The Crab with the Golden Claws (1947)

aka Le Crabe aux Pinces d’Or

2015 #1
Claude Misonne | 58 mins | download | 1.37:1 | Belgium / French

Le Crabe aux Pinces d'Or DVDBy 1947, Hergé’s boy reporter/adventurer Tintin had already been around and increasingly popular for nearly two decades; had survived World War 2 and the controversy of being published in a Nazi-controlled newspaper; and the release of his adventures had recently been transferred to a dedicated magazine, Le Journal de Tintin. What better time to bring the character to the big screen?

Adapted from the ninth Tintin adventure, which is the one that introduces popular supporting character/co-lead Captain Haddock, the plot sees Tintin following clues left by a dead seaman to uncover an opium smuggling operation being run on Haddock’s boat without his knowledge. Animated via stop motion using doll-like puppets, the film was only ever screened twice before being seized when its producer declared bankruptcy and fled to Argentina. A print is stored at the Cinémathèque Royale in Belgium, where it seems it used to only be available to paying Tintin club members, but in 2008 it was released on DVD in France. English-friendly versions are available online, not least via YouTube. The picture quality is poor, but, having gone to the trouble of acquiring a higher-res copy, I can say it doesn’t get much better. It is in the wrong aspect ratio, though — approximately 1.69:1. It doesn’t look too distorted, but if you see a 4:3 version it suddenly looks right. (I presume the DVD was incorrect because I had to adjust the copy I downloaded.)

As for the film itself, it’s incredibly faithful to Hergé’s original tale — it may not be adapted frame-for-frame, but it’s incredibly close. A couple of action sequences have gone astray, presumably because that’s harder to achieve with puppets, but it also streamlines the story slightly. I can’t speak for the French dialogue, but the fan-made English subtitles are word-for-word with the book. Of course, that may be where they’re sourced from.

Haddock, Tintin, Snowy, 1947 styleIn my review of the Spielberg film, I remarked I hadn’t read the albums it was adapted from so couldn’t vouch for its fidelity. Watching this, it’s clear that a sizeable chunk of the storyline was actually adapted from The Crab with the Golden Claws, to the point where I was starting to wonder if Moffat & co had taken the entire plot from Crab but subbed in the MacGuffins from Secret of the Unicorn. In the end, about half of this made its way into the 2011 film, including everything aboard the Karaboudjan, the lifeboat and plane sequences, and some of the desert material, too.

In this version, there’s quite a good bit where Tintin and Haddock escape from the Karaboudjan but we don’t see any of it, instead following the traitorous Mr Mate as he discovers all the crewmembers our heroes have tricked and tied up. As with everything else, this is book-faithful, but works even better on screen. Plus, Captain Haddock has a musical number, about his love for “the bottle and the sea”; and later he has another with Tintin, too. The main lyric is, “tra la la la lai doo”.

Technically, it’s not the most sophisticated stop motion you’ll see, but it’s not bad considering its age. The models are of their era too, but pretty good on the whole. The two exceptions are, firstly, the black characters — a weakness of Hergé’s book, they were replaced with white characters in later years, but this is faithful to the original version. The dolls aren’t any better than Hergé’s drawings. Secondly, the facial design of Tintin’s doll Le Crabe aux Pinces d'Or original advertmakes it look as if he’s permanently shocked by everything.

The Crab with the Golden Claws must be the most adapted Tintin adventure now (it was also animated in both the ’50s and ’90s series), which isn’t necessarily warranted: it was a tale compromised by the circumstances surrounding its publication, and apparently is largely a rehash of an earlier story. It’s not without merit, though — all of the good stuff was filched for the Spielberg film, funnily enough. This version isn’t bad, but is really no more than a funny little curio. One for the hardcore fan, be that of Tintin or the history of stop motion animation, or the insatiably curious.

3 out of 5

2014 In Retrospect

It was 100 Films’ greatest ever year in terms of sheer size, but it was also one of the highest-scoring too, with the most five-star ratings I’ve ever awarded and the second-highest average score to date. Now it’s time to look back over the list and ask: Which were the cream of the crop? Which were the dregs? And which significant new films did I not even see?

To top it off, you can make your voice heard by voting for your favourites (plural) in this year’s top ten poll. Exciting stuff.

So without further ado:



The Five Worst Films I Saw For the First Time in 2014

In alphabetical order…

Chicken Little
Disney are back at the height of their powers of late, at least as far as the box office is concerned, with the phenomenon that is Frozen. Things weren’t so rosy in the early ’00s, though, leading them to abandon traditional 2D animation for the burgeoning world of 3D CGI. Their first effort was this dross, instantly proving it wasn’t the style of animation that was the problem.

G.I. Joe: Retaliation
I only gave this two stars (as opposed to one) for two reasons: 1) the rather cool cliff-swinging fight sequence, which deserves to be in a better movie, and 2) because for some unknown reason I’d given the Team America-esque first one two stars, and this is marginally better. Really, though, it’s awful: messily told, tonally uneven, ridiculous in any number of ways. Even as a daft actioner, it’s no fun.

Ghost Rider
Ghost Rider’s maligned sequel, Spirit of Vengeance, wasn’t particularly good, but at least it embraced the trashier, grimier aspects of the character (even if it was only in a PG-13 way). This first attempt to bring the Marvel anti-hero to the big screen tried to force the concept into the shape of a trad blockbuster, ending up with a Constantine rip-off. As hardly anyone liked Constantine, that wasn’t a very good idea.

Nativity 2: Danger in the Manger!
I liked the first Nativity — it’s not high art, but it’s a perfectly lovely Christmas movie. This follow-up has to switch out Martin Freeman for David Tennant, which isn’t a problem, but the new story is. Not that it’s much of a story, more a series of loosely-connected misadventures. Throw in a climactic concert made up of truly dreadful new songs and you have a disappointingly charmless sequel.

Transformers: Dark of the Moon
Michael Bay can make good movies, but he seems to have forgotten how. There are many things wrong with this third Transformers flick, but what’s most shocking is how ineptly it’s put together. For experienced filmmakers, there’s no excuse. Apparently this year’s fourth instalment is even worse, but it’s tough to imagine how. To quote a character in the movie: “does it suck or what? I mean it’s like a bad sci-fi film.”

Dishonourable Mention
Sin City: Recut & Extended
Not bad enough to actually make the bottom five, this recut took a film I remembered loving and messed about with it so much it made me doubt if I’d ever liked it in the first place. It could be my tastes have changed in the intervening nine years, but I suspect it’s at least as much due to the frustrating and near-pointless rearrangement of the running order. I recommend you stick to the theatrical cut.



The Ten Best Films I Saw For the First Time in 2014

The fascinating story of the outrage provoked in Britain by gory horror movies in the early days of VHS. Excellently constructed from talking-head interviews and archive clips, it not only tells the tale clearly but also presents spot-on juxtapositions. Informative both for those who lived through it and those for who it’s now part of history, the important message is how easily such censorship was allowed — even encouraged — and that we must be on the look out for it again. Unfortunately it is happening again, to the internet this time, and once again is being championed via misinformation from those with a vested interest. I guess more people need to see this film…

The gang’s all here for an all-eras X-Men team-up, the original cast teaming up with the First Class lot, and led by original franchise director Bryan Singer, for a time-travelling adventure inspired by the classic comic book storyline. Some surprisingly deep characterisation, buoyed by strong performances from a first-rate cast (how many of them are Oscar nominees/winners?), rubs shoulders comfortably with witty and inventive action sequences. The series that kicked off the current Hollywood superhero obsession proves it can still hold its own among the big boys that have come since.

Darren Aronofsky’s multi-pronged narrative about the evils of addiction is sometimes cited as one of the bleakest films ever made. Even if you’re prepared for that, the verve of the filmmaking transcends expectations. Finely-tuned editing and attentive sound design gradually position the viewer for the climax, a fast-cut perfectly-scored assault on the senses that almost batters you into submission. It may ultimately be grim and without hope, but it’s so amazingly crafted that you’re left longing to experience it again regardless.

Snatched off the street, locked in a bedsit for 15 years, then inexplicably released and given just days to figure out why it happened — that’s the concept behind this dark South Korean thriller (remade in America to no fanfare and even less acclaim in 2013). Oldboy mixes what could almost be a straightforward revenge thriller with weird, almost surrealistic touches, for a whole that is ready-made to be cultish without the self-conscious Cult-ish-ness that such things are normally saddled with. It ends with twists and revelations so hard-hitting they equal even the famous single-take hammer-featuring corridor scene.

Found-footage and superheroes — two current cinematic obsessions, reviled by some and beloved by others. They had to come together eventually. Director Josh Trank keeps a handle on affairs, so that the film always sticks to concept without becoming samey, while screenwriter Max Landis reveals the true nature of his characters as he leads them from low-key beginnings to a barnstorming citywide climax that’s a bit like the ending of Man of Steel, only really good.

Why aren’t there many thrillers set inside the jury room? I’d wager because 12 Angry Men got there a long time ago and nailed it. A man is on trial for murder; we join the case as the twelve-man jury enter their deliberation room. Eleven of them are absolutely certain; one thinks they ought to discuss it. For the next 90 minutes, twelve men sit in one room and talk to each other… and it’s absolutely gripping, tense and thrilling, with moments that make you virtually punch the air with excitement. It’s a masterclass in constrained filmmaking, from director Sidney Lumet, and acting, from a cast of twelve peerless performers.

The sequel to the prequel of the Planet of the Apes takes the fad for all-CGI characters and brings it to maturity with a fully-realised ape society, played by mo-capped actors led by Andy Serkis, that is far more interesting than the human portion of the story. This is a story of interspecies relations where everything could be fine if it weren’t for past distrust and people constantly bringing guns along — like the best sci-fi, it reflects our world back at us. They claimed Avatar proved motion-captured performances should be considered alongside ‘the real thing’. Rubbish. Dawn, however, makes that case completely.

Hated by Stephen King, author of the original novel, and his most die-hard fans, Stanley Kubrick’s adaptation sees Jack Nicholson and family as the caretakers and sole residents of a remote hotel over a snowbound winter, when very creepy things begin to happen… Goodness knows what any of it ultimately means (I know there are plenty of wild theories — I’ve got Room 237 recorded to catch at some point), but as an exercise in eliciting emotions of dread and almost-primal fear, it’s second to none.

The sixth feature film to star Hergé’s boy reporter (yes, really) sees the master of action-adventure cinema, Steven Spielberg, bring us the best Indiana Jones movie in over 20 years — only it’s computer animated and stars a blonde Belgian chap with a posh British accent. Rendered with incredible realism by Weta, with a screenplay that perfectly balances investigation, action and humour, and direction that knows when to maintain verisimilitude and when to cut loose with all the freedom CGI can offer, Tintin is a quality entertainment. Very nearly my film of the year, but for…

Regular readers will know I love a single-location thriller, and this is one — it just happens that the single-location in question is the entire orbit of planet Earth. There may not be much of a plot (“woman gets stranded in space; tries to get to safety”), but it doesn’t matter: director Alfonso Cuarón reminds us of his mastery of the single-take, using it to better connect us to the characters’ experiences. I’m sure people were right that it’s best in 3D on a huge screen, but even in 2D on a telly it’s spectacular. It’s also the third film in my top five that’s only been made possible thanks to advances in computer graphics — that surely says something about how an intelligent use of CGI still allows filmmakers to innovate.



Top 10 Poll

As ever, I welcome your opinion on my top ten — not just in the comments section, but also in the form of a lovely poll. This year you can pick multiple options, so feel free to vote for all your favourites.

And if you feel I’ve made an unforgivable omission, do feel free to berate me below.



Honourable Mentions

Yet another record: for the first time ever, all of my top ten films are ones I awarded a full five stars to. That’s once again testament to the quality of this year’s viewing, because I felt sure at least one four-stars-er would make the list. To be precise, that was The Green Hornet, which I know isn’t widely liked but I rather loved — I called it “one of the best superhero movies of the current generation”, in fact. On the day, though, I couldn’t in good conscience say it was better than any of the films I have included. I guess that confers 11th place on it.

In total, 27 main-list films earned themselves a five-star ratings this year. As well as those in the top ten (for which, see above, obv.), the others were After the Thin Man, All is Lost, La Belle et la Bete, Dead Poets Society, Good Morning Vietnam, Good Will Hunting, The Hunger Games: Catching Fire, In Your Eyes, The Kings of Summer, Rear Window, Saving Mr. Banks, The Searchers, The Secret of Kells, Sightseers, The Thin Man, The World’s End, and Zero Dark Thirty. Additionally, both of the ‘other’ titles I watched and reviewed — The Hobbit: An Unexpected Journey (Extended Edition) and miniseries The 10th Kingdom — also scored full marks.

There are any number of other films I could highlight here — my long-list for the top ten had over 50 movies on it, and at least 25 of those were genuine contenders — but two categories stand out. Firstly, after finishing the Falcon series earlier in the year, towards the end I made a start on The Thin Man, watching the first three out of six films. They’re excellent fun, the tonal inspiration for the likes of the Saint and the Falcon (which I’ve previously covered in full), but on the whole even better. Expect reviews before too long.

Finally, we all know superhero and comic book movies are everywhere right now, and will continue to be so if the announced plans of Marvel Studios, Warner Bros, Fox, Sony, and the rest, come to fruition. It’s felt particularly true for me this year, with not only a few well-received recent releases (Captain America: The Winter Soldier, Guardians of the Galaxy, X-Men: Days of Future Past), but also getting caught up on an array of recent entries (all but two were from the past decade, and one of those is only 11 years old). All told, there were 22 superhero, comic book, or related movies on this year’s list — that’s 16%. For a single subgenre — and not one where I’ve (say) dedicated myself to watching the entirety of one series — that does seem rather a lot…



The Films I Didn’t See

As is my tradition, here’s an alphabetical list of 50 films that were released in 2014 but I’ve not yet seen. They’ve been chosen for a variety of reasons, from box office success to critical acclaim via simple notoriety. It’s biased slightly towards ones I might actually see at some point, though there were a couple of highly-successful or much-discussed ones I felt couldn’t/shouldn’t be left out. Feel free to assume which ones those are.

22 Jump Street
300: Rise of an Empire
’71
American Sniper
Big Eyes
Big Hero 6
Birdman
Boyhood
Calvary
Divergent
The Equalizer
Exodus: Gods and Kings
The Expendables 3
Godzilla
Gone Girl
The Grand Budapest Hotel
The Fault in Our Stars
Foxcatcher
Fury
Hercules
The Hobbit: The Battle of the Five Armies
How to Train Your Dragon 2
The Hunger Games: Mockingjay – Part 1
The Imitation Game
The Inbetweeners 2
Inherent Vice
Interstellar
The Interview
Into the Woods
Locke
Lucy
Maleficent
The Maze Runner
A Million Ways to Die in the West
The Monuments Men
Mr. Turner
Mrs. Brown’s Boys D’Movie
Muppets Most Wanted
Nightcrawler
Noah
Paddington
Pride
The Raid 2
RoboCop
Teenage Mutant Ninja Turtles
The Theory of Everything
Transcendence
Transformers: Age of Extinction
Unbroken
Under the Skin



Party like it’s Nineteen Ninety Nine…

It’s 100 Films’ ninth year — crikey, when’d that happen?

Expect more archive reposts (can I finish them before my 10th anniversary?), a third round of “What Do You Mean You Haven’t Seen” (it’s got a killer new acronym…), and — fingers crossed — both my 1,000th review and the official 100 Films’ #1000!

All that and hoverboards. We were promised hoverboards.

The Adventures of Tintin: The Secret of the Unicorn (2011)

2014 #134
Steven Spielberg | 107 mins | Blu-ray | 2.35:1 | USA & New Zealand / English | PG / PG

The Adventures of Tintin: The Secret of the Unicorn1981: Steven Spielberg reads a French review of his movie Raiders of the Lost Ark. His high-school-level French serves him well enough, although there’s repeated use of one word he doesn’t know: Tintin.

25 years later: Spielberg has been struggling to make a film version of Hergé’s character for quarter of a century. While developing a live-action version that would feature actors under heavy prosthetics so as to resemble their comic book counterparts, he realises Tintin’s famous dog, Snowy, will need to be computer generated. He reaches out to Peter Jackson and Weta, fresh off their ground-breaking work on The Lord of the Rings. Their test footage is so successful, it gives Spielberg another idea…

2011: after 30 years, Spielberg finally brings the boy reporter to the big screen as a motion-captured animation. Reviews and public reception are mixed, particularly in the US, but they’re all daft because The Adventures of Tintin: The Secret of the Unicorn is bloody brilliant.

Combining events from three of Hergé’s original albums, the story sees Tintin (Jamie Bell) purchase a model ship that is highly desired by the mysterious Sakharine (Daniel Craig). A riddle hidden inside the model sets the ever-inquisitive reporter on a quest to find out what nefarious deeds Sakharine is planning, along the way bumping into drunkard Captain Haddock (Andy Serkis), who holds the key to the entire mystery. Cue a globetrotting adventure that, yes, is very much in the Indiana Jones mould.

Tintin and HaddockApparently some Tintin purists weren’t so keen on the actual adaptation — elements of The Crab with the Golden Claws have been mixed in to a plot primarily taken from The Secret of the Unicorn, the sequel/second half of which, Red Rackham’s Treasure, is reportedly used sparingly. Plus, in the original tale Sakharine is a minor character who wasn’t responsible for much, apparently. As someone who’s only read one of those three volumes, and even then not since I was young, such things didn’t trouble me. What superstar screenwriters Steven “Doctor Who” Moffat, Edgar “Cornetto trilogy” Wright and Joe “Attack the Block” Cornish have captured is the spirit of Tintin: an engrossing mystery-adventure, laced with gentle satire and smidgens of slapstick comedy, but with real stakes and peril too.

A talented cast are up to the task. Bell adopts a posh-ish accent for the titular hero, and while some of the accusations of blandness aren’t wholly misplaced, he’s plucky and determined enough to make for an appealing lead. The king of mo-cap, Serkis, is able support as Haddock, while Craig makes for a very effective villain — I hope his post-Bond career, whenever that arrives, sees him playing villainous roles more often. Interestingly, it was his mannerisms that have survived the animation process the most. I mean it in an entirely non-critical way when I say every other character could have any actor behind the mo-cap baubles, but Sakharine’s face and body move with all the recognisable movements and expressions of his actor.

Of course he can't talk, he's a dogThe slapstick is mainly hoisted by Simon Pegg and Nick Frost as the physically-identical Thomson and Thompson — a true advantage of animation, that. I imagine some find their parts tiresome because of their inherently comic role, but they’re likeable versions of the characters. Even more joyous is Snowy, though. Well, I would like him, wouldn’t I? His internal monologue, such a memorable part of Hergé’s books, is omitted (as it is from every film version to date, I believe), but he’s full of character nonetheless. Some of the best sequences involve Snowy running in to save the day. I don’t think they quite got the animation model right (the one glimpsed in test footage included in behind-the-scenes featurettes looks better, for my money), but his characterisation overcomes that.

Bit of an aside, but I think there’s something notable about almost everyone mentioned so far: Moffat, Wright, Cornish, Bell, Serkis, Craig, Pegg, Frost… All British. I know that’s because we’re awesome ‘n’ all, but I think it’s also indicative of Tintin’s status in the English-speaking world — which more or less boils down to “unknown in America”, but also “pretty darn popular in Britain”. At least Spielberg, the man who wanted to cast an American as Harry Potter, seems to know this (further evidence: they’ve hired another British screenwriter for the sequel). For whatever reason, Tintin has never clicked in America, while the books remain very popular over here. It therefore feels like there’s a better chance for the films’ fidelity by using Brits (who have the correct tone and style almost ingrained) than by using people coming to the stories entirely for the first time, and perhaps bringing a more generic blockbuster sensibility. On the other hand, this might just be a horribly xenophobic way of interpreting a coincidental appearance by so many Brits in key roles — after all, Tintin’s Belgian, so it’s not like using Brits is “true to source”.

Action directionOf course, one very important person is neither British nor Belgian: Spielberg. The screenplay’s balance between peril and comedy is spotlessly enhanced by his peerless direction. In a world stuffed to the gills with lesser blockbusters that palely imitate the groundwork Spielberg and co laid in the ’70s and ’80s, work like this should remind people why he’s still the master of the form. The film is shot with an eye for realism (so much so that some viewers have been convinced it was filmed on real locations with real actors, with some CG augmentation for the cartoonish faces, of course), which helps lend a sense of plausibility and also genuine jeopardy. It’s easy to get carried away when working in CG animation, but often the most impressive works are ones that behave as if they’ve been shot largely within the limitations of real-world filmmaking technology.

That said, Spielberg isn’t afraid to make use of the freedom afforded by working in a computer-generated realm when appropriate: there are some spectacular individual shots, the most obvious being a single-take chase sequence down a hillside through a town. Even better are some of the transitions, which would be literally impossible to realise in live-action — without resorting to effects work, anyway. They’re hard to accurately describe, especially without ruining them, in part because each instance is different; but they do all look incredible, and, again, serve the story rather than being flashy for the sake of it.

It always went ok on Flight Simulator...The tone on the whole is resolutely PG — actually, like many an action-adventure blockbuster used to be before everything went slightly darker and PG-13. So, for example, Tintin wields a gun on occasion, but never at another human being. The focus is on the story, which happens to lead to some adrenaline-pumping sequences, rather than a lightweight excuse to link together a bunch of punch-ups and chases. Ironically (though, for anyone who knows what they’re talking about, entirely expectedly) this makes the action all the more exciting. It also mean there’s a lighter touch than many current blockbusters offer; a greater presence for humour, including among the action. I guess that’s not fashionable these days, when everyone’s become so po-faced about their big-budget entertainment. However, with the likes of Iron Man and Guardians of the Galaxy proving immensely popular, perhaps the tide is turning, and maybe the still-on-the-cards Jackson-helmed sequel will find itself better received because of that.

I genuinely don’t understand the muted reaction to this first Tintin, though. It perhaps shows where blockbusters have gone awry in the last decade or two, and perhaps the incidental disdain animation is viewed with among some — I wonder: if the same movie had been produced in live-action, would some of those critics have been better disposed to it? I don’t think it would have actually been a better film, and perhaps it would even have been slightly worse (some of the visual impact would be lost), Herge's Adventures of Tintin!but some viewers would have seen it (even subconsciously) as more of a “real movie”.

As I said at the start, those people are Wrong. The Adventures of Tintin is a fantastic adventure movie, and should prove to anyone who doubted Spielberg after Kingdom of the Crystal Skull that, when it comes to globetrotting action-adventures, he’s still the man to beat.

5 out of 5

The UK network TV premiere of The Adventures of Tintin: The Secret of the Unicorn is on BBC One today at 4:25pm.

It placed 2nd on my list of The Ten Best Films I Saw For the First Time in 2014, which can be read in full here.