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Tinker Tailor Soldier Spy 2011
Description: In the bleak days of the Cold War, espionage veteran George Smiley is forced from semi-retirement to uncover a Soviet mole within his former colleagues at the heart of MI6.
Released: 06 Jan 2012 Director: Tomas Alfredson Writers: Bridget O'Connor (screenplay), Peter Straughan (screenplay), John le Carré (novel) Actors: Mark Strong, John Hurt, Zoltán Mucsi, Péter Kálloy Molnár Genres: Drama, Mystery, Thriller
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Tinker Tailor Soldier Spy Reviews:

It is real to tell that Smiley is no Bourne nor Bond but Tinker Tailor Soldier Spy is a beautifully played and observed spy film. Could you expect vehicle chases, spills, thrills, gadgets galore and closely-choreographed war scenes then you WILL be disappointed. Set in smoke-filled, sepia-tinged 1970s, the movie centres around the uncovering of a mole 'right at the top of the circus'. The 'circus' is the British Intelligence Services and is made up of a who's who of British acting talent - Firth, Hinds, Cumberbatch, Hardy, Powerful and Hurt. For the most part, the action takes zone in the brown-suited and wall-papered globe of England but we are given brief glimpses of the spy zone in Budapest, Paris and Istanbul. Smiley, played inscrutably by Oldman, is tasked with uncovering the mole and is ably assisted by Guillam, the ever-watchable Cumberbatch. Admittedly this is a slow-burn of a film, full of meaningful looks, pregnant pauses and one that tips at deeper and more complex plot strands but it has an authentic air and it is a fascinating to observe a build-up of tension and cold-war paranoia which culminates in a dramatic if subdued fashion. Being slightly too young to have watched the original Alec Guiness TV series, I cannot create any direct comparisons and I imagine that a TV series allows much more time for plot and hero development. The movie gotta be judged on its own merits, and whilst I am sure that this will not be to many mainstream movie-goers' tastes, it is one for those who are looking for a movie of a various type, time and pace.


There is a certain snobbery with movies that require more than a tiny amount of attention – an opinion that if you even ask about a tiny feature that you missed that you could then go watch Transformers and leave true movies to the grownups. It is unpleasant superiority and it is mostly undeserved because to be honest this is a difficult movie to follow and it does demand attention. Those wishing to insult me via personal message can do so, but I did struggle few times to understand how things fitted together and what relevance certain scenes had. This didn't limit my enjoyment of the movie though and mostly I still followed the broad stroke of the plot, even if some bits of it did lose me.I've not read the tome of a ebook or seen the BBC mini-series, so I can't comment how well it compresses down to this two-hour film, but for me it did at times seem to be cramming a lot into a tiny time and occasionally it felt like it was unnecessarily convoluted or confusing. If you stay with it as greatest you can, it is intriguing and rather dramatic considering that much of the movie is folks talking to one other as opposed to chases and gun fights. The success of this is mostly down to the atmosphere and tone created by director Alfredson, because there is a constant tension to the movie – cold perhaps, but very tense at times, certainly not bored even if it can look that method from a distance.This is not what he does greatest though, because to there was an aspect to the movie that was perfect and this was the feeling of outdatedness, of an unnecessary function and a pointless "war". This feeling is in the characters, in the set-decoration and in each shot. The boys we follow had the height of their import many years ago – actually it appears they are mainly fighting their equal numbers on the another side simply because they exist. I really liked this overarching sense of smallness that sat across the movie and I enjoyed finding it being employed in even the smallest feature – in the attitude of a minor hero through to the cheap "do not unplug" text scrawled on the wall (those that work in older offices will know this feeling). Alfredson is bang on the cash with this feeling, it is part of the storyline and it is brilliantly delivered throughout.Speaking of brilliant delivery, the cast is deep in British talent and unsurprisingly they deliver. Oldman may not have won the Oscar but he is nice here – working with restraint and doing so much. He does so much with minor reactions and movements and he is a nice character. He is the lead here but alongside him is a cast that is difficult not to just list – Cumberbach, Hurt, Jones, Firth, Burke, Graham, Hardy and so on; British all perhaps but it tells a lot that almost all of the helping users here will be recognised internationally. Everyone gives powerful performances and everyone seems to understand what Alfredson is doing.Overall, this is a nice movie albeit one that is not as simple to follow as those impatient snobs would have you believe. It is OK to struggle with some aspects and it is still simple to play the film. The plot engaged me but what stayed with me more than anything else was how it all seemed so unimportant, how those involved were all working to ignore the irrelevance of their work and how very tired this globe seemed – this aspect was very well done and made the movie as much as Oldman's powerful central performance.


Forty-six year old Swedish director Tomas Alfredson came to prominence three years ago when he directed the movie 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 another top ranking members due to its zone 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 basic 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 movie to unfold at an almost flawless pace. Each sequence includes a tiny snippet of notification which allows the viewer to conduct their own investigation alongside that of Smiley's. While the narrative is also driven along by powerful 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 real artists of the piece are Benedict Cumberbatch, who plays the young, and somewhat naive clever officer assigned to support Smiley. John Harm 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 helping roles, and at times eclipse Gary Oldman's subdued portrayal of a boy drawn back into the murky globe 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 test 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 easy concoction of jump cuts and lingering static shots concentrating upon different characters within the vicinity creates a sense of the tension, suspense and vulnerability of the case and this is how Alfredson constantly keeps the audience engrossed. By providing those observing the action on screen with just enough notification that they themselves become entwined within Smiley's investigation as he moves forward.Once the credits and a dedication to the movies screenwriter Bridget O'Connor who passed away last year finish, the viewer is left with an overriding sense of satisfaction. Smiley's globe is a far cry away from the glitz and glamour that the espionage category 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 Movie Festival 'Tinker, Tailor, Soldier, Spy' has been touted as an Oscar contender and it is simple 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 make a wonderfully crafted movie that does the original BBC televised series justice.



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