Review: Tinker, Tailor, Soldier, Spy

Plot: Based on the best selling novel of the same name by John le Carre, Tinker, Tailor, Soldier, Spy delves into the world of British Intelligence and espionage during the 1970s. When members of the BI uncover evidence of a Communist mole high in their ranks, fired former intelligence agent George Smiley (Gary Oldman) comes out of retirement to track down the culprit. Assisted by wanted agent Ricky Tarr (Tom Hardy) and British Intelligence officer Peter Guillam (Benedict Cumberbatch), Smiley seeks redemption for himself and former boss Control (John Hurt). But how do you find a mole when everyone is a suspect and no one can be trusted...not even Smiley himself?

Review: My first thought after viewing director Tomas Alfredson's fantastic Tinker, Tailor, Solider, Spy was "Wow, they don't make them like this anymore!" Cliche I know but appropriate. Tinker, Tailor, Soldier, Spy is a tour de force of intrigue, suspense, and tension that hooks you from the opening reel and doesn't let go until the very end. It's ironic that the film is set in 1974 as the film has a distinct 70s feel to it, ala classics like The Sting, All the President's Men, and The French Connection.

Alfredson (best known for his 2008 vampire film Let the Right One In)does an excellent job of showcasing the distinct British acting talent this film has to offer. Check out the list: Colin Firth (Academy Award winner), Tom Hardy, John Hurt, Toby Jones, Mark Strong, Ciaran Hinds...it's a virtual who's who of British actors. With that many egos you might expect a film where scenes become a game of one-ups-manship. Not so. Alfredson sets just the right balance between the different actors and keeps a steady pace.

Furthermore, Alfredson accomplishes something many directors aren't able to do anymore--show a scene/character/situation without dialogue. For example, from the time that Smiley is introduced to when he says his first line, several minutes pass. Yet in that time it becomes self evident that Smiley is a calculating, persistent, and detached character. By the time Oldman actually says his first line the die has been cast. We know what type of person George Smiley is like. It's a talent that you rarely see except in Alfred Hitchcock movies like Rear Window. Hitchcock was a master of setting the scene without dialogue and Alfredson is clearly a disciple.

Working hand in glove with Alfredson were screenwriters Bridget O'Connor and Peter Straughan. Their adaptation of le Carre's novel is sure to garnish an Academy Award nomination for best adapted screenplay. Rather than try to modernize the film and set it in the 21st century, the producers and the writers made the correct choice of keeping the time frame of the movie the same as the novel. It's an interesting twist too, as when Americans think of the Cold War we think of it in terms of the USA vs the Soviet Union. However, the United Kingdom was just as heavily invested in the Cold War and had the added problem of being closer to the USSR than the USA. The screenplay brings to light the paranoia and inner workings of British Intelligence.

I'd be remiss if I didn't mention the cinematography of Hoyte von Hoytema. There is a shadowy almost grainy character to how he shot Tinker, Tailor, Soldier, Spy. Many scenes are cast in a kind of faded yellow. The lighting combined with the shadows create a sense of mystery and exacerbates the idea that danger and the identity of the mole lurks everywhere. Also many closeup shots focus on distinct important images such as Smiley's glasses or a typed letter. This enhances how important details are not just for the protagonist but also for finding the mole.

Editor Dino Jonsater takes full advantage of Hoytema's work, incorporating several quick cuts between close ups. Incidentally, Jonsater's editing results in a suspenseful movie with minimal violence--not an easy thing to do. Of course Alberto Iglesias' music compliments Jonaster and Alfredson's aims. The score is understated and not overpowering, with the just the right amount of heightened tension to keep you engaged.

At its core however, Tinker, Sailor, Soldier, Spy revolves around the character of George Smiley, and thankfully Oldman brings a damn near flawless performance to the role. Oldman is someone I like to consider a real actor not a movie star like Brad Pitt or George Clooney. Oldman creates dynamic, fascinating characters that are each distinct. (I mean look at the people he's played: Sid Vicious, Lee Harvey Oswald, Beethoven, Commissioner James Gordon, and the list goes on.) Smiley may be Oldman's most restrained character yet. It's an understated role for Oldman where everything is precise, calculating, and exacting. It's almost infuriating at times because the character is so detached you wonder if the man is completely devoid of emotion. This makes the moments where he does show emotion and humanity (especially in a closing scene) that much more impactful. Whether he's opposite Tom Hardy (great alcohol-ridden scene between the two of them half way through the film by the way), Benedict Cumberbatch, or Colin Firth, he flat out nails it. Oldman's performance should earn him his first Academy Award nomination.

With intrigue, suspense, and a plot line that keeps you fully engaged from the word "go," Tinker, Tailor, Soldier, Spy is a spy movie in the classic sense. Don't miss it.

My rating: 10/10