The Themes of The Adventures of Tintin

[crocodile 7,989]

As far as the themes go, there is a very specific POA-like (mostly flute-driven) music that accompanies the falcon itself in the pursuit scene. It don't know whether that counts as a leitmotivic idea, but I noticed that when watching the picture.

Karol

[ChrisAfonso 186]

Well, if we assume that the "bad guy" in that sequence is the falcon Tintin is chasing, then the "bad guy" music here is the flute flourishes Also, there's a short passage there with trombone-heavy deep hits that sounds similar to the crane fight music. So based on what appears or doesn't appear in the pursuit track, the question is still undecided

/edit: and again I'm too late... that's what you get from touch-typing on your phone...

@filmmusic: Great summation of the motivic connections! Although I feel that the Snowy one is already on muddier grounds than the obvious previous ones (as Josh said, we have to be careful not to overanalyze). If we take this further we soon have Snowy's theme as the early prototype of the Unicorn theme, based on the delimiting notes of the thematic contour - and IMHO, that's a bit far-fetched

[Josh500 1,615]

Well, if we assume that the "bad guy" in that sequence is the falcon Tintin is chasing, then the "bad guy" music here is the flute flourishes Also, there's a short passage there with trombone-heavy deep hits that sounds similar to the crane fight music. So based on what appears or doesn't appear in the pursuit track, the question is still undecided

Yes, but the best indicator is still the music itself. JW is a master when it comes to evoking characters and emotions through complex orchestration. Listen very closely to those passages in question: can you really believe that's Tintin, a heroic reporter out to save the day?

I honestly can't. Too dark, too menacing, too creepy.

[filmmusic 1,823]

yes, i know the Snowy's theme connection would seem a bit far-fetched.

I'm not saying that it's a conscious one (maybe it is, maybe it isn't) but a composer dealing with the same musical motives in a film over and over, trying this and that in the piano, can't help but make themes that will be based on the same basic material in the end.

(e.g. a theme like Leia's theme here would be totally out of place)

Such musical procedures have been criticized even when made by "Big" musicologists and writers..

It's difiicult to go into the composer's mind.

But as I heard Snowy's theme over and over, i somehow felt that i've heard this somewhere, and so made the connection.

I just made the observation, and it's then in the hand of the reader if he accepts it or not.

(also i don't think it's a coincidence that we find in Snowy's theme the notes Bb and Eb when we're in G major, which are the characteristic notes in all those other themes)

about the thing Josh said (that "you can find any connectionsn you want to"), it's not always the case.

If there is no concnetion at all you won't find it.

I bring again the example of Leia.

I can't find a connection between Leia's theme and Tintin's theme because there isn't any..

[Josh500 1,615]

I'm not saying that it's a conscious one (maybe it is, maybe it isn't) but a composer dealing with the same musical motives in a film over and over, trying this and that in the piano, can't help but make themes that will be based on the same basic material in the end.

(e.g. a theme like Leia's theme here would be totally out of place)

Such musical procedures have been criticized even when made by "Big" musicologists and writers..

It's difiicult to go into the compsoer's mind.

Well, of course, but that's true of any artist who creates things, not just composers. Spielberg shot WotW and soon thereafter Munich. Let's say, for example, he was inspired by a shot he created in WotW and used a similar shot in Munich. Does that mean the two shots have a connection? Well, in Spielberg the creator's mind, sure. But otherwise . . . not really. It's, for want of a better word, just "coincidence."

For me, if a connection between themes wasn't a conscious decision and by design (say, like with "Anakin's Theme" and the "Imperial March"), it's not really a connection.

about the thing Josh said (that "you can find any connectionsn you want to"), it's not always the case.

If there is no concnetion at all you won't find it.

I bring again the example of Leia.

I can't find a connection between Leia's theme and Tintin's theme because there isn't any..

Okay, then I will amend my statement: "You can find almost any connectionsn you want to."

But you know what I mean.

[filmmusic 1,823]

well, the connections (in every film score) just show a specific stylistic approach. No theme comes from nowhere.

(I'm speaking as a composer too for films, because I'm doing the same things some times consciously and sometimes unconsciously).

what is the stylistic approach in Tintin? the basic elements?

1) a major/minor arpeggio that is arranged in every way

2) the gesture C#-D-G (that could be reinterpreted as C#-D-B in the Thomspons' theme)

3) the lowered 3rd and 6th, and augmented 4th in a major scale (if we're in G major that is : Bb, Eb, C#)

All the themes I notated above, share some or all these stylistic elements.

another example from E.T.:

What is the basic stylistic element there?

the interval of a fifth with large value notes, followed by a group of smaller value notes.

this applies to E.T motif (the flute theme in the start of the film), Flying theme, E.t. friendship theme, Keys' theme.

Each individual theme didn't pop out of nowhere, but it's a part of a basic unifying element..

[Brónach 1,301]

I keep listening to stuff here and there and going "I've heard this somewhere else in the CD!", but unable to point it out.

[Josh500 1,615]

Well, OK, let's look for more themes! I have this feeling there might more to be found here...

[filmmusic 1,823]

Much debate has been made regarding the theme in track 1 and whether it is or it isn't the same with the theme referred as Tintin's theme version B (now "bad guys" theme).

Here I present the theme in its complete form in track 1, and its various renditions throughout the track (to see how much it changes or reduced to its basic elements).

This theme can't be found anywhere else in the soundtrack. Just in track 1.

The tonalities that it passes, show again how Williams sticks to the subdominant and dominant of a tonality since it goes from G to C -D -F - C - C# -D

[Incanus 5,713]

Do we have anymore info on the intriguing theme appearing on those numerous tracks and listed at the moment as Tintin Theme B. Is it for the bad guys or is it a secondary theme for Tintin?

[Jay 37,322]

Well Alexander said:

The A and B theme thing is like Indy.

No one has verified if the two different Unicorn Themes represent different things yet either

[filmmusic 1,823]

I'll watch out for those themes as well (tintin's A & B and Unicorn A & B) when I see the movie in exactly one week.

[Josh500 1,615]

Okay, I just saw the film.

A few things that I noticed:

1. The first track "The Adventures of Tintin" actually plays very briefly during the movie, as well.

2. What we have been calling "Tintin's B theme" may not represent any character. During the Falcon track, it plays when the bad guys approach Tintin. (So it could just be a general danger motif). I didn't think it was Tintin's theme, though, because Tintin doesn't actually do anything when it plays. Whenver he does anything heroic, Tintin's A theme appears.

3. The fourth track "Introducing the Thompons etc." is actually one long track. These are NOT two cues.

4. EVERY major cue is on the OS album, EXCEPT for one: the small bit we first heard in the Spanish trailer, Tintin's A theme played on a French horn.

5. The movie is very good, although sometimes I thought it was a little over the top. This definitely has a LOT of rewatch value, though. I'd give it 4,5 stars out of 5.

[Jay 37,322]

What about the Unicorn Theme vs the Secondary Unicorn Theme? Does each represent something different?

[Josh500 1,615]

The "Unicorn Theme" is the theme for the unicorn, duh.

The "Secondary Unicorn Theme" might be a general "mystery theme." This most often plays when Tintin and co. are trying to find out what the mystery is all about...

Does each represent something different?

But in the end they might both represent the unicorn... The first is a bit more grand, that's all. The second is a bit more cautious, emphasizes the mystery aspect.

[Jay 37,322]

Alright. And what about the theme that appears in "Escape from the Karaboudjan" as well as the aforementioned unreleased Karaboudjan cue (the one featuring the A Theme on French Horn)? Is that a theme for Alan, for Sackharine, or a general danger theme?

[Josh500 1,615]

Alright. And what about the theme that appears in "Escape from the Karaboudjan" as well as the aforementioned unreleased Karaboudjan cue (the one featuring the A Theme on French Horn)? Is that a theme for Alan, for Sackharine, or a general danger theme?

No, that's definitely the theme for Sackharine.

_____

The "mystery solving theme" as we have been calling is indeed that. If I am not mistaken, it plays thrice in the movie when Tintin figures out something . . . the three cues we have on the OS album.

[Jay 37,322]

Does Sackharine's theme appear in any cues besides those two Karaboudjan cues?

Oh, and kudos for using "Thrice" - my favorite word!

[Josh500 1,615]

Does Sackharine's theme appear in any cues besides those two Karaboudjan cues?

Hmmm, good question. The music was not mixed as loudly as I thought after reading some of the reports here, so during some scenes (especially the crane scene) I had difficulty hearing everything. I think it plays a couple of times early on and maybe during the crane scene, but don't hold me to it.

Oh, and kudos for using "Thrice" - my favorite word!

[Jay 37,322]

Would you say the Mystery Solving Theme is used exclusively for TINTIN himself solving a mystery, or when anybody solves a mystery?

[crocodile 7,989]

It does at least once more when they're aboard the ship when we see the falcon for the first time. I think that's the kind of theme that serves to set up a menacing mood early on, but doesn't really go anywhere. I can't remember it appearing after the escape from Karaboudjan.

Karol

[Josh500 1,615]

Would you say the Mystery Solving Theme is used exclusively for TINTIN himself solving a mystery, or when anybody solves a mystery?

No, only Tintin. It's only Tintin who does any mystery solving...

___

By the way, "Picking Pockets" is really negligible. They were actually right in omitting this. (Although I wish they hadn't omitted that French horn solo of Tintin's theme, which plays when

Tintin meets Haddock for the first time aboard the ship

. (minor spoiler)

[crocodile 7,989]

It might be the scroll theme.

EDIT: Oh sorry I was replying to your question about the secondary Unicorn theme. Sort of like the medallion theme in Raiders or the B section of skull theme in KOTCS.

Karol

[Jay 37,322]

You mean the secondary Unicorn theme might be? The one that only appears in tracks 3 and 5 of the CD?

[crocodile 7,989]

Yes, I realized I replied to your post from the earlier on. The pages load in a strange way. It happened before. Sort of like the medallion theme in Raiders or the B section of skull theme in KOTCS.

I might go and see the film again to check.

Karol

[Josh500 1,615]

It might be the scroll theme.

EDIT: Oh sorry I was replying to your question about the secondary Unicorn theme. Sort of like the medallion theme in Raiders or the B section of skull theme in KOTCS.

Karol

Yes, could be!

Indeed, the most powerful statement of the "Secondary Unicorn Theme" plays at the very end, when

Tintin and Haddock return to Marlinspike and break through the cellar wall to look for the treasure--with the help of the scrolls!!

[Jay 37,322]

Aha! Well, that settles it then. I was right!!!

To bad that portion you mention is not on the OST

[Josh500 1,615]

Yes indeed.

That's the "scrolls theme"!!! Now it makes all sense. And scrolls really play a BIG part in the movie...

Btw, I said I give the movie 4,5 stars out of 5, but I give the score full 5 stars. The movie is exceptionally well scored indeed, especially the action scenes. This is really JW in ToD and Raiders mode. I was blown away by the score as heard in the movie.

[Jay 37,322]

Main post fully updated with new theme names. Thanks everyone who has seen the movie

Can't wait till I get my chance to see it!

[Josh500 1,615]

To bad that portion you mention is not on the OST

No, but it is. The most powerful statement of that theme is actually what we hear at the end of the track "scrolls"! The one we also heard in the trailer. That track is actually made up of several cues!

[crocodile 7,989]

I just want to mention (while we're talking about the finale cue) that I absolutely love the oboe solo at 2:34 into the penultimate track.

Karol - who misses woodwinds

[Jay 37,322]

To bad that portion you mention is not on the OST

No, but it is. The most powerful statement of that theme is actually what we hear at the end of the track "scrolls"! The one we also heard in the trailer. That track is actually made up of several cues!

What are you saying, that music from the very end of the movie was tucked into track 3?

And yes, I am aware that track 3 is made up of 3 different cues

[Incanus 5,713]

Thanks for all the info Josh! Great to have some clarifications on some of the more elusive themes!

I just want to mention (while we're talking about the finale cue) that I absolutely love the oboe solo at 2:34 into the penultimate track.

Karol - who misses woodwinds

Indeed. Such a beautiful passage and truly sounds so effortless and haunting. Williams writes so well for the woodwinds, oboe in particular.

[Josh500 1,615]

I have to say, every cue that I noticed and found worth having (except for that French horn solo) is actually on the OS album. Sure, there are minor cues here and there, but these are all somewhat similar to other cues that we already have!

To bad that portion you mention is not on the OST

No, but it is. The most powerful statement of that theme is actually what we hear at the end of the track "scrolls"! The one we also heard in the trailer. That track is actually made up of several cues!

What are you saying, that music from the very end of the movie was tucked into track 3?

And yes, I am aware that track 3 is made up of 3 different cues

Yes, indeed. I was paying particular attention to that music (since I've grown so fond of it hearing in the traielr) and I noticed that it didn't play anywhere at the beginning. Then, toward the end, before the final reveal, so to speak, it does play. I said when exactly a few posts above marked by spoiler tags.

[crocodile 7,989]

Sir Francis and The Unicorn is great in the movie. There is some slight tracking in there (or inserts, I don't know), but it still works marvelously well, doesn't it? Well, both parts of the sequence are great.

Karol

[nightscape94 965]

Williams is the type of guy who would be capable of arranging themes in a highly intricate way, just because of his ability and musical genious. So it's a matter of weighing that with realism.

Some of the themes, like Tintin's and the Unicorn Themes, may be related on purpose, because there is a certain flow and similiarity in idea, whereas the Snowy and Tintin Themes may just be coincidental because Williams establishes a musical identity or language for the film, so any theme he writes within that chordal structure may share some notational similarities, but not necessarily conciously.

Tim

[Incanus 5,713]

Can either Josh or Jason say where does this Mystery theme/Scrolls theme for the finale appear in the Secret of the Scrolls?

[Josh500 1,615]

Yes, "Sir Francis and The Unicorn" plays (again, that word) thrice in the movie! It gave me pleasurable chills every time.

[Jay 37,322]

What are you saying, that music from the very end of the movie was tucked into track 3?

And yes, I am aware that track 3 is made up of 3 different cues

Yes, indeed. I was paying particular attention to that music (since I've grown so fond of it hearing in the traielr) and I noticed that it didn't play anywhere at the beginning. Then, toward the end, before the final reveal, so to speak, it does play. I said when exactly a few posts above marked by spoiler tags.

You're talking about 0:00-1:34 of track 3, right? because 1:34-end was definitely WRITTEN for the beginning of the movie...... it could have been dropped from its intended place at the beginning and then tracked into the end I suppose...

[Josh500 1,615]

Can either Josh or Jason say where does this Mystery theme/Scrolls theme for the finale appear in the Secret of the Scrolls?

I don't know when the cue used at the end of the movie starts in the 3rd track, but the statement I am talking about (2:47-3:08) plays at the end, before the final mystery is solved! And as far as I can say, nowhere else.

A softer version of that theme at the beginning of the track is heard at the beginning of the movie.

Thanks for all the info Josh! Great to have some clarifications on some of the more elusive themes!

No problem!

I really enjoyed this movie, and for me, the 3 highlights (movie and score wise) were definitely "Sir Francis and The Unicorn," "The Pursuit of the Falcon," and "Flight to Bagghar", in that order. These will blow your minds!

[crocodile 7,989]

Yes, you can hear the opening of the track when we first see the model.

Karol

[Jay 37,322]

I don't really know when the cue used at the end of the movie starts in the 3rd track, but the statement I am talking about (2:47-3:08) plays at the end, before the final mystery is solved! And as far as I can say, nowhere else.

That was definitely written for the beginning of the movie, so I guess it was tracked into the finale, not originally intended to be there.

[Josh500 1,615]

I don't really know when the cue used at the end of the movie starts in the 3rd track, but the statement I am talking about (2:47-3:08) plays at the end, before the final mystery is solved! And as far as I can say, nowhere else.

That was definitely written for the beginning of the movie, so I guess it was tracked into the finale, not originally intended to be there.

Yes, possibly. It fit very well, though.

And I have an idea "Sir Francis and The Unicorn" is also tracked at least once (we hear it thrice it in the movie). But it worked every time.

"The Clash of the Cranes" is actually interrupted once, and we hear "Sir Francis and The Unicorn." I am pretty sure that was inserted there...

[crocodile 7,989]

I don't really know when the cue used at the end of the movie starts in the 3rd track, but the statement I am talking about (2:47-3:08) plays at the end, before the final mystery is solved! And as far as I can say, nowhere else.

That was definitely written for the beginning of the movie, so I guess it was tracked into the finale, not originally intended to be there.

Remember about the 2011 additional scoring sessions. They could have added an insert or two. It might not even be the same track, just a similar one. Just saying.

Karol

[Josh500 1,615]

I gotta say, I was just glad that statement of the "Secondary Unicorn Theme" is in the movie at all. When it didn't play anywhere at the beginning, I actually thought it was dropped from the movie altogether...

____

Oh and something else: that brief section in "Flight" 1:09-1:12 actually does represent the propellers of the plane! I was right!

That whole scene is just so well scored, it does remind me of "Map/Out of Fuel" and even "Slalom on Mt. Humol"...

[Incanus 5,713]

Oh and something else: that brief section in "Flight" 1:09-1:12 actually does represent the propellers of the plane! I was right!

That whole scene is just so well scored, it really does remind me of "Map/Out of Fuel" and even "Slalom on Mt. Humol"...

Sounds like classic Williams of the best adventure tradition then. Even just on CD. The busy strings are just so humourously frantic in that cue. The music really sounds like the heros are teetering on the edge of catastrophe but it sounds so fun.

[Josh500 1,615]

Sounds like classic Williams of the best adventure tradition then. Even just on CD. The busy strings are just so humourously frantic in that cue. The music really sounds like the heros are teetering on the edge of catastrophe but it sounds so fun.

Yes indeed!

In fact, the whole movie is highly reminiscent of Raiders and Temple of Doom and, yes, the Last Crusade. The spirit, the adventure, the music, the locations, the excitement . . . this is really "just" another version of Indiana Jones!

[Romão 2,274]

After seeing the movie, I'm bit more puzzled about the Treasure theme. When the slow version is played, it clearly reffers to the treasure itself, but the fast version (as heard in that awesome reveal of Bagghar), seems to relate more to that Maroccan port city. It's also heard in it's fast version when

Tintin finds a brochure of Bagghar on the Karaboudjan. This segment is also unreleased

[Jay 37,322]

Aha! I was right all along! I knew the fast verstion was a theme for Bagghar, and that the slow version wasn't the exact same melody

[Incanus 5,713]

Aha! I was right all along! I knew the fast verstion was a theme for Bagghar, and that the slow version wasn't the exact same melody

You don't think it clearly has a double meaning thematically in different readings? I still strongly think it is the same melody but the fast version has a more exotic and opulent orchestration and Williams extends the material a bit further to refer to Bagghar since it is the destination of the quest and place where a piece of the Unicorn puzzle can be found. And wouldn't it somehow indicate that they are the one and the same if JW rescored his fast version of the material in a couple of scenes with the slow version, film makers going for a more mysterious feel for those sequences.