La taupe

There are few movies that follow the book. There is no end to the comment, "The book was so much better." There is good reason for that with some films. "The Lord of the Rings" would have been five movies if you went "by the book". Interesting and enjoyable as that might be for Tolkien fans, it was impossible for film makers. Yet, "Tailor, Tinker, Soldier, Spy" as a movie defies that axiom.

Having read the book and seen the movie more than "several times", they still remain interconnected and indistinguishable. Yes, the book contains more detail, but may details are covered by innuendo, scene or background detail in the movie. Alec Guinness becomes Smiley so completely that his acting gives real meaning to the idea of a "character actor", even down to wiping his glasses with his tie. (you have to read the book for that one.)That is not to say, that Guinness is a robot and the movie is stiff in the name of faithfulness to the book, just the opposite.

The movie dawns the viewer in, just as the book draws in the reader, as part of the process of discovery; unraveling the mystery. As in a true "who done it" (or as one commentator put "who is it"), the viewer has no more foreknowledge than Smiley. You are introduced to all the characters, all have reasons to be the defector, all have reasons to distrust an investigation to the past, yet only one is ferreted-out.

The ending is consistent with the logic of the book and film, but, you still don't expect it. It's anti-climactic yet believable. The film, like to book, leaves one wondering how this could happen. It's thought provoking given many of the suspects comments thought-out the book/film. Both inspire thought more than resolution. The story challenges the reader/viewer to think and think well about the reasons for and purpose of spying as a whole. (The film is more English in cultural orientation, but the concept is universal, as many Americans have learned as well.)

A wonderful book transformed into visual. Great acting through-out, and you really hate all the right people....

I hired this from our library, and was agog. I saw the latter half of Tinker in 1980 when it was televised and always wished I had seen the whole thing. Now that I am older, I have developed a real interest in espionage, and consequently, rented the video set. The cast list is simply unbelieveable. The BBC could at that time, get so many big names together to do a major series, see for example "I Claudius". Sadly, the BBC today is a shadow of its former glory, and we in the UK have to either watch the old shows and dream, or watch the BBC in the present and be so disillusioned. I prefer the former. I can't pick out any performance in particular, because everyone was marvelous. Ian Richardson, who I have always admired, from seeing him as Neuheim in "Private Schulz", is possibly the very best, if I *have* to choose. If you are in any way interested in spying, or just love a really good intelligent thriller, this is for you.

Definitely in the BBC pantheon (alongside I Claudius and Pride and Prejudice), partly for its formidable cast, but mainly for John Irvin's taut directorial grip - a model of visual economy and uncompromising narrative drive.

A double-agent or 'mole' is suspected at the top levels of the British secret service and retired spymaster Alec Guiness must narrow down the suspects amongst his former colleagues. Arthur Hopcraft's adaptation, while capturing the bureaucratic intrigue and perfidy of John Le Carre's novel, will demand viewers' utmost attention if they want to stay with the unfolding plot.

Irvin shoots Tinker, Tailor as if for widescreen - edge of the screen compositions, careful background detail - and demonstrates how a determined director can overcome the limitations of television(usually seen as a writer or producer's medium). Look at how he composes and cuts the scene where Guillam (Michael Jayston) is interrogated round the boardroom table towards the end of the first half. How Irvin provides deft little 'bookend' shots with the characters slowly walking away from camera.

Not that his sparse, pared-down style doesn't translate to action scenes with equal verve. The prologue - Ian Bannen's abortive mission into Czechoslovakia and its climatic chase through the forest - is as tense as anything you're likely to see on the big screen. Wintry settings and a fraught music score (mainly strings) add to this bleak, cynical vision.

Irvin landed the Hollywood actioner Dogs of War on the strength of Tinker, Tailor, but despite clever touches it didn't launch a notable cinema career. Look out, however, for his earlier television adaptation of Dickens' Hard Times. (For another example of very superior television direction, check out James Goldstone's handling of two first-season Star Trek episodes - 'Where No Man Has Gone Before' and 'What Are Little Made Of').

Author Le Carre may have topped Tinker,Tailor with a dazzling sequel (The Honourable Schoolboy, published 1977), but this is still far and away the best espionage suspenser ever televised. Indeed, it's hard to see how anything else, post Cold War, could quite match this relentless, ruthless dissection of personal and political betrayals.

Although more schematic than its marvelous sequel, Smiley's People, and carrying less emotional weight, the BBC adaptation of John LeCarre's Tinker, Tailor, Soldier, Spy, which aired in the colonies on PBS, is still superb. As purely a suspense piece, Tinker, Tailor actually wins by a nose. Although hints are dropped throughout, and are fun to see after the initial viewing, the outcome remains up in the air until the climax. This was never quite the case in Smiley's People. There, the suspense was delivered by other means and played a lesser role in the overall plot. One requirement for really appreciating Tinker,Tailor might be having lived through at least some of the Cold War. This will allow one to read more between the lines as it is there that the story really lives and breathes. Barring that, even post-Cold War mystery fans will relate well to Tinker,Tailor, Soldier, Spy.

As in Smiley's People, George Smiley, now and forever in the minds of most John Le Carre aficionados Sir Alec Guiness, is no longer with British Intelligence, termed by Le Carre `The Circus', although the plot periodically flashes back to times when he was still active. Smiley did not actually retire but was sacked from his post as head of personnel, despite his long and meritorious service. Smiley's dismissal had nothing to do with the performance of his duties but was the result of a manipulation of truly remarkable elegance, orchestrated by the Dracula of espionage, the Soviet spy master, Karla. The Soviets may have failed to produce a viable nation but could they ever spy. They punched so many holes in the American nuclear weapons program that it ended up looking like a screen door. In this vein, Le Carre fashioned an espionage that almost takes the breath away with its beauty and scope.

Spying is, apparently, like playing the stock market. To profit, one must usually be in for the long term. On the eve of WW II, while still a junior intelligence officer, Karla recruited an Oxford student who eventually became one of the half-dozen senior officers in the Cold War-era Circus. Once in place, Karla's recruit, Soviet code-name Gerald, proceeded to eat the organization alive from the inside out. The head of the Circus, known only by the designation `Control' (played wonderfully by Alexander Knox) was subjected to a particularly cruel manipulation; a ploy driven by a profoundly cynical understanding of human nature. Even more sphinx-like than Smiley himself, Control had been detecting markers of Karla's intricate scheme for months and had narrowed the mole's identity to five senior officers. To stop him, Karla fashioned a set-up in the form of an offer that Control could simply not refuse. Control's necessarily unsanctioned operation to exploit the offer failed catastrophically. Of course, it never had a chance. Control, disgraced, was forced out, taking with him Smiley who, as Control's most trusted ally, was found guilty by association and also banished.

When the dust settled, Karla had the West's two most effective intelligence services, The British, and through them, the American, working for him. Anyone who might have put the pieces together is either out or dead. The Circus is gutted but does not really know what has hit it. Control is replaced by a politcally astute but otherwise incompetent functionary whom Karla had been priming as a superstar by providing him with bogus intelligence lightly salted with just enough real value to make it stick. But when a resourceful, low-level field agent (Hywel Bennet), thought to have defected, turns up in Britain with solid evidence pointing to the existence of the mole, thereby validating Control's long-term suspicions, Smiley, the sole remanent of the old order who can be trusted, is called in to `spy on the spies'.

Here, the incomparable, dialog-driven, Le Carre plot engine begins its juggernaut roll as Smiley goes to work. Like Smiley's People, the story proceeds as a series of superbly written and acted one-on-one encounters. Included in these is a fascinating flashback in which Karla (Patrick Stewart, yes the Jean-Luc Picard guy) and Smiley actually meet. Tinker, Tailor doesn't wear its heart as much on its sleeve as does Smiley's People and has an almost clinical quality, at least on the surface. Once Smiley understands that the mole is real, he seems to know that he will eventually unmask him. Smiley simply connects the dots, moving ahead like a snowplow. The beauty resides in his meticulous process. For Smiley, the truth is absolutely out there, just out of sequence. The acting, set against the production's shadowy, gray-scale backgrounds, is flawless. The two tragic figures, Control, and the agent Jim Prideaux, the other pawn in Karla's game (Ian Bannen; his final role was the leprous Scottish nobleman in Braveheart) are especially good and provide this very cool production with its beating heart. Tinker, Tailor is not a Whodunit but rather a Whoisit; a classic mystery with the added cachet of espionage and is one of the very best things to have ever appeared on television. It's bloody good stuff, old chap, like the best single-malt you ever sipped.

The BBC is to be commended for making 'Tinker, Tailor, Soldier, Spy' (as well as 'Smiley's People') into fine adaptations for television.

Being very familiar with all three of the 'Karla' novels I have a few, very minor, quibbles as to casting and editing, but nothing that gets in the way of great enjoyment of the finished product.

Guinness was born to play Smiley, as others have already noted. I can't get enough of his laconic humor and monk-like habits. Simply with subtle, hardly discernible facial expressions, Guinness intimates vividly the mysterious, dangerous past Smiley has endured... and all the vile things he's had to do in the cause of, as he would put it, what is Right. Alexander Knox is fabulous as the "little serpent" Control, "No man's child" as Smiley's says of him. There are other "perfectly" cast parts in this adaptation. Anthony Bate's smarmy, infuriating Lacon is absolutely hateful at his every appearance, just as he is supposed to be; a sign of the masterful nuance of Mr Bate's performance. I also like Bernard Hepton's Toby Esterhase, though he exhibits more humor than the character actually possesses in the book.. but what a fine actor he is.

Michael Aldridge plays Percy Alleline as an exquisite, bureaucratic boob who will do anything, in the modern political way, to get to the top, purely for ego reasons. I also found Ian Richardson's Bill Hayden to be a fine fit between actor and character. Some of the smaller roles are done very well too. Fawn, played by one Alec Sabin, is the spitting (mental) image of the character as described in the book. A quiet, diminutive killer.

All of the acting is first rate but the actors are often a far cry from the physical descriptions in the books. Beryl Reid is wonderful as Connie Sachs, though not LARGE enough. Her scene is so fore-shortened in the film script that it hardly matters anyway. The same can be said of Ian Bannen who turns in perhaps my favorite performance in the whole thing, after Guinness's Smiley. But Bannen does not fit the description of Jim Prideaux very closely. However he is fully inside the character of the poor man he's portraying that it hardly matters if his hair is the wrong color.

The only bit of miscasting (in my opinion) was that of Michael Jayston as Peter Guillam. Jayston is too po-faced and humorless, overplaying the underlying traumatic neurosis Guillam has endured in his career. Jayston's limitations stand out slightly next to his co- horts but he's good enough to hold his own, up to a point. And he does rise to the occasion when the part demands something more substantial from his character, but Michael Byrne, the Peter Guillam in 'Smiley's People', seems much more in line with LeCarré's character from the books.

The great disappointment of the 'Smiley' series is that the BBC balked at filming in Hong Kong, choosing instead Lisbon. It works but it would have been so much better as LeCarré originally envisioned the story. By the same token it is a great loss to our lives that they skipped 'The Honourable Schoolboy' altogether, choosing to jump ahead to 'Smiley's People'. I assume that filming in Hong Kong (primarily), Vientiene, Bangkok, Phnom Pehn and Saigon was financially too daunting. A great shame all the same, especially when they had such a fine Jerry Westerby as Joss Ackland in 'Tinker, Tailor...'

In sum... the Smiley mini-series is a keeper to watch again and again.