Tintin Forums

Tintinologist.org Forums / Tintin news and events /

Small Tintin homage in Indiana Jones?

Page  Page 4 of 4:  « Previous  1  2  3  4 

#31 · Posted: 20 Jan 2021 19:34 · Edited by: mark1
Let me mention some correspondences between scenes and structure. Naturally, these are not direct copies or imitations, but notable. Choose your word: "inspired" or "influenced".
I think Indiana movies constantly refer to Tintin's some adventures in a peculiar way. They reflect "the mirror image" of Tintin comics in a collage.
Consider the geographical direction of  "Cigars of the Pharaoh" and the "Blue Lotus." (1932-1935). First Egypt, next India, then China (Shanghai). Tintin encounters with Chang at China. Indiana Jones arrives on the scene in Egypt (Raiders of the Lost Ark), moves to Shanghai at the beginning of the second movie (Temple of Doom) and immediately returns to India. And we have "Shorty", a Chinese boy,  in the great escape scene (I think this is not a shy reference to "Snowy".) He plays an important role in the rest of the movie.
Consider also these  scenes (you'll see a mixed and reverse interpretation).
"Cigars of the Pharaoh", part 2: from 20: 35 - "Raiders of the Lost Ark": 39.30 - 40.30: Tintin running - Indiana Jones running and chasing. Just smell the atmosphere and laugh to jokes!. You can also see the evil twins of Thompsons / Duponts with their hats in the movie. Tintin escapes via plane in this scene, very similar to the opening scene of "The Lost Ark" (already mentioned)
Compare the famous Hitler-Indiana scene from the "Last Crusade" (from 01. 09. 55)  with "Blue Lotus", part 2 (from 04.35): Indiana Jones in his own identity encounters with the man, Tintin in disguise acts as a "general".

Before this scene in the movie: Indiana and late Connery ride a German military motorcycle for two persons and escape from Nazis temporarily ("Last Crusade", from 01.03.15).
After the "general" scene in Tintin: Tintin escapes with a bicycle, Chinese soldiers pursue him with the same military motorcycle (Blue Lotus, part 2: from 06: 15)

In this tight context, compare also Tintin's and Indiana's troubled landing to India with a plane: ("Cigars of the Pharaoh", part 2: from 03.24; "Temple of Doom", from 15: 30)

There are some web rumours about a deleted scene from "Indiana Jones and the Last Crusade", which shows a Sallah with a camel. That's Haddock and Lama of course, but it needs to be checked. 

I think one can observe other examples within the context of "The Broken Ear" and "The Seven Crystal Balls-Prisoners of the Sun".

#32 · Posted: 20 Mar 2021 16:40
That's strange, I managed to read all Tintin comics and watch every Indiana Jones movie, and I managed to miss that... I knew it was present in other stories, but I thought it was just a "staple" of pulp/interbellum adventure series like the rolling boulders and old Egyptian or South American artifacts, and that it hadn't just been lifted from Tintin.
#33 · Posted: 24 Mar 2021 17:27
Choose your word: "inspired" or "influenced".

I'd go for "coincidence" myself - and even then, your choices are often, truthfully, rather tenuous: the fact that there is a motor bike and side-car in Lotus and one in Last Crusade is certainly true, but not remarkable or notable, as, firstly it's a period correct piece of military kit, and secondly, used in pursuits amongst other things - so there is no reason to suggest that you'd need to use Lotus as a reference to include it (and that's overlooking the fact that Tintin, as you say, was on a bicycle, being pursued by a motor-cycle and side car, and Indy and Henry Sr. were on the motor-cycle combo, being pursued), especially when there are other films with chases involving such vehicles - Where Eagles Dare for example.
Look at it another way (and putting aside the fact that Spielberg was not the source of much of the Indiana Jones material, and Lucas, Kasdan, et al., (who did write Indiana Jones) haven't been shown to have read, seen or known about Tintin and were not involved in the Tintin movie), there are far more compelling sources than Tintin for influence on the Indiana Jones series, starting with the movie serials that Lucas openly states he wished to pay homage to in his movies.

The photo blow-up on the wall at Lucasfilm, of the man leaping from horse to truck, taken from a frame of an old Hollywood film is a far more straightforward - and acknowledged - inspiration, than trying to make a case for someone in Hollywood having to use a series of Belgian comics in which an artist reused elements of the same old films he saw at the cinema in Brussels.

There are far better candidates for speculative influence upon Indiana Jones within the realms of cinema itself than any Tintin book: take the early Charlton Heston vehicle, Secret of the Incas, which itself was inspired by the 1948 book by Hiram Bingham, Lost City of the Incas and - possibly more importantly - a pragmatic decision by the film studio that movies shot in exotic locations were in vogue, and nobody had shot a Hollywood studio film in Peru before.

To allay any suspicions that the Bingham book was inspired by Hergé having written Seven Crystal Balls/ Prisoners of the Sun earlier in the forties, it has to be pointed out that Bingham was an explorer and archaeologist who had been writing about the Inca people and Machu Picchu in particular from 1911 onward in books and magazine articles, and is far more likely to have been a source of information used by Hergé than vice versa.

Anyway, Heston's Harry Steele wears what to modern audiences is the Indiana Jones costume of brown fedora, leather jacket, shirt, putty-coloured trousers, boots, and carries a service revolver; Deborah Nadoolman, the movie's costume designer, acknowledges that it was seeing this film several times during preparation for Raiders that she used as her template for what Indy wears in the field.

The film also has a scene where the location of a treasure is located by a beam of light - in the manner in which the jeweled head of the Staff of Ra is used by Indy in the Map Room to locate the Well of Souls. However, that to me also sounds very similar to how the Lidenbrock party use a shaft of light and a shadow to locate the entrance to the subterranean realm used by Arne Saknussemm in Verne's Journey to the Centre of the Earth; Verne has been cited by some as another influence upon Hergé, showing again that there is a large "soup" of ideas which popular culture draws on.

So, anyway, I just am trying to get across that the ability to make a link or association between incidents isn't enough to join Tintin to Indiana Jones, nor is it even necessarily significant.

King Solomon's Mines by H. Rider-Haggard, published in 1885 has a plot which hinges on the heroes being in possession of the date of an eclipse, and using it to their advantage.

A Connecticut Yankee in King Arthur's Court by Mark Twain, published in 1889 has a plot which hinges on the hero being in possession of the date of an eclipse, and using it to his advantage.

Prisoners of the Sun has as a plot which hinges on the hero being in possession of the date of an eclipse, etc. etc.

What can one say? Twain took from Haggard? Hergé took from Haggard? Hergé took from Twain? Maybe nobody took from anyone of the three, but drew on another source, which also used an eclipse - or maybe they came up with the idea independently. There's no question that the concepts are similar, but nothing to make a case of there being a tie between them, and at the end of the day it doesn't really matter as each stands in its own right as a work of popular fiction.

I thought it was just a "staple" of pulp/interbellum adventure

I'd be inclined to agree.
#34 · Posted: 28 Mar 2021 13:13
Yes, because it's something I had seen in pulp movies that predate Indiana Jones movies by decades, from a time when Tintin comics weren't that common in the US.
#35 · Posted: 17 Apr 2021 14:54 · Edited by: mark1
Thanks for comments, actually I wouldn't go for "coincidence", but anyway, regardless of independent motives and scenes one can find in adventure movies and books, I mentioned a strong resemblance between the structures of some scenes and episodes. This still needs an explanation and I don't believe that any other example is better than Tintin, because it's more appropriate than Tintin.

On the other hand, one can not accept the argument that anyone involved in Indiana movies haven't been shown to have "read", seen or "known" about Tintin (double quotes are mine). These people are professional and they are educated. I can't see any reason that they couldn't reach the comics in its original language and art.


P.S. I'm not interested in Spielberg's Tintin movie or who did write the Indiana scenarios. These are finished productions and I think we are here for the sake of curiosity.
#36 · Posted: 23 Apr 2021 16:52
Just want to mention about my post at 20 January 2021: there was a mistake. Don't search for Cigars of the pharaoh, part 2. Instead, search for part 1. Of course from 20: 35. That's same.

Page  Page 4 of 4:  « Previous  1  2  3  4 

Please be sure to familiarize yourself with the Forum Posting Guidelines.

Disclaimer: Tintinologist.org assumes no responsibility for any content you post to the forums/web site. Staff reserve the right to remove any submitted content which they deem in breach of Tintinologist.org's Terms of Use. If you spot anything on Tintinologist.org that you think is inappropriate, please alert the moderation team. Sometimes things slip through, but we will always act swiftly to remove unauthorised material.


 Forgot password?
Please log in to post. No account? Create one!