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tinker tailor is a masterclass in the mystery genre.It grips you from the very beginning and the characters are well fleshed. What I liked is the atmosphere along with the photography and cinematography.The dialogues are written in an excellent way and the silence speaks louder than words comes true.Acting is top notch with Gary Oldman and hardy at their best.The background music stands out. The director detailed everything with great complexity and emotion. Some might not like the pacing of the movie but personally, I think its decent enough. Its one of the best in mystery movies I have seen in the recent past .If you ask me its an 8 without being biased. Watch it if you want to be moved instead of just entertainment.
I never thought a movie with such amazing acting and cinematography
could be so unbearable to sit through. Not having read the novel or
seen the BBC series, I was completely un-engaged even on my second
attempt to sit through this 90 minute pill of Ambien.
It is baffling how much of the movie does NOT contain dialogue. You'd think the director could have maybe filled some of that dead air with some proper exposition, especially concerning the side characters. Either that, or make the movie longer than 90 minutes.
I would not recommend this movie at all, even to fans of espionage or think-pieces.
Even the most intelligent people will struggle to make sense of this film's garbled time-lines and lack of narrative context. 5/10
I am a life-long fan of John Le Carré. He is one of my favourite 20th
Century authors and he is still going strong in his 70's. 'Tinker
Tailor Soldier, Spy' was a classic of the cold war spy genre and it
wasn't long ago that I watched the BBC 1979 adaptation, which I enjoyed
very much, although I found the background music somewhat grating. So
it was with great anticipation that I sat down to watch the 2011
celluloid version of Le Carré's classic.
On the whole I did enjoy it and I think I will probably watch it again as I feel it is that rare kind of film that requires more than one viewing to fully appreciate its 'finer points'. I have to say that if I hadn't read the novel and recently watched the BBC version, I doubt that I would have had much idea about what was going on. The film is a 'film noir' to outdo all 'film noirs' and I think you would have you be a bit of a clever-clogs to really follow all the nuances of the convoluted plot if you hadn't previously read the book or seen the BBC adaptation. But given that I had and I did, I managed to follow where the film was going just about, as they did change some of the finer points of the story line. I also found some of the scenes quite brilliant in their ability to evoke to a bygone age and atmosphere.
I am now devoted fan of Gary Oldman who gave a masterful portrayal of George Smiley, but I do feel that most of the other main characters were pretty one-dimensional. Not the actors' faults, as they were all top drawer, and did their best with the material at hand, but more a fault of the screenplay. The exception to this was Smiley's wife, of whom we only ever caught the briefest glimpses, yet in some indefinable way, we somehow knew all about her. It is a 'patchy' piece of work brilliant in parts and sometimes baffling, but never, as some have asserted, boring.
The plot moves along in brief 'snapshots' of dialogue and action and as a consequence, you have to be pretty quick-witted to fully appreciate what is actually happening. Overall, it was an enjoyable 'ride', and I particularly loved the scenes of the spooks' 70's 'office Christmas party', which were so evocative, grotesque and almost scary. I also loved the ending, but I won't spoil it for you. Oh the music is totally brilliant!
The cast here is so exceptional - easily one of the best ensembles this
century - and the story crafted so meticulously, that it overcomes the
fact that for most of its runtime I was only comprehending it on the
margins. This is 20lbs of story stuffed into a 10lb sack, but by the
end most of the tumblers had fallen into place and the end result was
an intense, white-knuckle spy thriller without one car chase or
As I said, the cast is amazing, but not more so than Gary Oldman. The man is a chameleon, and this may be the finest performance of his career. But he's only one of a dozen great performances that help to shove aside any flaws and make 'Tinker Tailor Soldier Spy' a fantastic spy thriller.
At first this movie seem very long, I was a bit tired and that is not
the time to see a film like this, you have to pay attention at all
times and find out what is going on and how this story unfolds and is
an entangled mess of small stories and chaotic happenings melting
together. I guess this is what it has been like in MI-6 or other
agencies at troubled times, who is covering for whom, who is to be
trusted or maybe is not and how can the web be untangled.
There are many great actors in this film and they all play their roles to perfection, their characters are very different, but all have good, sad or character defining or changing moments and these are great to watch.
The film is long and not action packed, not even in the action scenes, the pace is very smooth and calm, just like the main character played by Gary Oldman. It seems very live like and very historically correct and that makes it interesting and entertaining.
-Tinker Tailor Soldier Spy is a 2011 Cold War espionage film directed by Tomas Alfredson. The screenplay was written by Bridget O'Connor and Peter Straughan, based on the 1974 novel of the same name by John le Carré. It stars Gary Oldman as George Smiley, along with Colin Firth, Tom Hardy, John Hurt, Toby Jones, Mark Strong, Benedict Cumberbatch and Ciarán Hinds. Set in London in the early 1970s, the story follows the hunt for a Soviet double agent at the top of the British secret service. The film was produced through the British company Working Title Films and financed by France's StudioCanal. It premiered in competition at the 68th Venice International Film Festival. It was a critical and commercial success and was the highest-grossing film at the British box office for three consecutive weeks. The film also received three Academy Awards nominations: Best Adapted Screenplay, Best Original Score, and for Oldman, Best Actor. The novel had previously been adapted into the award-winning 1979 BBC TV miniseries Tinker Tailor Soldier Spy. --Critical response: -Tinker Tailor Soldier Spy received generally positive reviews. Rotten Tomatoes sampled 206 reviewers and judged 83% of the reviews to be positive. The site summarised the film as "a dense puzzle of anxiety, paranoia, and espionage that director Tomas Alfredson pieces together with utmost skill". Metacritic, which assigns a normalised rating in the 0100 range based on reviews from top mainstream critics, calculated an average score of 85 based on 42 reviews. -- Sequel: -While doing press for Working Title's Les Misérables film adaptation, producer Eric Fellner stated that fellow producer Tim Bevan is working with writer Straughan and director Alfredson on developing a sequel. Fellner did not specify if the sequel will be based on The Honourable Schoolboy or Smiley's People, the two remaining Smiley novels in Le Carré's "Karla Trilogy".
*** This review may contain spoilers ***
Rated 7 out of 10 When I look at Tinker Tailor, I get the sensation of touching and feeling the texture of wool felt, grey and grainy. The film has never feared of keeping the audience waiting. It's like waiting in a restaurant, hoping the waiter carrying your order might come up at any second, and the only thing you could do is listening to the music running through the restaurant's speaker. In this case, Alberto Iglesias's excellent scores would immediately place you in a rather apathetic atmosphere of the cold war era. The whole film is mainly about how George Smiley (Gary Oldman) uncovers the identity of the mole inside the top of the Circus, the British Intelligence Service. The film never intends to surprise you, as what the old man in the film Sleeping Beauty (Australia) says, the great truths are often unsurprising. Thus throughout the film, you will rarely feel extremely intense, but the film creates something grasping that makes you unable to leave it aside. It's always puzzling for me to understand how these characters manage to seek the underlying facts from the minimal evidence. And that is probably why I failed to catch up with the story the first time I watched it. So don't worry if you feel the same while watching it, watch it again. However, that might be one of the things that this film fails to accomplish, to guide the audience through the process of unraveling of the mystery. I don't think a film that fails to let the audience understand the surface reality of it is worth applauding, but I have to admit the beauty of the images of this film has absolutely overshadowed this. This film applies a number of close-ups. Therefore, most characters' faces and emotions are all under the audience's monitoring, which makes it looks like if all of the characters have nowhere to hide. In the scene which Smiley tries to replicate the exact actions and words he used in his encounter with Karla, the leader of Russian Intelligence, to Peter Guillam (Benedict Cumberbatch), Oldman stares right into the camera, and then into the audience's eyes; you can see all the subtle changes of Smiley's face while he's talking and it's as if you're Karla, and he is speaking to you. Smiley is no wonder the protagonist of the film. Different from Bourne or Bond, Smiley rarely makes a sound or ever shows emotions; he is almost as cool as the color of his hair----silver; he is not the one that you'll look twice if seen on the street, but through his thick spectacles and distinctive accent, you can instantly realize this is Smiley. To me, Oldman's performance of Smiley is absolutely true to the original novel, written by John Le Carre, but on the other hand, a bit overly pretentious. Oldman's Smiley is conspicuously different from all other characters, which are exposed of their greed and cowardice; he's almost detached from the world he is in. But that might be exactly what the film wants Smiley to be, to stand out, to be silent but appealing. Besides Oldman, the whole cast gives a convincing and compelling performance, including Colin Firth, John Hurt, Ciaran Hinds, Toby Jones, Tom Hardy, Mark Strong, David Dencik, and Kathy Burke as the officers of the Circus. One of the smart things that the film does is to eliminate Lady Ann Sercombe's face. We can only see Ann's back, her blurred figure, or her figure in dark in the whole film. If you have seen the film or read the George Smiley Series written by Le Carre, you would learn that Ann has a complicated relationship with Smiley throughout the storyline. I'm often curious of how Smiley feels about this. One of the scenes that I feel is quite symbolic (which means I think there's something more than it but I have no idea) is the scene in which Guillam is driving Mendel and Smiley to Hotel Islay and a bee comes into the interior of the car. Guillam is quite annoyed by the bee. Smiley notices the bee, then rolls down the window, lets the bee out. Maybe if you have any opinion of what this scene symbolizes, you should contact me. Tinker Tailor is inundated with natural sounds but lacks human voices. You can hear Control (John Hurt) sitting down, the sound of the chair moving and Control landing on the chair; you can also hear the clicking sound between the coffee cup and the plate knowing the Hungarian waiter's hands are shaking nervously. The magnification of the sounds actually produces a subtle but significant sense of tension for the audience. You can imagine what it would feel like if you could hear the leaves rubbing against each other in the wind, people mumbling words, sweat dropping to the ground all of this, continuously, endlessly; it must be excruciating. I have heard that listening to the sound of water drop is one of the ways of torturing people. This is the time when I hesitate again if we should call all films 'entertainment'. Tinker Tailor is not an 'everyone's film'. I would not say that Tinker Tailor is entertaining but is quite well-planned, enigmatic and thought-provoking. I do not intend to recommend this film to you or to discourage you to watch this film, it is up to you, if you ever want to see (*spoiler alert) Bill Haydon being shot by Jim Prideaux (Mark Strong) with Le Mar in the back ground.
*** This review may contain spoilers ***
John le Carre's spy story TINKER TAILOR SOLDIER SPY is one of the
greatest spy tales ever told. It traces the search for a Russian spy
within the British Secret Service, and exposes the cynicism and
emptiness that forms a part of a spy's life. It was magnificently
adapted into a TV series in the 1970s, and it was adapted into a
feature film in 2011, with sadly a little less success.
Technically, the film is brilliant. It took six months to edit the film together into a stunning presentation; it's filled with flashbacks, long pan/zoom shots, and montages that present the impression of a puzzle seen through a scope, from which the viewers must look in and work out the truth at the heart of the events (and even then they won't get the full story). The production design and cinematography looks suitably bleak and cramped, recreating the wintry feel of Cold War London.
The cast play characters who betray and are betrayed, in various ways and levels. Gary Oldman is a standout as the restrained mild- mannered protagonist George Smiley, and he leads a cast of veteran actors Benedict Cumberbatch, Colin Firth, Mark Strong and David Dencik, among others who do well in the roles they are assigned. If you've read le Carre's novel there isn't anything too special except for Oldman and Cumberbatch, whose roles are slightly different than expected (Smiley is more emotional, while Guillam is a homosexual), which lends depth to their performances.
Sadly, the film falls short where the story is concerned. The story simply needs more than two hours to be told in an appropriate manner; for a TV series this worked out fine, but for a feature film a lot of things had to be compressed, shifted and cut out for the sake of running time, and it overall leaves the story in a sadly patchy, watered-down version of what it used to be and should be. This adaptation has less suspense, is more complicated (at least for those who don't get the story) and feels more hopeless and futile than the book and TV series (which at least presented a ray of hope for things getting better).
The film is great as a period piece, and forms a technically superb work, successfully capturing the cynical and bleak times of the Cold War. But story-wise, the tale is sadly as bleak and disappointing as the film's setting. It's good for a watch once in a while, but viewers are better off watching the TV series.
*** This review may contain spoilers ***
Really nicely done but maybe much too light on action for a lot of
They must have poured a fortune into the sets, the period cars, etc. and every penny showed--it was simply luscious. As far as the story, I can't remember if I ever read the book, and while I saw the earlier adaptations, I can't remember them well enough to compare and contrast this version with those older ones.
In any event, I feel that this production can definitely stand on its own, and I like movies that take their time and aren't just "wham, bam, thank you ma'am," so the languid pace was just fine with me. Be forewarned though, that this is mostly a psychological talking movie with only occasional little spurts of action.
I don't know or can't recall the original source material, but I strongly suspect that the minor homosexual side stories were added to make the movie seem more contemporary and up-to-date, and I'm not sure if I really care. I guess this modern twist didn't hurt, but it didn't really seem to add anything either.
So, overall, a slow but worthwhile and pleasant ride, something that is hard to find in modern cinema.
It was a conceit for the producers to think they could do justice to Le Carre's masterpiece in a 2 hour movie. Instead, what they have delivered is a rushed and incoherent condensation of the major plot points of the book which omits most of the backstory, with its petty bureaucratic infighting and backstabbing, sacrificing the dramatic weight of the original. It lacks the sad atmosphere of slow and inexorably building suspense that makes Tinker Tailor such a remarkable story and it's what makes this hurried remake for the attention deficit crowd so ill-conceived. That people have been impressed with this movie only shows how low the bar has been set for movie drama. Oldman's glum, wooden Smiley fails to convey any of the nuanced internal conflicts that were portrayed so brilliantly by Alec Guinness in the 1979 English TV mini-series. Skip this travesty and check out the 1979 production. You'll see what a great dramatization can be.
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