The Adventures of Tintin (2011) is an animated adventure movie directed by Steven Spielberg,
based on the immensely popular series of books (some 200 million copies in 50
languages have been sold worldwide1) of the same name created by the
Belgian artist Georges Remi (1907-1983), who wrote under the pen name of Hergé.
The Academy Award-nominated score for
this film was composed and conducted by the legendary John Williams, and is his
25th feature film collaboration with Spielberg2. This
essay will focus on his music for this film—particularly on his extensive use
of leitmotifs—and will compare it to his scores in other Spielberg movies.
The film is based on three of the
original comic books: The Crab with the
Golden Claws (1941), The Secret of
the Unicorn (1943), and Red Rackham's
Treasure (1944)1. It was the first-ever animated film for both
Spielberg and Williams. A brief synopsis of the plot is laid out here, to give
the music that is discussed below context:
Tintin, a young
journalist, and his dog Snowy are browsing in an outdoor market in a European
town. Tintin buys a model of a three-masted sailing ship, the Unicorn, on the
cheap, but is then immediately accosted by the sinister Ivan Ivanovitch Sakharine,
and the mysterious figure of Barnaby, who both try to buy the model from
Tintin, without success. Tintin takes the ship home, but it is broken during a
fight between Snowy and a neighbour's cat. As it breaks, a parchment scroll
slips out of the ship's mast. Snowy spots it but is unable to alert Tintin.
Meanwhile, incompetent detectives Thomson and Thompson are on the trail of a
pickpocket, Aristides Silk. Tintin then visits Sakharine in Marlinspike Hall,
where he learns that there are at least two model ships. Tintin finds the
scroll when he goes home, and puts it in his wallet, which is then stolen by
Silk.
Later, Tintin is shot at,
then abducted by accomplices of Sakharine, and imprisoned on the SS Karaboudjan. On board, Tintin escapes
and meets the ship's captain, Haddock who is permanently drunk, and doesn't
know what's happening on board his ship. Tintin, Haddock and Snowy eventually
escape from the Karaboudjan in a
lifeboat. Sakharine sends a seaplane to find them, but Tintin is able to
capture the plane, and fly towards the (fictitious) Moroccan port of Bagghar. They
crash in the desert.
Dehydrated in the heat,
and suffering from a sudden lack of alcohol, Haddock hallucinates, and starts
to remember stories about his ancestor, Sir Francis Haddock, who was captain of
the Unicorn during the 17th century. Sir Francis' treasure-laden ship was
attacked by a pirate ship, led by the masked Red Rackham, and after a fierce
battle and eventual surrender, Sir Francis chose to sink the Unicorn, and most
of the treasure, rather than allow it to fall into Rackham's hands. It
transpires that there were three models of the Unicorn, each containing a
scroll. Together, the scrolls will reveal the location of the sunken Unicorn,
and its treasure.
In Bagghar, Tintin and
the Captain find out that the third model ship is in the possession of the
wealthy Omar Ben Salaad, but it is encased in a bullet-proof glass display
case. Sakharine's plan is to stage a concert involving famous diva Bianca
Castafiore, the "Milanese nightingale", whose penetrating singing
voice will be able to shatter the glass case, allowing Sakharine's trained hawk
to fly down and steal the third scroll. After a chase down to the harbour,
pursued by Tintin and Haddock, Sakharine finally escapes with all three scrolls.
Tintin chases him back to Europe and arranges a police reception for him on the
dockside. Haddock and Sakharine, who is revealed to be the descendant of Red
Rackham, replay their ancestors' swashbuckling sword fight, using dockside
cranes, swords, and even bottles of whiskey. Haddock is eventually victorious
and Sakharine is promptly arrested by Thomson and Thompson.
With the three scrolls in
their possession, Tintin and Haddock find that the indicated location is
Marlinspike Hall, and that the hall had been built originally by Sir Francis
Haddock. There, in the cellar, they find some of the treasure, and a clue to
the location of the sunken Unicorn. Both men agree to continue the adventure1.
The entire movie was filmed using
motion capture technology, at Peter Jackson’s (the producer’s) insistence3.
When news of this reached fans initially, they were apprehensive, to say the
least4. Upon its 3-D release however, most doubts (but not all5)
were assuaged6. In the end, the motion-capture gamble paid off; the
movie was a box-office success, grossing more than 370 million dollars worldwide7,
paving the way for a possible trilogy8.
The score was a phenomenal hit with
audience and critics alike, and was hailed as a welcome return to form for
Williams following his three and a half absence from feature films9.
“The colors [in HergĂ©’s books] seem to be almost Gauguin-like. Yellows and
purples and green-reds," Williams said about his experience finding
inspiration to compose this score, adding that the look of old cars and
European architecture made instruments like the musette, a French accordion,
seem apt for the movie's scenes of fast-paced street comedy10. The “Master
of the Leitmotif” really went to work in this film, composing themes for
characters and places, and criss-crossing them together in a complex tapestry.
As one critic notes in his enthusiastic review of the soundtrack
album,
I think I counted no less than 10
different themes…weaving in and out of exciting action riffs, gorgeous
orchestrations that put you right into various locations around the world in
seconds, mysterious legend-exploring passages, character-defining moments, and
virtuoso concert arrangements that must have left every orchestra member
desperate to catch their breath!
Balancing out everything you’d expect in a good globe-trotting adventure
are moments of true comedy, thanks to the themes for Captain Haddock and the
bumbling detectives Thomson and Thompson9.
Given the genre and plot of the
movie, and its director-composer duo, comparisons between the scores of Tintin and Raiders of the Lost Ark (1981) seemed inevitable. These take on an
almost poetic shade however, in light of the backstory to the making of Tintin8: when a review
compared Raiders of the Lost Ark to Tintin (the books), Spielberg’s
secretary bought him French-language editions, and he immediately fell in love
with its art. Meanwhile, the comics' creator Hergé, who didn't like the
previous live action film versions and the cartoon, became a fan of Spielberg;
he "thought Spielberg was the only person who could ever do Tintin
justice". Spielberg then scheduled to meet with Hergé in 1983, but Hergé died
that week. His widow decided to give Spielberg the rights. It seems almost
fitting then, that several leitmotifs in the movie—particularly the one
associated with the Unicorn—call to mind similar sinister-sounding cues in the
Indiana Jones movie, and lend the score its darker side.
RLA aside, we
hear echoes of Williams’ other collaborations with Spielberg right from the
start too; the opening sequence of Tintin
is visually reminiscent of the one in Catch
Me If You Can (2002)—both are retro-styled 2-D animations—and Williams
reinforces this similarity aurally with piano-dominated accompanying music. The
nimble-fingered piano initially does a back-and-forth with a bass clarinet and
a harpsichord until other synth instruments join in, and the resultant
fast-paced theme has the espionage, adventure sound that was heard in the CMYC opening credits, except that it is jauntier
and as a result more suited to the lighter nature of this film’s subject. It also
calls to mind the haphazard, jazzy tune that Williams composed for the “Knight
Bus” theme in Harry Potter and the
Prisoner of Azkaban (2003), and some feel that this quasi-jazz
sound resonates throughout the entire score11. Williams additionally
manages to “Mickey Mouse” some of the action taking place on the screen in
these opening credits, and as we progress through the movie, we come to realise
that this simple, adaptable music also serves as Tintin’s theme, reappearing in
various reimaginings as the story unfolds—we hear an orchestral take on this
theme during the scene where Tintin, Haddock, and Snowy escape from the Karaboudjan, for instance. It also resurfaces
when Tintin pilots the plane through the storm, and during the chase scene in
Bagghar, among many other moments. What is really interesting to note however,
is that Tintin’s theme is highly underplayed compared to the other leitmotifs that
Williams develops throughout the course of the movie; many reviewers were
puzzled by this11. I believe that the most likely explanation for
this is that Williams was staying faithful to HergĂ©’s original character
design, in which Tintin is purposely portrayed as having a neutral manner; besides
serving the function of balancing the evil and silliness that surrounds him,
this rendering gives the reader a chance to really slip into Tintin’s shoes and
not merely follow the adventures of a strong protagonist12.
The next major theme that we are
introduced to is the Unicorn theme, which ends up leaving the strongest
impression on the audience. Besides being reminiscent of the darker themes from
Raiders of the Lost Ark, it has been compared
to the Buckbeak theme in Harry Potter POA11,
and it is also highly suggestive of the main Harry Potter theme. It occurs
repeatedly in the movie and lends an element of mystery to the score; it is
eventually associated with the scrolls too. Since the leitmotif of the main
protagonist is so underplayed, one could almost construe that Williams uses the
Unicorn theme as the dominant theme of the movie in its place. We first hear it
when Tintin spies the reflection of the model Unicorn in a mirror in the
marketplace; it is played on a solo clarinet, and the sound of crashing waves
and creaking wood are cleverly blended in. This theme then reappears in several
scenes, solidifying its place as the main theme by the end of the movie: when
Tintin researches the history of the Unicorn in the library, when he finds the
second model at Marlinspike hall and then the scroll back at his own house,
during his interrogation on the ship and Haddock’s hallucination in the
desert—where stingers are placed at appropriate moments in the theme—and during
the final revelation of the movie, to name a few obvious recurrences.
Snowy’s theme on the other hand, is a
lovely, upbeat piece of music and is one of the few places in this score that Williams
leans toward the music that is traditionally composed for children’s animated
movies. It is infectiously playful in nature, and the quick, rising notes bring
to mind the yipping of a dog9. Williams uses the orchestra and the
woodwinds, particularly the flute, to great effect, and the masterful piano
work underscores certain parts while dominating others. We are introduced to this
theme when Snowy chases the cat at the beginning of the film, and it resurfaces
when he saves Tintin from the dog at Marlinspike hall. Other noteworthy
appearances of this theme include the scenes where Snowy chases Tintin’s
abductors, the one where he rescues Tintin on the ship, and when he trips up Sakharine’s
henchmen in the final crane-fight scene.
Haddock’s
theme is introduced when Tintin and Snowy barge into his quarters through the
window after escaping Sakharine’s goons. It is a low-key brass and woodwind
theme that one can immediately associate with naval captains, but it has a comical
quality to it since Haddock provides the main laughs in this movie. Williams develops
this theme extensively—more than any other protagonist’s theme—and it morphs to
match Haddock’s change in character as the film progresses. While it starts off
having a dubious quality, much like the drunken captain, by the
end—particularly in the scene when all hope is lost, and Haddock provides
Tintin the encouragement to go on—the leitmotif has sobered up, and takes on a
warm, full character. His connection with Marlinspike hall is suggested by
Williams’ music at the start of the movie, during the scene where Tintin breaks
in for the first time, though only careful, repeated listenings reveal this
intricacy in the composition—Williams brilliantly inverts the main melody of
Haddock’s theme here, while employing the same deep woodwind instrument11.
This connection is made clear in the music of the final scene however, which
takes place at the same locale, and features an orchestrated version of
Haddock’s leitmotif.
It is interesting
to note that while Sakharine, the antagonist, does not get his own theme, his
ancestor Red Rackham does. It appears first in the fight scene between him and
Sir Francis, and is played on low, menacing strings. This music returns during
the final fight, when their respective ancestors pick up where they left off,
as it were; we hear the Red Rackham leitmotif clearest then, when it is
bequeathed to Sakharine. The theme for Sir Francis, and it seemed like Williams
intended that he have one, is too deeply entrenched in the swollen Unicorn
theme that dominates most of Haddock’s flashback to identify; in any case,
since Haddock’s theme was so well developed, Williams didn’t need to transfer themes
from Sir Francis to him. Since the fight scenes between the two generations are
brilliantly mirrored, Williams by and large repeats the music played during
Haddock’s flashback during the final fight scene to lend it a sense of
finality. The orchestrated score that accompanied the battle on the high seas—the
melody of which is played on the violin and viola while the cello and bass
hammer away in the lower register9—is also played when the cranes
battle, and then the swordfight scene between Haddock and Sakharine has almost
exactly the same music as the one that played when their ancestors did battle
on the Unicorn all those years ago. Williams does however, throw in other
themes here. For instance, we hear echoes of Haddock’s theme when he ironically
gains the upper hand in the sword fight by throwing bottles of alcohol at
Sakharine, Tintin’s theme when he swoops in to snatch the scrolls from
Sakharine’s hand, and as mentioned above, Snowy’s theme when he spills the
crate.
The bumbling
Interpol agents, Thomson and Thompson, also get a theme of their own, and it is
exactly what one would expect: silly, lazy jazz. This leitmotif is largely
unchanged throughout the course of the movie, and reappears when the agents
themselves do. A critic notes that the music calls to mind William’s score in
Spielberg’s The Terminal (2004)
because of its “prominent accordion and clarinet usage”11.
Besides all the themes already
mentioned, other musical ideas that Williams adds to already-bursting palette
of sounds are themes identified with the treasure, the exotic locations—most
notably Bagghar—and the “Milanese Nightingale”. He additionally employs the
“mirroring” technique mentioned earlier frequently; a notable example of this
is when the music that played during the escape from the Karaboudjan when the lifeboat drops, repeats during the scene where
Haddock and Tintin jump from the fort window.
Clearly
then, even after all these years, the Master of the Leitmotif has not lost his
touch. The score to Tintin showcases
his astounding ability to take a myriad of ideas, and weave them together
tightly, coherently, and beautifully. The Academy Award nomination stands
testament to Williams’ monumental triumph with this amazingly complex score; at
80 years old, the man is still going strong. Yet there is a feeling that this
score means something to Williams as well—indeed when reading the interviews
that he gave around the time of release of this movie, one cannot help but be
moved at this man’s dedication to his art, and “marvel at his ability to so
intelligently annihilate his competition in the industry of film music.”11
As one reviewer elegantly observed,
[Tintin]
is about discovering self-respect in the face of adversaries external and
within oneself, and having the strength of character to settle those problems.
That may be why Williams' underrated score is fashioned the way it is, pieces
coming together in a way that's big and personal at the same moment, almost
closer to the intimate style of Catch Me
if You Can and Williams' introspective concert works. There is something
not empty but questing in the way he treats Tintin,
how questions are posed and answers are supplied by the drama of Haddock's
journey to self-respect, that make this score shaded with psychological insight
into how human beings communicate, and expressed with delicate unshowy but
nimble motion and clean lines13.
The Maestro himself had this to say about his admirable work
ethic and relationship with Spielberg over these past 4 decades,
[Spielberg is] a much younger man
than I am and he will go on a lot longer than I'll be able to, but for the time
being we're having a wonderful time. Time goes by so quickly…Steven and I, when
we're working together we're so much in the now, in this moment. There isn't a
past, there isn't a future, you're so completely absorbed and concentrated. If
you do that long enough, you suddenly realize, my God, I'm 80 years old, what
happened? What happened was a well-spent, focused period of time14.
The fun that these two genii have
when collaborating really shone through in Tintin.
We can only pray that they continue to grace us with masterworks for many more
years to come.
WORKS CITED
1 "The Adventures of Tintin."
Wikipedia, The Free Encyclopedia.
Wikimedia Foundation, Inc. 24 May 2007. Web. 16 June 2012.
2 “AFI'S Master Class: The Art Of
Collaboration.” TCM Turner Classic Movies,
n.d. Web. 16 June 2012.
3 "News Etc." Empire: pp. 20–25. June 2009. Print.
4 Mathewes-Green, Frederica “The
Wonderful Adventures of Tintin.”National
Review Online, 23 December 2011. Web. 16 June 2012
5 Whitfield, Ed. “Film Review: The
Adventures of Tintin – The Secret of the Unicorn.” The Ooh Tray—Film and Literature in Abundance, 29 October 2011.
Web. 16 June 2012
6 Nathan, Ian. “The Adventures of
Tintin: The Secret of the Unicorn.”
Empire Magazine, n.d. Web. 16 June 2012
7 “The Adventures of Tintin.” Box Office Mojo, n.d. Web. 16 June 2012.
8 Nepales, Ruben V. "Spielberg
May Co-direct Next with Peter Jackson". Philippine Daily Inquirer, 18 May 2008. Web. 16 June 2012.
9 LeBlanc, Jason. “The Adventures of
Tintin (2011)—Album Analysis #1.” John
Williams Fan Network, 18 October 2011. Web. 16 June 2012.
10 Jurgensen, John. “The Last Movie
Maestro.” The Wall Street Journal, 16
December 2011. Web. 16 June 2012.
11 “The Adventures of Tintin: The
Secret of the Unicorn.” Filmtracks, 3
November 2011. Web. 16 June 2012.
12 Walker, Andrew. “Faces of the Week.”
BBC News| UK| Magazine, 16 December
2005. Web. 16 June 2012.
13 Ware, Michael. “Tintin and John
Williams, an Essay on a Film about Self-Respect.” Film Score Monthly, 24 December 2011. Web. 16 June 2012.
14 Keegan, Rebecca. “A Blockbuster Collaboration.”
Los Angeles Times, 8 Jan 2012. Web.
16 June 2012.