Long before Spielberg's "Tintin," or the fun but low production value TV series, came the Tintin movies of the 60s and 70s, like "Le laq au requins" (The Lake of the Sharks), "Les oranges bleues" (The Blue Oranges) and "Le temple du soleil" (The Temple of the Sun). Of these films, "Temple" most reflects the difficult transition Georges Remi (Herge to fans) made as an artist from the 1930s to the 1950s. His "Tintin au Congo" or "Tintin en Russie" are jingoist tales of Belgian colonists and adventurers. Herge even had to redact dialog bubbles in "Congo" later on. But converts to a cause often become its strongest proponents. By the time he wrote "Le lotus bleu" or "Temple," he has strong young characters representing their societies (Chang for China, Zorrino for Peru). Indeed, when "Temple" first came out as a weekly strip in a magazine, it was accompanied by detailed articles on Peru, the culture of the Incas, and the fauna and flora of the region. A few years later, when penning "Tintin au Tibet," Herge had become post-modern.Herge always retained a keen eye for racism and stereotyping, and Capitaine Haddock was his medium for it. He bumbles and stumbles around foreign locales as a comedic character, mis-appreciating everything in a storm of swearwords while Tintin, the straight man, befriends the locals and gets down to business. However, Herge never fell for political correctness, and the locals are as likely to be bad as good, and the ones in "Temple" are no exception to the rule.The film chronicles Tintin's voyage to rescue his friend Professeur Tournesol (Calculus), abducted by an Inca cult when he desecrates a hallowed bracelet. On their way, Tintin and Haddock get to know Peru, are chased by bumbling detectives, are befriended by some Indios and are hunted by others, with Condors, alligators and spitting llamas thrown in along the way. The voyage ends in success when Tintin, captured by the Incas, uses his knowledge of a solar eclipse to awe his captors. Here the film (and Herge) grossly underestimated the Incas, who had very sophisticated astronomical knowledge. But much of this would not have been known to Herge when he wrote the story in the 1940s (while SS occupied his house!).The film follows the two comic books fairly faithfully, with extras from the magazine strip thrown in (the magazine version was more extensive than the comic books, which were always cut back to 62 pages). I saw it in French, and it had a great soundtrack with original songs. Many designs were faithfully taken from archaeological material to add realism to the story. The animation occasionally suffered from amateurish drawing, Belvision just was not Disney Studios, where Disney never tolerated imagery imperfection in any of his films.Despite the not always perfect animation, the story moves along with good doses of humor and adventure, stalling only occasionally, and it does something that will be hard to replicate by any Spielberg Tintin sequel: it takes itself and its young viewers seriously. The humor is never self-deprecating, rather it showcases the difference between Haddock's and Tintin's views of the world.

"Tintin and the Temple of the Sun" is a movie I can't review without drowning myself in an ocean of sentimentality. Whatever rating I gave, no matter how objective my words would sound, it will never capture the profound feelings the film inspires me, something hard to express because extremely rooted in the inner depths of my childhood. And it doesn't get easier with age.I remember I was between 4 and 5 when my father brought me, as he used to do, a VHS from the local store. Probably convinced that I'm more attracted to Disney-like cartoons, he told me it was "Tintin", something I would probably dislike. My father grew up with the same comic-books than I but was never really fond of Tintin, too serious, too long, too literary, and not as fun and exciting as Asterix, Lucky Luke and Marvel Comics. I saw the film, it interested me, it made me laugh, it scared me, it grabbed me, I'm not sure I loved it the first time, but at the age of 7, the VHS was still in my collection and I could recite it by heart.I think the secret of the film's appeal had probably something to do with its relative seriousness. I was watching an animated film that looked like a real-life film, and was as thrilling as an adult-movie. The opening that presented the curse of the 7 explorers who found the mummy, the hideous but nightmare-inducing sight of Rascar Capac with the whole voice-over narration and the ominous music, my heart was hooked. By the way, I was less scared by the mummy than the costumes during the Carnival sequence, my phobia of clowns made me hide every time it started. Believe me, some of them are very scary, just the slightest thought of them makes me shiver.Or maybe what I most loved was the film's undeniable escapist value, "Prisoner of the Sun" on which the album was adapted, with a shortcut taken on "The 7 Crystal Balls", is, if not the greatest, the most eclectic adventure of Tintin, multiplying the natural settings, from the mountain that Tintin climbs to save Milou … sorry, Snowy and using the condor as a parachute, to the menacing jungle where they exterminate the crocodiles, and in-between, the impressive avalanche in the cold summits. If there ever is one movie that truly captures the meaning of 'adventure', it's this one. A raid to Peru, an Inca curse, supernatural elements mixing with natural dangers, you'd tell me that Spielberg never had Tintin in mind while conceiving Indiana Jones, I wouldn't believe you.And what makes the whole adventurous mood even more appealing is that it's all motivated by friendship and the desire to save Professor Calculus. Tintin, as usual, indirectly provides a great lesson of courage, friendship and humanism. And this is how, as a kid, this little-known movie (outside the French-speaking area, I guess…) made me familiar with condors, Incas, eclipses. This is how, as a kid, I was inspired by Tintin's courage, I laughed at the goofy Thomson's clumsiness and Haddock's anger (especially when he's mocked by the clapping monkeys) and was touched by the brave little Zorrino, though smartly wondering why a boy would have a female voice.Thrills, seriousness, escapism, appealing characters … all contribute to the film's entertaining value. But still, what printed the film with magical letters in my heart was the music. The score of "The Temple of the Sun" was and still is one my favorite ever, and I implore you to listen to it even without watching the film, it is so great that I'm sure if the film was American, it would have earned it an Oscar nomination, not that it matter though, but I wish it was more famous. The score, especially the trumpets and violins part, always pumped my heart with an insatiable thirst for adventure, it has the inspirational quality of a John Williams' music with something borrowed from Maurice Jarre.And the musical magnitude doesn't end with the score but also with the beautiful songs sung by Zorrino, songs that are fittingly written by the legendary Brel, Belgium's greatest artist wrote songs for Belgium's greatest character. And till now, Zorrino's song sounds like a hymn to my lost childhood. Till now, I have goose bumps whenever I hear it, because it reminds me of these years when my father was my age, when I was still sensitive to the magic of little things. The film is so emotionally loaded for me that it doesn't matter how adult I am, it will forever awaken my inner child.And my story with the film didn't stop with the VHS, my father accidentally taped a 1990 World Cup football game on it, and I looked for the film for five years. Meanwhile I read the comic-book, I got more interested in the written adventures, and it wasn't until 13 that I could finally see the film again. I was mature enough to find some flaws; the way the characters were drawn that didn't match the background obviously painted to imitate a sort of Disney style. Of course, I understood the animators took some liberties with the story, they added a sort of romantic subplot, the Thompsons as comic reliefs, of course, but nevertheless, the magic was still intact.I just hope kids today can still be affected by the charming simplicity of Tintin, a hero in the noblest meaning of the word with his bravery and humanism as only superpowers. I know for my part, I will forever cherish this film. I'm sure that in my deathbed, if I was recollecting the magic of my childhood memories, the music will resonate in my mind, while I will sing in myself, "why should I go now", just like Zorrino.

this in my opinion is better than the cheesy low budget TV adaption in fact it's way better it has a great music score by Francois rauber in fact in my opinion it's one of the greatest film scores of all time good animation no stock sound effects (except the police siren)and great voice acting (zorrino's voice is a little girlie but who cares)and overall a great movie it is a little rushed but it's way better than the cheesy TV adaption and if you don't agree then you're dumb how could you choose the lame anti climactic ending of the "better" adaption over a great movie like this? anyway it's a great movie infinity stars out of infinity

It has been some time since I read the fantastic Tintin books by Herge but I remember enough to know that there are a number of changes in this version from the book so do not expect to see an animated book in front of you. One example, look at the front cover of prisoners of the sun ( image is online at Amazon ), it does not appear in any of the frames - why? Maybe considered too "scarey" for animated visuals yet not for a book read by the very same audience. The music and songs are a pretty dire purile Disney-ish addition, and in the dubbed English version the voices grate. Some of the animation is a mite dodgy but generally good ( using the base artistic talent of Herge how could it not be ), but my fiance who did not know when the "filming" had taken place thought it was computerised it was so good enough and in her view more advanced than other cartoons of its day. As a Tintin fan I would love to see a series of feature length films bringing them to life in a more accurate and sympathetic manner that appealed as much to their adult as the child fanbase rather than the current choices we have - 20 minute or 5 minute truncated serialisations on television or the one or two full film length but compromised variants.