Tinker Tailor Soldier Spy is the exact opposite of Mission: Impossible – Ghost Protocol. There aren't any stunts and the protagonist acts his age. This is an old school, plausible tale of espionage. I don't even recall the Tom Cruise of this movie running.
George Smiley (Gary Oldman) is a recently retired British intelligence expert called back into duty to expose a double agent at the top of MI6. Some of the work has been done for him by his former boss Control (John Hurt). With the field narrowed to five individuals, Smiley gathers information to determine who is giving information to the Russians.
The paranoia within the circus is widespread. No two people can trust each other. A simple scene shows Peter (Benedict Cumberbatch) entering an elevator within the compound. The camera lingers on him and a sign that stresses the importance of closing the door after use so that others can call the elevator. Of course when Peter exits there is no thought of closing the door. It would have been traditional for a number of characters voice their concerns, so this far craftier conveyance deserves praise. But the story doesn't end there. Subtext overpowers the actual narrative. There are so many moments of termite art that one can lose focus on the spy hunt.
Suspense isn't all in the reveal; that's something director Tomas Alfredson can't seem to grasp. In Let the Right One In a vampire is created only to die at the moment of that realization. The payoff: a fiery effects death that removes what could have been a formidable character while adding a scene that has no impact on the story. In Tinker Tailor Soldier Spy there is a book full of characters thanks to John le Carré, a few too many for a concise film. Despite wonderful spotlight moments, few thrillers are this boring. Not to say that there's a lack of action—which is true—but any plans of action are kept secret from the audience. What should be a climax is simply a scene leaving the audience with questions. It's anticipation that builds suspense, not the resolve.
The film carries the aesthetics of Masterpiece Theatre. It's hard not notice how some scenes are shot with an unacceptable amount of noise, which would have been fine had it been consistent. There's no effort at spectacle whatsoever. Even the sluggish music sounds like it was culled from a bin of discounted tapes. The set decoration and costumes are true to the early '70s , offering the visual appeal for the movie.
Gary Oldman is believable and understated. Perfect for the role. I don't want to get into who else does what as spoilers can be easily dropped. Let me say that the cast is effective.
Tinker Tailor Soldier Spy leaves the viewer with a path to the correct interpretation. It's not the easiest read, but it appears the story is sound.
George Smiley (Gary Oldman) is a recently retired British intelligence expert called back into duty to expose a double agent at the top of MI6. Some of the work has been done for him by his former boss Control (John Hurt). With the field narrowed to five individuals, Smiley gathers information to determine who is giving information to the Russians.
The paranoia within the circus is widespread. No two people can trust each other. A simple scene shows Peter (Benedict Cumberbatch) entering an elevator within the compound. The camera lingers on him and a sign that stresses the importance of closing the door after use so that others can call the elevator. Of course when Peter exits there is no thought of closing the door. It would have been traditional for a number of characters voice their concerns, so this far craftier conveyance deserves praise. But the story doesn't end there. Subtext overpowers the actual narrative. There are so many moments of termite art that one can lose focus on the spy hunt.
Suspense isn't all in the reveal; that's something director Tomas Alfredson can't seem to grasp. In Let the Right One In a vampire is created only to die at the moment of that realization. The payoff: a fiery effects death that removes what could have been a formidable character while adding a scene that has no impact on the story. In Tinker Tailor Soldier Spy there is a book full of characters thanks to John le Carré, a few too many for a concise film. Despite wonderful spotlight moments, few thrillers are this boring. Not to say that there's a lack of action—which is true—but any plans of action are kept secret from the audience. What should be a climax is simply a scene leaving the audience with questions. It's anticipation that builds suspense, not the resolve.
The film carries the aesthetics of Masterpiece Theatre. It's hard not notice how some scenes are shot with an unacceptable amount of noise, which would have been fine had it been consistent. There's no effort at spectacle whatsoever. Even the sluggish music sounds like it was culled from a bin of discounted tapes. The set decoration and costumes are true to the early '70s , offering the visual appeal for the movie.
Gary Oldman is believable and understated. Perfect for the role. I don't want to get into who else does what as spoilers can be easily dropped. Let me say that the cast is effective.
Tinker Tailor Soldier Spy leaves the viewer with a path to the correct interpretation. It's not the easiest read, but it appears the story is sound.