Tinker Tailor Soldier Spy

Boldly announcing himself upon the stage of international cinema with 2009's Let the Right One In, the significant critical and commercial acclaim accorded director Thomas Alfredson clearly proved him a filmmaker capable of pulling off high quality adaptations of complex and dark literary sources.

Called back into service to uncover the identity of a Soviet mole at the height of the Cold War, retired British intelligence operative George Smiley is tasked with unwinding a vastly convoluted web of conspiracy, codenames, double agents, and deceit.

The movement from relatively low-budget foreign language filmmaking to helming star casts in comparably costly productions is one that, historically, holds significant risk for directorial careers. Add to the mix the danger of bringing a much-loved novel to life on screen, and Alfredson is certainly faced with a substantial task. An espionage thriller, Tinker Tailor Soldier Spy—based on John le Carré's book—throws an extremely layered narrative at its audience and insists they keep up, making little in the way of allowance for those accustomed to excess plot exposition. Concerning an approximate dozen key characters—most of whom go by at least two names—the film contains a considerable quantity of raw information to be processed, particularly considering its reserved pace; the camera scrolls slowly across the screen in step with the story's measured progression, constantly moving along yet never losing the integral tension of its hastelessness. Alfredson and screenwriters Bridget O' Connor and Peter Straughan demonstrate a keenness for the more tensely-oriented end of the genre, delving into an atmosphere of unease rather than one of brisk spy action. There is almost an air of claustrophobia to much of the film, the caliginous cinematography and mysterious score combining to evoke an aura of noir paranoia. Much like Let the Right One In, Tinker Tailor Soldier Spy boasts a thrilling visual panache; indeed, Hoyte van Hoytema's cinematography is oftentimes so remarkably involving that entire scenes may pass by without any absorption of the dialogical details disclosed therein—the brain is simply too overcome by the aesthetic bombardment of visual pleasure to decipher the explicit aural signals. One particular shot—an extreme close-up of Smiley's wearied face draped in shadow— affords the audience the time to study the furrowed ridges of his forehead and the weighted bags of his eyelids, giving us an entitled sense of knowledge of, and familiarity with, this character. It seems almost redundant to offer praise to the film's extraordinary cast; a brief glance at the list of exemplary names will disclose the sheer calibre of talent on display: a veritable dream team of the finest names of modern British cinema. From Firth to Hurt, Hardy to Cumberbatch, Oldman to Dencik, the phenomenal cast plays beautifully together, each actor inhabiting their character with award-courting flair. Where Tinker Tailor Soldier Spy really shines is in its characterisation—an all-too often underutilised aspect in this genre—each of them distinctly human rather than simply mouths through which the plot developments are channelled. Their primary concern may be with their espionage, but ours is with them: exploring their motivations; their private lives; their loyalties; and just how a career like theirs affects an existence. A recurring Christmas party scene revisited a number of times throughout the film reminds us regularly that these intelligence agents are not solely extensions of the government's facilities, but rather human beings with emotions, afflicted by the agonies of their toils, burying themselves in vodka-laced punch to just get away from it all.

Hitting all the right notes in its performances, script, and direction, Tinker Tailor Soldier Spy triumphantly infuses a challengingly multifarious narrative with a deeper humanity, questioning by proxy the way in which devotion to duty affects all aspects of our lives. Shot with unforgettable effulgence—committing to memory eternal every last contour of Oldman's storied brow—it is a genuine achievement in cinematic storytelling.

Fans of mystery writer John LeCarre will be delighted with this artistic "film noir" style interpretation of his best selling spy novel "Tinker Tailer Soldier Spy". Performances by Gary Oldman as the quietly brilliant George Smiley and Colin Firth as a mysterious leading character create all the viewer should need to enjoy this movie; but, having read LeCarre's book helps, as watching the artistry of the film goes only so far. Eventually, the viewer must come to an understanding of the plot- a story about the way clandestine operations were executed, figuratively and otherwise, in the days post Cold War. Lots of Sherlock Holmes ponder- thinking goes into Smiley's ultimate conclusions, which makes this story a classic. Oldman is the perfect Smiley, so he kept the often confusing script together, simply by bringing LeCarre's lead spy to life. I recommend this movie but also suggest the viewer enjoy LeCarre's book prior to viewing. Wonderful performances throughout the film.

Forty-six year old Swedish director Tomas Alfredson came to prominence three years ago when he directed the film adaptation of John Ajvide Lindqvist's novel 'Let The Right One In'. After the initial success of the vampiric romantic drama, Alfredson became attached to an international adaptation of John le Carre's espionage-novel 'Tinker, Tailor, Soldier, Spy'. Based on aspects of le Carre's (also known as David Cornwell) experiences during his time as a member of the British Intelligence service sectors MI5 and MI6 during the 1950s and 1960s, Alfredson creates a fine, absorbing picture which engrosses from beginning to end.

Control (John Hurt), the leader of an unknown sector of the British Intelligence service, is ousted along with his long-standing companion George Smiley (Gary Oldman) due to a botched operation in Budapest, Hungary which saw the officer Jim Prideaux (Mark Strong) murdered in public. Control was under the impression that there was a mole among the top ranking members of the service, referred to as the Circus by the other top ranking members due to its location in Cambridge Circus, London, and Smiley is drawn out of retirement to pinpoint the culprit after Control passes away. Alongside the young Intelligence officer Peter Guillam (Benedict Cumberbatch), Smiley has four primary candidates to focus his investigation upon; they are the last remaining members of the Circus, Bill Haydon (Colin Firth), Percy Alleline (Toby Jones), Roy Bland (Ciaran Hinds) and Toby Esterhase (David Dencik).

Utilizing an all-star, established cast, Alfredson allows the film to unfold at an almost flawless pace. Every sequence contains a small snippet of information which allows the viewer to conduct their own investigation alongside that of Smiley's. While the narrative is also driven along by strong performances from the primarily male cast, Gary Oldman, Colin Firth, Toby Jones, Ciaran Hinds, David Dencik, Stephen Graham and Kathy Burke all give strong, commanding performances. While the true artists of the piece are Benedict Cumberbatch, who plays the young, and somewhat naive intelligent officer assigned to assist Smiley. John Hurt as the aging, instinct-driven leader of the British service, and Tom Hardy, who is Ricki Tarr the dirty cleaner for British intelligence's most fowl operations. Their performances go above and beyond in their supporting roles, and at times eclipse Gary Oldman's subdued portrayal of a man drawn back into the murky world of corruption, betrayal and treasure.

Alongside the narrative and its cast, one of the more surprising aspects of the film, is Alfredson, Cinematographer Hoyte van Hoytema and Editor Dino Jonsater's use of stylistic nuances that further enhance the viewing experience. Lingering close-up shots of seemingly insignificant objects and shallow focus shots constantly evoke the nature of mystery and intrigue which surrounds such clandestine organisations. Alfredson never rushes any moment, instead he allows for the audience to become accustomed to their surroundings and appreciate their beauty. Wide angle shots and long lenses are used for interior and exterior locations, showcasing the breakdowns of their interiors, while close-up shots are used to examine objects and characters in their most frail states. During the opening sequence involving Prideaux's botched secret mission, a simple concoction of jump cuts and lingering static shots concentrating upon various characters within the vicinity creates a sense of the tension, suspense and vulnerability of the situation and this is how Alfredson constantly keeps the audience engrossed. By providing those observing the action on screen with just enough information that they themselves become entwined within Smiley's investigation as he moves forward.

Once the credits and a dedication to the films screenwriter Bridget O'Connor who passed away last year finish, the viewer is left with an overriding sense of satisfaction. Smiley's world is a far cry away from the glitz and glamour that the espionage genre has become accustomed to. There are no martinis in sight, but only reel upon reel of bureaucratic wrangling, childish bickering and greed-induced deal-making, where it seems everybody is working for themselves and their reputation rather than the nation's government that is employing them. Since its premiere at the 68th Venice International Film Festival 'Tinker, Tailor, Soldier, Spy' has been touted as an Oscar contender and it is easy to understand why, Tomas Alfredson has taken a solid source novel, utilized an established cast and infused the final concoction with elements from his own visual repertoire to create a wonderfully crafted film that does the original BBC televised series justice.

You know. When you are dealing with a complex writer like LeCarre, you are going to get a complex movie. Unfortunately, to the casual viewer, there's an awful lot that is going on that is grounded in the long dark past. While the story of the search for a mole in the network is a valid pivot point, there are so many intricacies that you are left to guess. Perhaps I am not that bright, but I need a bit more. I guess the question is, do I need a George Smiley playbook or a stack of books to follow this film. If that's the case, how many people can appreciate this? The time period in issue is really in the fairly distant past. I have to agree that so much of what we see is really dumbed down, but when the plots are so slowly developed and depend on so much inside stuff, even the astute viewer is left in the lurch. It isn't that I didn't like it. But I may have to give it another shot to really appreciate it.

Atmosphere: superb. Acting: outstanding. Cinematography: wonderful. Soundtrack: very nice.

Still, I didn't like this film. And that's because of its only weak point: the storyline. I have never read the book it is based on, nor seen the television series, and I completely lost track of the intricacies of the plot. I had only a vague idea of what was going on, where the story was headed and what the time perspective was (indications of the years in the flashbacks would be helpful).

I watched this movie late on a Friday night after a busy working week, so maybe I wasn't as sharp as I should be. You have to be absolutely concentrated every single second to understand everything that happens in this film.

Perhaps the movie was not meant to be crystal clear, and perhaps the director wants the viewer to discover all the subtleties after a second or third viewing. But then you are left with lots of scenes in which middle-aged men with stiff upper lips exchange what seems to be incomprehensible inside information. The lack of much real action might be a plus for viewers who like serious films, but it's a disadvantage when you lose track of what is actually happening.