Kristatos wrote:I could see a few heads at MI6 or CBn exploding over this comment:
The last Pierce Brosnan film was much closer to the flavour of Fleming’s Bond than the sub-Bourne automaton that Craig has played so far.
Interesting.
And its not us!
James wrote:
carl stromberg wrote:They made some odd cartoons ages ago. The newer Adventures of Tintin prog that Stocks mentioned were quite faithful to the books - although Tintin did have an American accent!
I can't find a pic of Red Rackham, but he looks a bit like Basil Rathbone or Errol Flynn in Robin Hood with a pointy beard. Red Rackham is not in the book (Secret of The Unicorn) much.
I hoped they would make a live action film as I am not of fan of CGI "cartoon" films. But I have to see some stills or footage before I decide.
If the film is a success Tintin amy become even more popular.
At the Tintin forum some members are attacking Daniel Craig's Bond :
You're right about Craig. I'm totally partial because I can't swallow the current evolution of Bond towards Bourne/Rambo. Objectively, Craig as Rackham can be an amusing idea (better than Craig as Tintin, which wouldn't have surprised me after the Bond changes). But I just won't have the objectivity to look at him without overwhelming Bond grudges
That said, while the neo-Bond is cleverly designed to fit the current fashion and thus meets an expectable success (raising the old problem of diversity-killing competition), I've seen only bad reviews of Quantum. Seems they might have overdone it a bit there. I think it'll grow tedious fast. Casino Royale's success probably came from the mostly faithful story and the return to spying plot, but these aspects are easily negated by the inhumane grunt approach to Bond.
Thundering typhoons! They know their stuff those Tintin fans.
Chief of Staff, 007's gone round the bend. Says someone's been trying to feed him a poisoned banana. Fellow's lost his nerve. Been in the hospital too long. Better call him home.
stockslivevan wrote: Even then, I don't think it ever managed to become a hit, especially since only 39 episodes were ever produced.
The episodes were based on the comics so they didn't have many plots to work with. Nevertheless, as a Tintin fan I am afraid to see the film/s turn into a dud. I highly doubt the first film will be successful enough for sequels. But maybe I am wrong. I want it to succeed, but things do look sort of grim despite the big actors and directors. The fact that Spielberg and Jackson are working on it does give some credibility, but what was the last good film Spielberg made?
Favorite Movies: Bullitt, The Long Good Friday, The Towering Inferno, Jaws, Rocky, Superman the Movie, McVicar, Goodfellas, Get Carter, Three Days of the Condor, Butch & Sundance, The Sting, All the Presidents Men
You are not giving this site enough credit, Doctor. I doubt anyone here would be dumb enough to write a statement like that (unless they've never even read a Fleming book, of course).
You are not giving this site enough credit, Doctor. I doubt anyone here would be dumb enough to write a statement like that (unless they've never even read a Fleming book, of course).
I don't think you are giving the Tintinologist site posters enough credit. Die Another Day may have taken some of Cubby's Bond a bit far, but I agree that Craig's "sub-Bourne automaton" is a departure from Fleming's Bond too!
carl stromberg wrote:I don't think you are giving the Tintinologist site posters enough credit. Die Another Day may have taken some of Cubby's Bond a bit far, but I agree that Craig's "sub-Bourne automaton" is a departure from Fleming's Bond too!
Yes, if you read the whole post, it doesn't merely assert that DAD is closer to Fleming's Bond than the Craig films, he actually bothers to back it up with arguments (though I think his arguments only really apply to the first half of the film, which was very Flemingesque in places). Of course, MI6ers would probably laugh at him anyway, since his views fly in the face of their received wisdom, and they strike me as the sort of closed-minded community who would see that as evidence of insanity.
"He's the one that doesn't smile" - Queen Elizabeth II on Daniel Craig
katied wrote:There'll be a big push to promote it because of the names behind it but it won't work.
Really? You think Sony and Paramount will spend a lot of money with the marketing? I'm surprised Spielberg likes Tintin so much. Supposedly, Hergé was anti-semitic. There was an interesting report about it in The Economist.
Well, they may think names like Craig and Pegg have power behind them;in the UK, *maybe*. Elsewhere? it seems doubtful.I think Spielberg's being part of it may get a few bums on seats.
katied wrote:There'll be a big push to promote it because of the names behind it but it won't work.
Really? You think Sony and Paramount will spend a lot of money with the marketing? I'm surprised Spielberg likes Tintin so much. Supposedly, Hergé was anti-semitic. There was an interesting report about it in The Economist.
Maybe he was able to separate the man from his art. Do you think that no Jew ever listens to the music of Wagner?
"He's the one that doesn't smile" - Queen Elizabeth II on Daniel Craig
I'm not sure Herge was anti-Semitic. One of his first Tintin adventures written in the 30's was Tintin in the Congo. It was very racist and showed the attituded towards black people at that time. Then he worked under the Nazis so probably had to compromise a little! After the war there was some controversy about working under the Nazis. But he was rehabilitated and his most famous books had liberal humanitarian undertones: for example, The Red Sea Sharks saw Tintin battling slave traders. There was a mildly offensive Jewish character in The Shooting Star, a stereotypical Jewish financier called Buhwinkel. But you cannot say that Herge was a "big anti-semite".
The Economist article said Tintin is "only liked by posh people who take their Tintin books to public school". That seems an odd thing to say. I come from a working class background and I was obsessed with Tintin as were many people I knew.
katied wrote:To me, even if he was rehabilitated, the stuff with Tin Tin in the Congo is a bit off. Kinda like The Song Of The South, or Little Black Sambo here.
It was of it's time unfortunately. The Belgians were very nasty when they ran the Congo in the 19th century. Ian Fleming was a bit racist in Live and Let Die. He may not have been 100% racist( that's another debate), but he still casually used the normal racist terminology used about black people in the 1950's, so that could be as offensive as Tintin in the Congo.
This is true.If they tried to make Live and Let Die in 2009 there would be so many complaints.
As an aside, about Little Black Sambo: When I was in Louisiana last summer we stopped and looked around the gift shop at one of the many plantations on the way from Baton Rouge to New Orleans. Well, what should they have there but Little Black Sambo. That wasn't *so* surprising(we were in Lousiana, and a backwoodsy area at that ).More of a "WTF?!?" thing really.
The Gollywog(have I got it right?) seems to be popular with the older generation in the UK though
I don't know if anyone know this, but Steven Speilberg is Jewish!! If the creator of Tintin was a rampant anti-semite then Spielberg would not have bought the rights to Tintin in the 1970's.
'She looked sharply up at him. 'And who might you be?'
Roger Devereau wrote:I don't know if anyone know this, but Steven Speilberg is Jewish!! If the creator of Tintin was a rampant anti-semite then Spielberg would not have bought the rights to Tintin in the 1970's.
Roger Devereau wrote:I don't know if anyone know this, but Steven Speilberg is Jewish!
That's why I mentioned the Tintin creator and anti-semitism. This is from The Economist's article on Tintin:
Hergé’s reputation is also marked by charges of anti-Semitism. He received many complaints about one of his villains, the hook-nosed New York financier, “Mr Blumenstein”. It does not help that this caricature appeared in “The Shooting Star”, an adventure written in 1941 while living in Brussels under Nazi occupation. In the field of devout Tintinologists, much effort has been put to explaining this “lapse” away. Michael Farr, a British expert on Tintin, is typical, writing in 2001 that as soon as Hergé realised that his character was “liable to misunderstanding”, he gave Blumenstein a different name and a new nationality, having him hail from “São Rico”.
Mr Goddin returns to “The Shooting Star”, and its initial newspaper serialisation in Le Soir. This included a strip about the panic unleashed when it seemed a giant meteorite would hit the earth. In one frame, he writes, Hergé drew two Jews rejoicing that if the world ended, they would not have to pay back their creditors. At that same moment in Belgium, Mr Goddin notes, Jews were being ordered to move to the country’s largest cities and remove their children from ordinary schools. They were also banned from owning radios, and were subject to a curfew. In the news pages of Le Soir, these measures were described as indispensable preparations for an orderly “emigration” of Jews. A year later, Hergé deleted the drawing of the Jews of his own accord, when the serialised “The Shooting Star” became an album.
Well, since the film is unlikely to be as racist or anti-semitic as the more notorious Tintin books, I doubt it will even be an issue. How many people, especially in America where Tintin is barely known, are going to boycott the film because of the views of the creator of the comic strip on which it was based?
"He's the one that doesn't smile" - Queen Elizabeth II on Daniel Craig
Roger Devereau wrote:I don't know if anyone know this, but Steven Speilberg is Jewish!
That's why I mentioned the Tintin creator and anti-semitism. This is from The Economist's article on Tintin:
Hergé’s reputation is also marked by charges of anti-Semitism. He received many complaints about one of his villains, the hook-nosed New York financier, “Mr Blumenstein”. It does not help that this caricature appeared in “The Shooting Star”, an adventure written in 1941 while living in Brussels under Nazi occupation. In the field of devout Tintinologists, much effort has been put to explaining this “lapse” away. Michael Farr, a British expert on Tintin, is typical, writing in 2001 that as soon as Hergé realised that his character was “liable to misunderstanding”, he gave Blumenstein a different name and a new nationality, having him hail from “São Rico”.
Mr Goddin returns to “The Shooting Star”, and its initial newspaper serialisation in Le Soir. This included a strip about the panic unleashed when it seemed a giant meteorite would hit the earth. In one frame, he writes, Hergé drew two Jews rejoicing that if the world ended, they would not have to pay back their creditors. At that same moment in Belgium, Mr Goddin notes, Jews were being ordered to move to the country’s largest cities and remove their children from ordinary schools. They were also banned from owning radios, and were subject to a curfew. In the news pages of Le Soir, these measures were described as indispensable preparations for an orderly “emigration” of Jews. A year later, Hergé deleted the drawing of the Jews of his own accord, when the serialised “The Shooting Star” became an album.
Everyone knows there were aspects of anti-semitism to some of Herge's early work; and it got very "complicated" for him during the war living in Brussels under Belgian occupation. But there is more to Herge than that: he is not a "disappointing man" as the Economist article claims. Have a read of Phillippe Goddin's bio, or the Tintin book by Harry Thompson or any other bits on the internet. I feel he was rehabilitated after the war - he given a job by a leading resistance fighter and produced many liberal Tintin adventures.
:
