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Tinker Tailor Soldier Spy

  • 2011
  • 14A
  • 2h 7m
ÉVALUATION IMDb
7,0/10
221 k
MA NOTE
POPULARITÉ
1 476
107
Gary Oldman in Tinker Tailor Soldier Spy (2011)
In the bleak days of the Cold War, espionage veteran George Smiley is forced from semi-retirement to uncover a Soviet agent within MI6's echelons.
Liretrailer2 min 07 s
33 vidéos
99+ photos
SpyDramaMysteryThriller

Lors des jours sombres de la Guerre Froide, ancien espion George Smiley est obligé de renier à sa retraite afin de dévoilé un agent Soviétique.Lors des jours sombres de la Guerre Froide, ancien espion George Smiley est obligé de renier à sa retraite afin de dévoilé un agent Soviétique.Lors des jours sombres de la Guerre Froide, ancien espion George Smiley est obligé de renier à sa retraite afin de dévoilé un agent Soviétique.

  • Director
    • Tomas Alfredson
  • Writers
    • John le Carré
    • Bridget O'Connor
    • Peter Straughan
  • Stars
    • Gary Oldman
    • Colin Firth
    • Tom Hardy
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    7,0/10
    221 k
    MA NOTE
    POPULARITÉ
    1 476
    107
    • Director
      • Tomas Alfredson
    • Writers
      • John le Carré
      • Bridget O'Connor
      • Peter Straughan
    • Stars
      • Gary Oldman
      • Colin Firth
      • Tom Hardy
    • 725Commentaires d'utilisateurs
    • 492Commentaires de critiques
    • 85Métascore
  • Voir l’information sur la production à IMDbPro
    • Nommé pour 3 oscars
      • 35 victoires et 100 nominations au total

    Vidéos33

    Domestic Trailer
    Trailer 2:07
    Domestic Trailer
    UK Trailer
    Trailer 0:20
    UK Trailer
    UK Trailer
    Trailer 0:20
    UK Trailer
    Trailer #1
    Trailer 1:52
    Trailer #1
    Tinker, Tailor, Soldier, Spy
    Trailer 1:18
    Tinker, Tailor, Soldier, Spy
    "The Scalp Hunters"
    Clip 1:13
    "The Scalp Hunters"
    "Smiley Is Suspicious"
    Clip 0:53
    "Smiley Is Suspicious"

    Photos217

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    Rôles principaux65

    Modifier
    Gary Oldman
    Gary Oldman
    • George Smiley
    Colin Firth
    Colin Firth
    • Bill Haydon
    Tom Hardy
    Tom Hardy
    • Ricki Tarr
    Mark Strong
    Mark Strong
    • Jim Prideaux
    John Hurt
    John Hurt
    • Control
    Zoltán Mucsi
    Zoltán Mucsi
    • Magyar
    Péter Kálloy Molnár
    Péter Kálloy Molnár
    • Hungarian Waiter
    Ilona Kassai
    • Woman in Window
    Imre Csuja
    Imre Csuja
    • KGB Agent
    Toby Jones
    Toby Jones
    • Percy Alleline
    David Dencik
    David Dencik
    • Toby Esterhase
    Ciarán Hinds
    Ciarán Hinds
    • Roy Bland
    Kathy Burke
    Kathy Burke
    • Connie Sachs
    Benedict Cumberbatch
    Benedict Cumberbatch
    • Peter Guillam
    Stephen Graham
    Stephen Graham
    • Jerry Westerby
    Arthur Nightingale
    • Bryant
    Simon McBurney
    Simon McBurney
    • Oliver Lacon
    Amanda Fairbank-Hynes
    Amanda Fairbank-Hynes
    • Belinda
    • (as Amanda Fairbank Hynes)
    • Director
      • Tomas Alfredson
    • Writers
      • John le Carré
      • Bridget O'Connor
      • Peter Straughan
    • Tous les acteurs et membres de l'équipe
    • Production, box office et plus encore chez IMDbPro

    Commentaires des utilisateurs725

    7,0221.1K
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    Avis en vedette

    8imagiking

    A Genuine Achievement

    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.
    alan-chan-158-451491

    The classic Cold War spy thriller turned into a ravishing looking thinking man's thriller

    I have not read the book nor seen the 1979 landmark series that garnered so much acclaim for the BBC and Sir Alec Guinness, but such contextualisation is not needed to recognise that this version of 'Tinker, Tailor, Soldier, Spy' is a masterful re-telling of John le Carré's seminal work about British espionage during the Cold War. An early scene really encapsulates the whole tone and mood of the film. A retired George Smiley (played majestically by Gary Oldman) is sitting at home and enjoying a documentary about Winston Churchill (which seems suitably apt for a man of his former position) when his doorbell suddenly and unexpectedly rings. His head turns slowly to the left in the direction of the impudent sound and the instantaneous look of sheer effrontery and disdain on Oldman's face will leave you chuckling as his peaceful reverie is rudely disturbed. Such scenes like this leaven the film with humour but ultimately this is a chamber piece; expertly played by the cream of British acting talent headed by Goldman and Hurt (who incidentally could also have been a great George Smiley) and told with a languid verve that unravels the complex plotting in a series of tableaux vivants laden with mystery and suspense, but which also acts as important plot points and clues.

    The film is about the hunt for a Soviet 'mole' in the highest echelons of the British Secret Intelligence Service (MI6 but fictitiously known as 'The Circus') by George Smiley, an intelligence officer who has been brought out of forced retirement by Oliver Lacon, the Civil Service overseer of the Circus. Through a love affair with the wife of a Russian intelligence officer, a British agent, Ricki Tarr (Tom Hardy) discovers that there may be a high ranking Soviet mole within the Circus. Aided by Peter Guillam (Bendedict Cumberbatch) who is Tarr's handler, Smiley sets about uncovering the mole without the knowledge of Circus leadership, anyone of whom might be the mole, headed by Percy Alleline (Toby Jones) and his deputies Bill Haydon (Colin Firth), Roy Bland (Ciarán Hinds) and Toby Esterhase (David Dencik) – the 'Tinker, Tailor, Soldier, Spy' of the book (codenames assigned by Control, Head of British Secret Service).

    The director, Tomas Alfredson, established his reputation with 'Let the Right One In', an icy Swedish romantic horror that dealt with relationships and this too, is a film about human nature, moral dilemmas and relationships – friendship, loyalty and betrayal on intimate and grand scales with personal and national implications. Like 'Let the Right One In' Alfredson imbues 'Tinker, Tailor', Soldier, Spy' (his first English language feature) with somnambulistic pacing and mood that requires the audience to be patient, but this is richly rewarded with scenes, shot after shot, that ravish the eye and heavy with period atmosphere and drama. James Bond this is not and George Smiley has more in common with Harry Palmer than Ian Fleming's vigorous secret agent. Indeed, Robert De Niro's admirable treatment of the early history of the Criminal Intelligence Agency (CIA) in 'The Good Shepherd' (2006) has a similar cipher in Edward Wilson – a 'grey man' whose very ordinariness renders him invisible to counter espionage and thus makes him the perfect intelligence operative. A raised voice towards the end of 'Tinker, Tailor' is as excited as Smiley gets but for those not familiar with the story the ending will leave you with a broad smile of satisfaction as the 'grey man' (note Smiley's grey hair, grey countenance and grey suit replete with over-sized glasses and shambling gait) of the secret intelligence service wins the day.

    The screenwriters, Peter Straughan and the late Bridget O'Connor, have done an exceptional job in condensing down what is clearly a labyrinthine Cold War thriller into a classic two hour potboiler without losing any of its exposition, characters, and plotting. John le Carré and his fans will be proud. This is a thinking man's film about a period of recent history that is as murky as it is exciting and relevant today with its eternal themes of friendship, loyalty and national security. There must be many more stories of espionage to mine from both sides of the Iron Curtain and I do hope this film kick starts a renewed interest in telling the stories of the Cold War warriors who shaped the modern world. If the film does 'King's Speech' levels of business I think it just might and Hollywood would be the richer for it.
    9the_rattlesnake25

    James Bond, this is not...

    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.
    7Hitchcoc

    Cold War Chills

    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.
    bob the moo

    A tad confusing in the telling, but excellent in the tone

    There is a certain snobbery with films that require more than a small amount of attention – an opinion that if you even ask about a small detail that you missed that you should then go watch Transformers and leave real films to the grownups. It is unpleasant superiority and it is mostly undeserved because to be honest this is a hard film to follow and it does demand attention. Those wishing to insult me via private message can do so, but I did struggle several times to understand how things fitted together and what relevance certain scenes had. This didn't limit my enjoyment of the film 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 book 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 small time and occasionally it felt like it was unnecessarily convoluted or confusing. If you stay with it as best you can, it is intriguing and rather dramatic considering that much of the film is people talking to one another 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 film – cold perhaps, but very tense at times, certainly not bored even if it can look that way from a distance.

    This is not what he does best though, because to there was an aspect to the film that was excellent 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 every shot. The men we follow had the height of their import many years ago – now it appears they are mainly fighting their equal numbers on the other side simply because they exist. I really liked this overarching sense of smallness that sat across the film and I enjoyed finding it being employed in even the smallest detail – in the attitude of a minor character 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 money with this feeling, it is part of the story 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 great here – working with restraint and doing so much. He does so much with minor reactions and movements and he is a great character. He is the lead here but alongside him is a cast that is hard not to just list – Cumberbach, Hurt, Jones, Firth, Burke, Graham, Hardy and so on; British all perhaps but it says a lot that almost all of the supporting players here will be recognised internationally. Everyone gives strong performances and everyone seems to understand what Alfredson is doing.

    Overall, this is a great film albeit one that is not as easy to follow as those impatient snobs would have you believe. It is OK to struggle with some aspects and it is still easy to enjoy 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 world seemed – this aspect was very well done and made the film as much as Oldman's strong central performance.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Director Tomas Alfredson based the environment on his first impressions of London when he first visited the city in the 1970s: a brown and grey palette, shadows and uncovered lightbulbs, and dirty streets. "If you see London now and at that time, it's two different cities. Today it's a white city; then it was black; it was so dirty, and you could still feel the War all around."
    • Gaffes
      In one of the flashbacks to the Christmas party, presumably before Control resigns in 1973, a "Lenin Santa" has everyone sing along to a recording of the Soviet National Anthem. The version that is played is the 1977 version - the original 1944 words fell out of favor after Stalin's death in 1953 and the anthem was played without words until the new version in 1977.
    • Citations

      George Smiley: I want to talk about loyalty, Toby. Control recruited you, didn't he? He found you starving in a museum in Vienna, a wanted man. He saved your life, I heard. And yet, when the time came... when it came to picking sides between him and Alleline, you didn't hesitate. It's understandable, perhaps, with your war experience. You survived this long, I suppose, because of your ability to change sides, to serve any master.

      Easterhase: What's... what's this about, George?

      George Smiley: It's about which master you've been serving, Toby.

    • Générique farfelu
      The closing credits slowly shift from the right side of the screen to the left and then back to the right, no doubt to symbolize the heart of the story: a double agent who 'changes sides'.
    • Connexions
      Featured in Breakfast: Episode dated 1 September 2011 (2011)
    • Bandes originales
      Land du Välsignade
      Written by Ragnar Althén (as Ragnar Althen), Elisabet Björklund

      Performed by Jussi Björling (as Jussi Bjorling)

      Courtesy of Sony Music Entertainment Inc

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    FAQ

    • How long is Tinker Tailor Soldier Spy?
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    • What is the music in the trailers?
    • What is the song when Peter Guillam attempts to steal the files?

    Détails

    Modifier
    • Date de sortie
      • 16 septembre 2011 (United Kingdom)
    • Pays d’origine
      • United Kingdom
      • France
      • Germany
      • United States
      • Hungary
      • Turkey
    • Sites officiels
      • Focus Features
      • Official site (United States)
    • Langues
      • English
      • Russian
      • Hungarian
      • French
      • Turkish
    • Aussi connu sous le nom de
      • La taupe
    • Lieux de tournage
      • Istanbul, Turquie
    • sociétés de production
      • StudioCanal
      • Karla Films
      • Paradis Films
    • Consultez plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 20 000 000 £ (estimation)
    • Brut – États-Unis et Canada
      • 24 149 393 $ US
    • Fin de semaine d'ouverture – États-Unis et Canada
      • 310 562 $ US
      • 11 déc. 2011
    • Brut – à l'échelle mondiale
      • 81 515 369 $ US
    Voir les informations détaillées sur le box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 7 minutes
    • Couleur
      • Color
    • Mixage
      • Datasat
      • Dolby Digital
    • Rapport de forme
      • 2.35 : 1

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