The Adventures of Tintin: The Secret of the Unicorn
John Williams
" Just when you thought filmmusic had nothing to give you anymore ... "Written by Thomas Glorieux - Review of the regular release
Kuifje as he is known in Belgium or Tintin as he is addressed around the world is the creation of Belgian comic writer Georges Remi (better known as Hergé). Tintin is considered to be somewhat of a Belgian pride in my homeland, and has captivated many Belgian readers for over 50 years. Today it's associated with Belgium like chocolate and beer overseas, especially due to the recent development of a computer animated film directed by none other than Steven Spielberg and produced by Peter Jackson. Spielberg who acquired the rights to Tintin always wanted to make the movie as soon as the technical capabilities made it possible. And with the birth of James Cameron's Avatar and Peter Jackson's LOTR movies, Spielberg was convinced that time came in 2011.
Due to the death of Hergé in 1983, the creator never saw his comics come to life on the big screen. The love and respect however that the 2 had for each other was mutually equal. Spielberg fell in love with the art and passion of Hergé's animation and Hergé enjoyed the sheer immense adventure of many of Steven Spielberg's films. So many years later The Adventures of Tintin: The Secret of the Unicorn was born. A combination of three Tintin books: The Crab with the Golden Claws (1941), The Secret of the Unicorn (1943), and Red Rackham's Treasure (1944), it was Steven Spielberg's first stab at animation. The result was a tremendous box office success and a critically acclaimed experience around the world.
Of course there was no question about the musical choice for this kind of motion picture, considering Steven Spielberg only knows 2 notes, 1 name, 1 friend. But the question with filmmusic fans was if John Williams still had that creative taste for an adventure, like he had in the 1980's and 1990's. The time he created legendary scores for the movies Hergé fell in love it. Because no matter the quality of John Williams' music overall, his style has truly developed over time. But come to think of it, when listening to The Adventures of Tintin, my mind continuously reminded me that I was hearing snippets of Indiana Jones and the Temple of Doom, Indiana Jones and the Last Crusade, Hook, ... Meaning whatever you or I had of initial fear, John Williams immediately erased it with a classy adventure score full of wit, charm, themes and above all detailed orchestral panache.
No score of Williams is without themes or concert arrangements. Though Snowy's theme might be the only concert arrangement here, somehow the score seems to deliver a couple more as well. Snowy's vivid and energetic piece is of course a vital accessory to Tintin's main theme and runs along quite nicely during the many adventures the journalist and trusty sidekick are experiencing on screen. It's sprightly arrangement in "Snowy's Theme", it's appearances in "The Secret of the Scrolls" (which has the honor of stating the 3 themes (unicorn, Tintin and Snowy) together for the first time) and "The Return to Marlinspike Hall and Finale", or it's rhythmic escapades in "Introducing the Thompsons and Snowy's Chase" (by that also unleashing the lazy jazzy Thompsons theme which is also heard in "Capturing Mr. Silk"), Snowy's theme is as fun as Spielberg makes it on screen.
As you already read it, the unicorn theme is a vital part of the score as well and the reason why Tintin goes on a wild adventure across the globe in the first place. It's first mysterious appearance in "The Secret of the Scrolls" will remind us of Harry Potter and Hook, it's rousing version for captain Haddock's real life hallucination in "Sir Francis and the Unicorn" truly becomes one of this score's standout tracks. It's brief appearance at the end of "The Milanese Nightingale" shows us the location of the second ship and it's noble soft versions end "The Return to Marlinspike Hall and Finale" with a happy 'sequel potential' note.
Some tracks might seem to bring a little less enthusiasm at first, but appearances only deceive you if you're not paying attention. Snippets of "Marlinspike Hall" could have come so easily from Indiana Jones and the Temple of Doom, "The Adventures of Tintin" delivers us a jazzy opening piece that mixes the musical tone of Catch me if you Can with the eccentric sounds of "The Knight Bus" of Harry Potter and the Prisoner of Azkaban, "Captain Haddock Takes the Oars" will remind a lot of people of Hook's devious sounds (apparently suited for everyone who wears a pirate hat), while one will love the old fashioned fanfare at the end of "Red Rackham's Curse and the Treasure" and the European flavour of the accordion in "Capturing Mr. Silk" and "The Milanese Nightingale".
But when everything is said and done, one would almost forget that we still have the main characters own themes in the end. Tintin's theme might receive brief and subtle hints in "The Adventures of Tintin", "The Secret of the Scrolls", "The Clash of the Cranes" and "The Return to Marlinspike Hall and Finale", it's when we hear the heroic eruption in "Escape from the Karaboudjan" (with Indiana Jones and the Last Crusade influences) that we truly hear what a great theme it actually is. Of course a concert arrangement would have truly been the icing on the cake, but considering it is absent here it is wise to check out other bold statements in "The Flight to Bagghar" and the flute terrific "The Pursuit of the Falcon" (with a fun marching tank sequence that truly gets its influences from the famous tank sequence in The Last Crusade).
Captain Haddock's more devious theme turns up a lot more in "Captain Haddock Takes the Oars", "The Flight to Bagghar", "The Captain's Council", "The Clash of the Cranes" and in "The Return to Marlinspike Hall and Finale".
Altogether The Adventures of Tintin is still not the old John Williams at work here, but one must admit that he truly comes awfully close from time to time. One can actually describe it as a mixture of the old and the new John Williams, combining his undeniable knack for themes with his never ending attention to detail. The Adventures of Tintin becomes a fun experience if you truly hear him tying it all together. Just listen to the final piece "The Adventure Continues" to understand how John Williams' mind still works overtime on such a potentially rich project. One has to admit that alongside James Horner, John Williams is the only one capable of delivering a rich, mature and enjoyable piece of work for a blockbuster movie today. Embodied in his personal unique style, The Adventures of Tintin is without a doubt the score of the master, and an experience that will be enjoyed by a lot of people who missed the hand of the magician these past few years.
Tracklisting
1. The Adventures of Tintin (3.04)
2. Snowy's Theme (2.10)
3. The Secret of the Scrolls (3.13)
4. Introducing the Thompsons and Snowy's Chase (4.08)
5. Marlinspike Hall (3.59)
6. Escape from the Karaboudjan (3.21) Excellent track
7. Sir Francis and the Unicorn (5.05) Excellent track
8. Captain Haddock Takes the Oars (2.17)
9. Red Rackham's Curse and the Treasure (6.10)
10. Capturing Mr. Silk (2.58)
11. The Flight to Bagghar (3.33)
12. The Milanese Nightingale (1.30)
13. Presenting Bianca Castafiore (3.28)
14. The Pursuit of the Falcon (5.43) Excellent track
15. The Captain's Counsel (2.10)
16. The Clash of the Cranes (3.48)
17. The Return to Marlinspike Hall and Finale (5.51)
18. The Adventure Continues (2.58) Excellent track
Total Length: 65.26
Due to the death of Hergé in 1983, the creator never saw his comics come to life on the big screen. The love and respect however that the 2 had for each other was mutually equal. Spielberg fell in love with the art and passion of Hergé's animation and Hergé enjoyed the sheer immense adventure of many of Steven Spielberg's films. So many years later The Adventures of Tintin: The Secret of the Unicorn was born. A combination of three Tintin books: The Crab with the Golden Claws (1941), The Secret of the Unicorn (1943), and Red Rackham's Treasure (1944), it was Steven Spielberg's first stab at animation. The result was a tremendous box office success and a critically acclaimed experience around the world.
Of course there was no question about the musical choice for this kind of motion picture, considering Steven Spielberg only knows 2 notes, 1 name, 1 friend. But the question with filmmusic fans was if John Williams still had that creative taste for an adventure, like he had in the 1980's and 1990's. The time he created legendary scores for the movies Hergé fell in love it. Because no matter the quality of John Williams' music overall, his style has truly developed over time. But come to think of it, when listening to The Adventures of Tintin, my mind continuously reminded me that I was hearing snippets of Indiana Jones and the Temple of Doom, Indiana Jones and the Last Crusade, Hook, ... Meaning whatever you or I had of initial fear, John Williams immediately erased it with a classy adventure score full of wit, charm, themes and above all detailed orchestral panache.
No score of Williams is without themes or concert arrangements. Though Snowy's theme might be the only concert arrangement here, somehow the score seems to deliver a couple more as well. Snowy's vivid and energetic piece is of course a vital accessory to Tintin's main theme and runs along quite nicely during the many adventures the journalist and trusty sidekick are experiencing on screen. It's sprightly arrangement in "Snowy's Theme", it's appearances in "The Secret of the Scrolls" (which has the honor of stating the 3 themes (unicorn, Tintin and Snowy) together for the first time) and "The Return to Marlinspike Hall and Finale", or it's rhythmic escapades in "Introducing the Thompsons and Snowy's Chase" (by that also unleashing the lazy jazzy Thompsons theme which is also heard in "Capturing Mr. Silk"), Snowy's theme is as fun as Spielberg makes it on screen.
As you already read it, the unicorn theme is a vital part of the score as well and the reason why Tintin goes on a wild adventure across the globe in the first place. It's first mysterious appearance in "The Secret of the Scrolls" will remind us of Harry Potter and Hook, it's rousing version for captain Haddock's real life hallucination in "Sir Francis and the Unicorn" truly becomes one of this score's standout tracks. It's brief appearance at the end of "The Milanese Nightingale" shows us the location of the second ship and it's noble soft versions end "The Return to Marlinspike Hall and Finale" with a happy 'sequel potential' note.
Some tracks might seem to bring a little less enthusiasm at first, but appearances only deceive you if you're not paying attention. Snippets of "Marlinspike Hall" could have come so easily from Indiana Jones and the Temple of Doom, "The Adventures of Tintin" delivers us a jazzy opening piece that mixes the musical tone of Catch me if you Can with the eccentric sounds of "The Knight Bus" of Harry Potter and the Prisoner of Azkaban, "Captain Haddock Takes the Oars" will remind a lot of people of Hook's devious sounds (apparently suited for everyone who wears a pirate hat), while one will love the old fashioned fanfare at the end of "Red Rackham's Curse and the Treasure" and the European flavour of the accordion in "Capturing Mr. Silk" and "The Milanese Nightingale".
But when everything is said and done, one would almost forget that we still have the main characters own themes in the end. Tintin's theme might receive brief and subtle hints in "The Adventures of Tintin", "The Secret of the Scrolls", "The Clash of the Cranes" and "The Return to Marlinspike Hall and Finale", it's when we hear the heroic eruption in "Escape from the Karaboudjan" (with Indiana Jones and the Last Crusade influences) that we truly hear what a great theme it actually is. Of course a concert arrangement would have truly been the icing on the cake, but considering it is absent here it is wise to check out other bold statements in "The Flight to Bagghar" and the flute terrific "The Pursuit of the Falcon" (with a fun marching tank sequence that truly gets its influences from the famous tank sequence in The Last Crusade).
Captain Haddock's more devious theme turns up a lot more in "Captain Haddock Takes the Oars", "The Flight to Bagghar", "The Captain's Council", "The Clash of the Cranes" and in "The Return to Marlinspike Hall and Finale".
Altogether The Adventures of Tintin is still not the old John Williams at work here, but one must admit that he truly comes awfully close from time to time. One can actually describe it as a mixture of the old and the new John Williams, combining his undeniable knack for themes with his never ending attention to detail. The Adventures of Tintin becomes a fun experience if you truly hear him tying it all together. Just listen to the final piece "The Adventure Continues" to understand how John Williams' mind still works overtime on such a potentially rich project. One has to admit that alongside James Horner, John Williams is the only one capable of delivering a rich, mature and enjoyable piece of work for a blockbuster movie today. Embodied in his personal unique style, The Adventures of Tintin is without a doubt the score of the master, and an experience that will be enjoyed by a lot of people who missed the hand of the magician these past few years.
Tracklisting
1. The Adventures of Tintin (3.04)
2. Snowy's Theme (2.10)
3. The Secret of the Scrolls (3.13)
4. Introducing the Thompsons and Snowy's Chase (4.08)
5. Marlinspike Hall (3.59)
6. Escape from the Karaboudjan (3.21) Excellent track
7. Sir Francis and the Unicorn (5.05) Excellent track
8. Captain Haddock Takes the Oars (2.17)
9. Red Rackham's Curse and the Treasure (6.10)
10. Capturing Mr. Silk (2.58)
11. The Flight to Bagghar (3.33)
12. The Milanese Nightingale (1.30)
13. Presenting Bianca Castafiore (3.28)
14. The Pursuit of the Falcon (5.43) Excellent track
15. The Captain's Counsel (2.10)
16. The Clash of the Cranes (3.48)
17. The Return to Marlinspike Hall and Finale (5.51)
18. The Adventure Continues (2.58) Excellent track
Total Length: 65.26