Tinker Tailor Soldier Spy

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.

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.

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.

Jazz music comes from musicians "playing around the notes". In other words, instead of playing the root notes on the downbeat, they deliberately omit the obvious melody, and fill in the spaces with embellishments that suggest the primary structure. For the educated ear, the way the musician artfully colours between the lines is the source of entertainment. As a moviegoer, I don't mind being presented a puzzle, where you have to think a bit at how the movie is playing around the more conventional spy thriller notes. Strangely, this well heeled story may have become more of a jigsaw puzzle with many pieces missing purely because of the running time. Reportedly the running time was much longer in the original cut, so these holes in the story may have been cut out of necessity.

I am writing this review after watching it a second time, and can say that all the motives and activities are accounted for. I have to commend screenwriters as well as the editor for patching together a complex but intricately told tale. Part of the fun is being aware of the ride you are being taken on. For instance, George Smiley, our main character, is seen a great deal of time without every actually speaking. And when he does speak, it is very calculated, since he doesn't know quite who to trust. There is a subtext about secret sexual relationships, where Smiley's wife appears in a couple scenes but you never see her face. The main group of suspects are a who's who of familiar faces from some of the best films in the last decade. The supporting cast delivers poignant exposition and avoids stereotype dialogue. I could easily see how someone may not like the longer gaps in explanation as to why a certain character appears to be dead and suddenly is alive in an unexpected way. But a similar type of mystery surrounds each of the main characters, and is eventually played out as part of the larger payoff, who is the traitor in the British intelligence service? The greatest appreciation one can have is the ability of the filmmakers to tell a story this complex using visual cues as much as possible. Key moments in the story are told with spare conversation, allowing the audience to mentally piece together what is implied. The stone faced hero played by Gary Oldman, is akin the quiet hero, such as the tight lipped vigilante gunslinger, who carefully carries out justice.

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.