason. Jean-Pierre Talbot is perfectly cast as Tintin. Not only does he resemble the character physically but he shares the enthusiasm and athletic agility of his comic book counterpart. Georges Wilson is also good as Capitaine Haddock(gruff and a little silly). The beautiful sun-drenched Turkish and Greek locations are a delight to look at and the story moves along at a good clip. Milou the dog is also quite good. What more can one ask for? An excellent film for the young and young at heart.

Don't judge the book by the cover, for all its B-movie look, this is A-entertainment.

"Tintin and the Mystery of the Golden Fleece" is a product of its era: released in 1961, it carries the old-fashioned allure of 50's adventurous pictures and let's say the more sophisticated tone of the 60's, yet not devoid of the same obsolescent charm that makes a James Bond girl "innocent" by our modern day's standards. The film has the thrills, the fun and the escapism magnificently rendered by the Turkish countryside, with the exotic little tune to enhance the feeling that we're enjoying a nice little vacation with Tintin and Captain Haddock.

Because that's what it's all about, it's a Tintin adventure and yet the enjoyment doesn't only depend on the appeal of the comic-books, in its own right, this is a good movie.

Now, some history… Tintin had already come to maturity in the early 60's but the big screen has always been a hit-or-miss, it was probably a credit to Herge's uniqueness of style and his trademark clear line to have created a world so naturally proficient in thrills and so emotionally engaging that even the camera of the 60's couldn't capture. Yes, even Steven Spielberg could only make a CGI version of the "Unicorn", perhaps one of the less 'cinematic' of all Tintin's books. That's how difficult the transition from book to screen is, and maybe the safest and wisest choice was to have an original story and compensate the 'newness' of the material with actors who'd look like shoot- outs of the original characters.

The originality of the story is the first masterstroke, it's an interesting whodunit set in Turkey and centering on a mysterious ship named "Golden Fleece" that Haddock inherited from a long-time friend. And despite the little predictable plot elements such as the evil businessman who seems to have a personal reason to buy the ship, the sneaky tourist guide, the colorful encounters, a talking parrot, a black cook, the story works not to mention that it also features two nice cameos from Charles Vanel and Dario Moreno. And we forgive the flaw because there's a sort of realism in the relationship between good old Tintin and Captain Haddock, both played by Jean- Pierre Talbot and George Wilson. Tintin leads the action with the impatience and curiosity of youth and Haddock is the eternal follower.

And that's it, the characters are alive again.

Herge said it himself, Tintin was some kind of a joke, he needed the blandest and most neutral looking hero, so he made a round, two dots for the eyes, and no hair color (meaning he was blonde) then just to give him a little edge with the little tuft. A legend was born, a perfect hero who was courageous, brave and embodied youth's thirst of adventure but with a sense of righteousness. The challenge to turn Tintin into a real character was twice, finding someone who'd match the facial features and making the hero heroic without being unrealistic. Needless to say that Talbot did a great job, but as he stated himself, he didn't have to try, he channeled Tintin naturally and you can tell when you see him that he was born to be Tintin.

Talbot was approached for his his physical abilities, he was such a complete athlete, he provided almost all the stunts (with a few exceptions) and you can see in his eyes during the fight scenes how focused he is, it's very interesting that his skills look less fake than many other actors who'd play James Bond. But if he's no Sean Connery, Talbot makes his Tintin believable and appealing and the cute Belgian accent reminds us where Tintin came from. Talbot didn't have to play Tintin, he happened to be like Tintin and that was the film's greatest blessing. He admitted later that Tintin was a good influence on his life, and always try to adopt a righteous approach in general and in his job, as a teacher.

Naturally, the film would have worked only half if Haddock didn't have a great actor to play Captain Haddock and it was George Wilson (from the French Academy), the father of actor Lambert, who played the iconic seaman. He chews the script enough to match the Captain's histrionic tantrums but in the quieter moments when he contemplates the death of his friend, gazing at his picture, there's a sort of poignancy that makes you forget you're watching a Tintin movie, it becomes the story of two friends caught in an adventure. There are also Thompson and Thompson and Calculus but really, this is a Tintin and Haddock (and Snowy) picture.

The film is far from being flawless but these supposedly flaws hold up quite well, and have aged better than many superior movies, there's nothing calculated in this film, it's innocent, non-cynical and ultimately, fun to watch, it's not an equivalent to Tintin comic but, it does justice to the legacy of the legendary Belgian reporter. And the two actors are too likable not to like this film.

The adventures of Tintin and Milou(Tin Tin and snowy) are now part of European culture.Their impact is so awesome that they are the subject of many university thesis;there are more books about Hergé than about the other European cartoonists put together.Although overshadowed by Asterix in terms of sales,Tintin remains the intellectuals' favorite ,who particularly relish with Hergé's most modern album "les bijoux de la Castafiore".

What they're doing with Asterix now (Asterix:mission Cleopatre),they did it with Tintin forty years ago.It was an impossible task.All the characters of the albums get lost on the screen:George Wilson is physically captain Haddock but he is far from his model;the same goes for Professeur Tournesol (Calculus) and the Dupondt (Thompson twins).As for Milou(Snowy) ,the dog which plays the part is completely insignificant ,except for the dynamite scene.Jean-Pierre Talbot resembles Tin Tin but finding the right actor was impossible cause Tin Tin is neither an adolescent nor a young adult.Hergé used to say his hero was some kind of neutral creature,with which the reader could identify himself.

The film is watchable ,because the screenplay is OK,even if it's a million miles away from Hergé's remarkable stories:there are villains,beautiful landscapes(Istambul,The Greek Meteors) a cameo of Charles Vanel at his shrewdest .

The second attempt,"Tintin et les oranges bleues" ,was a complete disaster and unlike this one, has nothing to commend it.

I had never heard of this 1961 film before seeing it at the 2016 Edinburgh International Film Festival. It is not based on one of Hergé's books, but the storyline - involving a trip to İstanbul, a dilapidated boat, a South American revolution and hidden treasure - contains elements that will be familiar to anyone who has read a couple of them. It also has a definite 'feel' of 1960s films about it.

With any comic book adaptation the main issue, of course, is how close to the source material are the characters? As everyone's favourite boy reporter (sorry, Jimmy Olsen!), Jean-Pierre Talbot is game as tuppence, leaping about rocks and boats like a mountain goat, acquiting himself well in two choreographed fight scenes (even if he does seem to enjoy them more than Tintin should) and, in stripping down to a pair of tiny blue swimming shorts, showing far more skin than his pen-and-ink counterpart ever did. As Captain Haddock, Georges Wilson I found less impressive - although that may be because whenever I read one of the books Haddock always sounds, in my mind, like human foghorn Brian Blessed. Other characters appearing from the books include Professor Calculus, ineffectual policemen Thompson & Thomson (with a 'p' and without), Nestor the butler and, of course, Snowy the dog (who spends lots of his time being cradled in Tintin's arms then suddenly dropped on the floor, poor animal). Barring Tintin's blond (instead of ginger) hair, they are all styled to look very much like Hergé's illustrations - and that creates an unexpected problem, because when only they are on screen the viewer does not notice anything unusual about them, but when sharing space with characters created especially for the film, who have not been so styled, they look by comparison cartoony and unreal.

Still, this is an enjoyable film - enjoyable enough, indeed, that I shall forgive the glaring continuity error where, early in the film, Tintin says he never touches alcohol, then at the end of the adventure is seen knocking back a glass of champagne...

I have been a fan of Tintin for almost all of my life, having read every book (including Tintin in the Land of the Soviets, Tintin in the Congo, and Tintin and the Alph-Art). While I did enjoy the Spielberg/Jackson film, it lacked the proper feel of a Tintin album. There was too much action and too many special effects, despite having great talent. That is where this movie, Tintin et le Mystere de la Toison d'Or (Tintin and the Golden Fleece) succeeds, and does so dramatically.

The plot is simple, and familiar to those who have read Tintin before. A friend of Captain Haddock, Paparanic, dies, and leaves in his will a ship named the Golden Fleece. Tintin and Captain Haddock go to Istanbul to collect it. But it's a rusty old bucket, as Haddock might have said, and he plans to sell it. A man named Karabine claims he is an old friend of Paparanic and offers a small fortune for the boat. Tintin is suspicious and declines the offer. Then the threats come and it seems that a group of people will stop at nothing to have the ship in their hands. The ship, Tintin reasons, must be hiding something, and he intends to find out.

Firstly, the characters. Jean-Pierre Talbot is, essentially, Tintin. He embodies the character perfectly and brings the athleticism and energy needed for the role, natural considering he was a personal trainer at the time. Captain Haddock, played by the well-known, BAFTA-nominated Georges Wilson, may have one of the most unreal beards in the history of film, but that is part of the charm. He also is cast superbly, with the gruffness needed for the role and also the heart of Captain Haddock (as evidenced by the scene where he speaks to the portrait of his dead friend. Calculus has very little to do but makes the most of his screen time with a nice invention and a connection to the ship's parrot, and Thomson and Thompson, incognito, have a few good scenes, and also fit the role perfectly. One cannot forget Snowy, who is ideal and looks perfect. The casting is so excellent it feels like the characters walked of the pages of Herge's albums. The rest of the cast includes, Dario Moreno, the Turkish singer, as one of Paparanic's old shipmates, and, happily, Marcel Bozzuffi as the secondary villain, who you may recognize from The French Connection, who has a very nice fight with Talbot.

It is one thing to have perfect characterizations, but the Golden Fleece succeeds where almost all other Tintin movies have failed by capturing the spirit of Tintin. Spielberg and Jackson had the right ideas in mind (particularly, I think, Jackson) but the action is too over-stated and the movie as a whole opts for grandness when subtlety would have done much better. The climactic crane fight at the end of that film was fine when assumed as a modern-day version of a sword fight, but Tintin's villains were not brought to justice by shipyard equipment or the equivalent; they were captured by gunpoint, traps, or by sheer coincidence. The same goes for the rest of Spielberg's creation. Laying waste to a city is surely not Tintin's style. Tintin and the Mystery of the Golden Fleece is so much better because it understands this and seeks to make itself like a Tintin album. The story is light yet intimate, well-paced and simple, and virtually eliminates all exposition (although for the mass of people who were assumed to never have read Tintin before, Spielberg had to accommodate, naturally). Most importantly, the direction is absolutely dynamic. The camera-work is exactly as it would be in a Tintin book. It is again simple, with little weight, and to the point. There is little trickery, little grandiosity, unless it is necessary: as Herge did with his landscapes, so Istanbul is portrayed from overhead for a while, but even then non-pretentiously. Although the movie lacks some subtleties that only Herge could have created, it ticks all of the other boxes. Thankfully, an excellent release came out on DVD not too long ago. The picture is very clear, clearer than any other version I have seen. And the sound is better, which is just as well because the music is also fantastic in this. This is a must-see for any Tintin fan, casual or Tintinologist. Also worth watching is the slightly less excellent sequel, Tintin et les Oranges Bleues (Tintin and the Blue Oranges), also with Jean- Pierre Talbot.