Tinker Tailor Soldier Spy

Okay, let's go ahead and get the trite yet obligatory comparisons out of the way first so we can put them behind us and move on. Let it be stipulated from the outset that this movie is not as good as the John le Carré novel it is based on, or the 1979 BBC television miniseries starring Alec Guinness and Ian Richardson. Having said that, let's get real for a moment: No movie is ever as good as the book it is based on; and there's simply no way to pack as much storytelling into a two hour movie as can be packed into a six hour miniseries. So, these sorts of comparisons are really unfair, and are not very helpful. A movie should be judged on its own merits -- i.e. whether or not it is worth watching -- not by how closely it follows its source material or other retellings of the same story. The only situation that would justify criticizing a movie for not living up to the book it was based on would be one in which the movie radically changes the plot of the story, or else completely misses the point that the original author was trying to make. As long as a movie tries to be faithful to the novelist's vision, then the screenwriters and director shouldn't be criticized simply for making the sorts of alterations and abridgements that are always necessary when adapting a book for the silver screen. John le Carré writes very complex stories; and no movie can ever hope to fully capture the layered intricacy of his writing. Yet, in spite of this, some truly excellent films have been made based on his novels, the most brilliant being "The Spy Who Came in from the Cold" starring Richard Burton, which is arguably the best spy movie ever made. Even that movie is not as good as le Carré's novel; but it is a cinematic masterpiece, nonetheless. So, let's ignore all those critics who have nothing more original to say than, "It's not as good as the book," or, "The TV version was better," and review this movie on its own merits.So, when judged on its own merits, is this a good movie? Is it worth watching? Would I recommend it to others? Absolutely yes! This is one of the best movies I've seen in a long time. It is wonderfully written and brilliantly acted. And the director takes some creative risks that, at least in my opinion, really pay off in terms of setting the right mood. Rather than trying to turn this into a fast-paced thriller, he lets the story unfold gradually, as it does in the novel. Rather than explicitly spelling everything out in detail, he trusts the audience to be able to follow the plot, read between the lines, and figure out what's going on without having to be spoon fed information. Rather than relying on dialogue to give us a sense of who the characters are, he makes creative use of silence -- often long stretches of uncomfortable silence -- that forces us to look beyond the words people say, which are often used to conceal the truth, and focus instead on the non-verbal cues that people give off, which paint a more honest portrait of who they are and what's going on inside their heads. These creative choices might alienate some audiences; but I think that most John le Carré fans will appreciate them as much as I do.As for the plot, the movie is really just a very condensed version of the book. There are a few, relatively minor changes here and there, most of which are necessary simply in order to fit this expansive story into a two-hour film. But you'd have to be the world's biggest nitpicker to fault this movie for these trivial alterations. It certainly remains true to the story the author was trying to tell; and it definitely has the "feel" of a John le Carré novel. If you've read the book, and/or have seen the miniseries, I think you'll be happy with how faithful this movie is to the original story. And if you haven't already read the book or seen the miniseries, watching this movie may actually inspire you to do so.The casting of this movie is absolutely amazing. Gary Oldman gives a totally convincing portrayal of George Smiley, the quiet, world-weary spymaster called out of retirement to find a Soviet mole at the highest levels of British intelligence. I still can't help but picture Alec Guinness whenever I think of Smiley; but Oldman's performance is just about as close to flawless as one could hope for. If the filmmakers decide to make a sequel or two (it would be wonderful if they could do the entire Karla trilogy), and Oldman reprises his role, then I just might start picturing him instead of Guinness whenever I re-read one of le Carré's Smiley stories. Oldman's supporting cast is also superb. Benedict Cumberbatch (of "Sherlock" fame) turns in a stellar performance as Peter Guillam, Smiley's right-hand man (who seems to get more screen time than any other character, except perhaps Smiley himself). Colin Firth (best known of late for "The King's Speech") doesn't really get all that much screen time as Smiley's old friend, colleague, and romantic rival Bill Haydon; but he sells the part quite nicely. And the incomparable John Hurt gives what has to be seen as the definitive portrayal of Control, Smiley's old boss, the former head of British intelligence, who was forced into retirement when his obsession with uncovering a traitor within his inner circle led to disaster.For those who are not familiar with this story, it's set in the early 1970s, at a time when the Cold War had begun to settle down into a shadowy game of chess played between spies and counterspies. The old men who played this game had long since let go of any illusions that what they were doing was noble or patriotic. It was simply necessary. And, since the pieces on the chessboard were human beings, many of whom would have to be sacrificed in the course of the long game, the players had to develop a callous pragmatism and a cold detachment from the people around them. In this world, secrecy was essential, suspicion was rampant, and trust was a luxury that often came at too high a price. These soulless spymasters led miserable lives, with little consolation apart from the occasional moment of fleeting advantage gained over their opponents in the long game. This is the setting for John le Carré's intriguing tale about the hunt for a "mole" (i.e. a traitor spying on behalf of the Soviets) inside the topmost levels of the Circus (i.e. the British Secret Intelligence Service, MI6). I don't want to spoil the plot; so I won't say any more. But if you enjoy realistic spy stories (as opposed to the larger-than-life James Bond or Jason Bourne stuff), I think you'll really enjoy this movie.As for the DVD/Blu-ray release, the special features are a little thin; but, let's be honest, you're getting this for the movie, not for the bonus material on the disc. The movie is definitely worth having on DVD or Blu-ray, especially if you're a big John le Carré fan like I am. I've always regarded "Tinker Tailor Soldier Spy" as le Carré's best Cold War spy novel (even better, in my opinion, than "The Spy Who Came in from the Cold"). So, I love this story and the characters in it; and I think this movie handles the story and the characters admirably. I thoroughly enjoyed it, and would highly recommend it.

Tinker Tailor Soldier Spy When I first heard about this project (in an Entertainment Weekly feature on Colin Firth after he won the Oscar for "The King's Speech") my first reaction was mixed: I've always loved the story, but wondered why they would go back and re-do a novel that was made into a 6 hour TV miniseries still considered the gold standard for TV movies. And le Carre's works have a mixed record when it comes to film adaptations, for every "Spy Who Came in From the Cold" there's a "Little Drummer Girl."Then I reflected that George Smiley is just as much a pop culture icon, in his way, as James Bond or Jason Bourne or Sherlock Holmes, and if their stories can be constantly revived, rebooted, and relaunched for each generation (or even within generations) then I guess Smiley can have his turn too. And this film obviously has the approval of Smiley creator John le Carre, who is one of the producers and appears in a holiday party sequence (I've always heard that le Carre felt he lost control of the Smiley character after the B.B.C. miniseries, readers came to associate Smiley with Alec Guinness, who was not whom le Carre pictured Smiley -- too old, too tall, too thin).The story of "Tinker, Tailor" remains basic in whatever format it appears. The aging head of British intelligence, known only as "Control," suspects his agency has been penetrated by a double agent working for the Soviets, a "mole" in espionage parlance. Control sends an agent behind the Iron Curtain to learn the identity of the mole, but it turns out the agent has been sent into a trap set up by "Karla," the Russian K.G.B. agent in charge of infiltrating imperialist Western intelligence services. Control is forced to resign in disgrace. About a year later, an A.W.O.L. British spy surfaces with evidence confirming Control's suspicions. Because George Smiley has been in retirement, his innocence of being the mole is self-evident, and he is tasked with uncovering the double agent, which he does by setting a trap of his own.Director Tomas Alfredson and the cast, which seems to include every contemporary British actor of note with the exception of Michael Fassbender (who was originally scheduled to appear in the movie before having to bow out) does a remarkable job of bringing this quintessential Cold War story to the contemporary screen. The movie follows the general outline of the novel, with many scenes, out of necessity, compressed or sped-up. As with the novel, the movie skips back and forth in time, I've both read the book and seen the B.B.C. mini-series twice, and even I had trouble following what was going on at times. One visual clue to follow is Smiley's eyeglasses (one style before he retired, one style afterward). Interestingly, however, one key flashback scene, when Smiley has his one face-to-face encounter with his arch-nemesis Karla in New Delhi, is not dramatized, but simply recalled by Smiley as the camera stays tight on his face. The scene is mesmerizing, and I doubt few other actors could have pulled it off. Oldman really anchors the film. Compared to Alec Guinness his Smiley is a bit less passive, less of a fussy academic ostensibly bumbling his way through the world of espionage and more of a ruthless operator prepared to do whatever it takes to get the job done. (To be fair to Guinness, he does display more of this side of Smiley's character in the sequel "Smiley's People.")Of course, when a story of this scope is reduced to a movie with a little over 2-hours running time, some elements are lost which gave the original story much of its nuance and resonance. To me, one of the biggest losses is that of Ann Smiley, George's vivacious wife. Her role is small, but critical to understanding Smiley's character, and underlining the theme of betrayal, personal and public, which runs throughout the story. In the film, she's a barely-glimpsed presence, her role in the larger narrative only hinted out. Also lost in the shuffle are the characters of Smiley's fellow spy chiefs who are the suspected moles. Talented actors like Toby Jones, Ciaran Hinds, and Colin Firth do what they can, essentially working with brushstrokes, but the Jane Austin comedy of manners style which distinguishes le Carre's work is largely lost. Still, there is some addition by subtraction here. I, for one, was glad to be spared the traitor's banal self-justification for his acts of betrayal.Among the other notable story changes of note are the sexual orientation of Peter Guilliam, who serves as the Watson of the story, and the location of the Ricky Tarr sequences, moved from Hong Kong to Istanbul (perhaps because they couldn't film in the former colony now that it is back in the possession of the Chinese, and perhaps Istanbul was chosen as a substitute as an Easter egg of sorts, a reference to to Kim Philby, the double agent who served as the model for the mole, who was stationed there while still working for British intelligence). Overall, the whodunnit nature of the story is downplayed, the narrative is more of a "how are they gonna catch him?" story. And yes, the film does work as a thriller. The stakes are high, people are chased, guns go off (even if the bloodshed is usually more tragic in nature than heroic), and, in one ingenious sequence, a plane landing on a tarmac has you sitting on the edge of your seat.Some have questioned if "Tinker Tailor," even in its abbreviated form, has become a dinosaur, its pace too leisurely, its plot too complex, for today's hyped-up audiences who need everything spoon-fed to them and have seizures if something doesn't explode on screen every five minutes or so. le Carre started writing his espionage fiction in the early 1960s as a corrective to the James Bond model permeating pop culture at the time, which depicted spying as fun, glamorous work, performed by heroic supermen who embodied the natural superiority of Western capitalism. To paraphrase what a literary critic once said about the mystery writer Ross MacDonald, other espionage writers write about secrets, le Carre writes about sin. Yes, he can get preachy at times (especially in his later, post-Cold War work), but at his best, such as "Tinker Tailor," he provides absorbing thrillers that also serve as cautionary tales about the moral rot that can set in when a society, seeing itself locked in a great ideological struggle with an implacable foe, sublets its security, and its conscience, to mortal men operating in a shadowy, covert world virtually devoid of any outside control or accountability. Even in societies that like to think of themselves as the "good guys." Especially in those societies (are you listening, Uncle Sam?). In le Carre's world, there are no "good guys," only professionals out to inflict damage. It's all a matter of whom they inflict the damage on, how they do it, and why, that distinguishes them on the moral calculus."Tinker Tailor Solider Spy" is one of those movies that are the proverbial acquired taste. Those going in expecting a Jason Bourne or Tom Cruise "Mission Impossible" style thriller will probably be reaching for the "eject" button after 10, 15 minutes or so. However, if you're a John le Carre fan, this is definitely for you. I also recommend this movie for anyone unfamiliar with le Carre but are fans of other entertainments for thinking people, genre works that are character driven, such as the "Wallender" novels and TV films, "Homeland," or "Sherlock."I'm keeping my fingers crossed this same cast and crew tackle "Smiley's People" next.

Dame König Ass Spion ist ein Klassiker des Agenten-Genre. Besonders Garry Oldman überzeugt in der Rolle des George Smiley. Bereits für diese Darstellung hätte Oldman einen Oscar verdient.

An excellent, suspenseful, spy thriller, with a stellar British cast of actors! This region "2/B" movie is designed to be watched in Europe and/or by those in North America who own customized "region-free" Blu-ray/DVD players.

Excelente adaptación de la obra de Le Carré sobre la posible infiltración por parte del KGB de un topo en los servicios secretos británicos, con magníficas actuaciones. Retrato de la guerra fría. Eso sí, no apto para mentes no pensantes, pues la trama es algo compleja.

Dans la catégorie « films d’espionnage », il y a deux grands courants: celui qui se réclame de Ian Fleming (James Bond) et ses épigones (je pense surtout aux plutôt réussis « Jason Bourne »), et celui qui a pour maître John Le Carré. D’un côté, la distraction, l’action pure, les coups de révolver, les poursuites, l’exotisme, les jolies filles, et un héros avantageux : ce côté-là a son charme et je n’ai rien à redire au fait de se laisser prendre à deux heures de fiction pétaradante et spectaculaire. En face, un récit complexe, torturé, d’un réalisme froid et angoissant, d’autant plus brutal qu’il est apparemment terne, où les faits, les tenants et les aboutissants se mettent en place lentement, au rythme de la réflexion d’un héros ordinaire (j’allais écrire : un bureaucrate besogneux). Je reconnais bien volontiers que cette seconde école a ma préférence. Je ne connais pas de film d’espionnage plus cruel et terrifiant que « L’espion qui venait du froid », réalisé par Martin Ritt d’après, déjà, John Le Carré. George Smiley n’en était pas le héros (rappelez-vous, c’était Alec Leamas, interprêté par Richard Burton), mais il était là. Aujourd’hui, c’est George Smiley qui tient le devant de la scène, sous les traits d’un Gary Oldman époustouflant à la fois de discrétion dans son apparence et d’intensité dans son regard. Derrière chacune de ses expressions, que l’on pourrait croire figées, on entend la petite horlogerie de son cerveau en marche, occupé à dénouer les fils d’une manipulation à double ou triple fond. Le film de Tomas Alfredson n’est pas glacé, ni froid : il est juste terne, comme ces hommes qui le peuplent. Des petits fonctionnaires aux costumes convenables, qui sentent la confection plutôt que la grande marque ; des monsieur-tout-le-monde couleur de grisaille, qui disputent – dans le feutré, aurait dit Audiard – une partie d’échecs où la vie d’un agent n’a aucun prix, et sans qu’eux-mêmes en connaissent bien les enjeux. Ils jouent : ils manigancent, ils manipulent, ils défendent, ils trahissent, mais ils passent inaperçus. Des hommes dans la foule, anonymes. Le plus troublant, dans le film de Tomas Alfredson, ce sont tous les silences, les non-dits ou les allusions que l’on note un peu hasard, que l’on enregistre (parce qu’on est attentif, et pas parce qu’on vous met sous le nez un encart avec « Attention : Indice ! ») et qui prennent leur importance plus loin dans le récit. Les événements qui se sont produits dix ans avant l’histoire, qui resurgissent en rapides flash-backs, et qui donnent un relief nouveau aux faits. Les allusions, fort discrètes, à l’homosexualité, latente ou cachée et comme honteuse, de certains des protagonistes, qui expliquent ou apportent une cohérence à des épisodes dramatiques. Et puis, il y a cette british touch d’extravagance insensée qui survient d’un coup, sans crier gare, et qui vous laisse halluciné et incrédule, parce qu’elle est – justement – vraisemblable. Cette Christmas Party des services secrets britanniques, où le Père Noël porte un masque à l’effigie de Lénine, et où tous les participants entonnent, en russe s’il vous plait !, l’hymne soviétique… Un film de grande classe, à déguster avec une tasse de thé et quelques sandwiches au concombre.

Per chi, come me, è da sempre appassionato di spy story si tratta di un eccellente ritorno al passato con un grande classico della letteratura del genere. Tutto molto bene: cast (praticamente tutto rigorosamente brtitish) e recitazione, ambientazione e scenografia, fotografia eccezionale, musica ricercata e funzionale alla storia. Per coloro che lamentano i ritmi rallentati ed i colpi di scena latitanti immagino non abbiano compreso lo spirito e la natura della situazione: non siamo di fronte nè a 007 (di cui sono un grande fans ma è un'altro mondo...) nè allo spionaggio d'azione.La bellezza di questi film è il realismo asciutto ed essenziale (vedere "Chiamata per il morto" di Lumet)che esalta le trame intricate ed rapporti sottili in un gioco crudele di scatole cinesi. Per finire credo che in realtà il film presti il fianco a qualche debole critica ma godiamoci questo ritorno del genere con una soddisfazione "all inclusive" e, anzi, speriamo in qualche sequel imminente. Ci sono ancora diversi libri di Smiley da poter portare sullo schermo.... Per quanto riguarda la qualità tecnica del BR ottima la parte video, eccellente il sonoro. Consegna con una puntualità sorprendente.