If The Adventures of Tintin isn’t the finest or most inspired work of Steven Spielberg, it’s proof positive of his sheer mastery of the art of film. Spielberg’s adaptation of Tintin is interesting, if nothing else, for its visual style, an exaggerated realism that Hergé surely would have approved of, with characters that seem to leap off the page and into the screen. The flourish and style that defines The Adventures of Tintin is nothing short of impressive.
The Adventures of Tintin wisely takes its plot from three of the most memorable books in the Tintin canon: The Crab with the Golden Claws, The Secret of the Unicorn, and Red Rackham’s Treasure. Through these stories, Spielberg weaves an exciting, swashbuckling adventure replete with pirates and hidden treasure, an adventure that strongly mirrors his work in the Indiana Jones. It’s easy to see why Hergé felt like Spielberg was the director best equipped to adapt his work.
As usual for a Spielberg film, The Adventures of Tintin features a musical score by the great John Williams; though this is by no means William’s best or most memorable work, it’s a score of great competence, with typical singing hooks and punchy notes to pin to the action.
There have been talks for multiple years now of a sequel to this film; though I’m not holding my breathe, I do hope they’re able to make a sequel for this film, something that I’ll greatly look forward to.