'High concept' is a phrase coined by Hollywood to describe films whose central premise or selling-point is so strong and simple that it can be summed up in a few words: Ivan Reitman's Twins ('Arnold Schwarzenegger and Danny DeVito as twin brothers') is the classic example. Such films are revered in the movie business because they are thought to be childishly easy to market. Tintin in the New World is, by the same token, a 'high concept' novel, for its premise can be stated even more succinctly: 'Tintin grows up.' In Tuten's hands (and with the personal blessing, we are told, of his friend and mentor Hergé), the cherub-faced, boundlessly intrepid teenager achieves a miraculous release from his forty-year pre-adolescence and is made to undergo a swift, bruising rite of passage into adulthood. Hair sprouts on his chest, his voice breaks, he gets his first erection and to his own wide-eyed bewilderment finds himself in the midst of an awakening that is at once sexual, romantic and political.

LRB 2 December 1993 | PDF Download