Tintin Trailer Is Out And It Looks… Nothing Like Tintin
“The Adventures of Tintin: The Secret of the Unicorne” trailer is the biggest disappointment I have had since… The Smurfs‘. Call me a purist but there’s now way someone who had grown up reading the Belgium comics would have dared coming up with that:
What is that, by the way?
That’s motion capture, not to be mistaken with animation. Motion Capture is the new baby of the wave of techy-directors who sometimes have vision, and sometimes seem to get lost while playing with their new expensive gadgets. The technique has been used before for the great impersonation of Gollum (by Andy Serkis, who also plays Captain Haddock in Tintin), in Avatar or for Polar Express, the first full length feature entirely made using motion capture, in 2004. Motion capture can, like every technique, be a great tool to help telling a story or become an unjustified gimmick that hurts it.
I can hear you say: “Hold on here, the brilliant Steven Moffat wrote the script, Spielberg directed and co-produced it with Peter Jackson, and you’re saying it’s bad?” Well, I cannot say if the story is bad, but I can say it looks bad. Maybe it’s the best that has been done so far, with motion capture, but that’s not enough to make it a good movie.
I am supposed to be at the center of the targeted audience: I grew up with Hergé‘s comics, and I respect the three men who are involved in the project, so I should want to spend money to go and watch it when it comes out, on December, 23rd. But I won’t. I won’t because Hergé ligne claire drawing style is part of Tintin’s charm, and when I look at Captain Haddock in the picture above, I cannot help but cringe.
I can relate to robots almost-impossible love story, overweight panda becoming kung-fu master and rats cooking ratatouille, but I cannot relate to characters who looks like grotesque caricature with one too many pixels around the edges. Maybe that’s just me, maybe the script is indeed brilliant and others reacted quite differently to the trailer:
[…] the trailer is a whirl of fluid, fast-moving images with far more life and detail than Robert Zemeckis’ performance-capture efforts.
But I feel that my childhood has been smashed by Hollywood’s lack of imagination and urge to transform everything into a possible money-maker, even if, on the way, it has to kill the original material.
What do you think about “The Adventures of Tintin: The Secret of the Unicorn” trailer? Does it hurt your eyes too or am I being too sentimental?