Tinker, Tailor, Soldier, Spy

I’d be lying if I said I wasn’t expecting big, nay huge, things from Tinker, Tailor, Soldier, Spy. A killer British cast and Swedish director Tomas Alfredson, the man behind the superlative Let The Right One In. It seems the critics haven’t been disappointed either as they’ve been falling over themselves to lavish this with praise. However, much like the screw shaped story line, is what these reviewers saying the whole truth? Even before firing up the cameras there was always going to be one major hurdle for Alfredson and scripter Peter Straughan. How to condense John le Carré complex novel into a coherent film. Unfortunately, they haven’t quite managed it. For those not in the know the story concerns semi-retired intelligence officer George Smiley’s (Gary Oldman) attempts to track down a Soviet spy within MI6. Despite the great cast the film suffers from three main problems. Firstly, it’s far too slow. Realistic you may say, and no-one was expecting any James Bond style antics here, but scene after scene of watching Smiley plodding along does not get the pulse racing. Secondly, too many characters appear with little explanation as to who they are and what’s going on, meaning things may become confusing at times for some and it’s possible that only people with full knowledge of the novel will be able to watch all the way through without a quizzical look on their faces at some point. Finally, the ending is spectacularly limp with the reveal as to who the spy is not intriguing or surprising (even for people who don’t know the story already). One thing Alfredson does nail though is the atmosphere. Paranoia abounds throughout with the real feeling that no-one can be trusted and the characters acting as if every word they utter is being recorded. This reaches a high in the films only real moment of tension when Benedict Cumberbatch has to steal some documents from deep within the organisations archive. It’s a nerve rattling scene, but it’s over too quickly and you wish Alfredson had found the time to insert a few more edge of the cinema seat moments like it instead of yet more aerial shots of various European cities. Aesthetically this looks great as well, with the bland early 1970’s setting realised through sharp attention to detail, including a selection of brown and grey polyester clothing not seen since the heyday of door to door insurance salesmen and a constant fog of cigarette smoke bordering the films edges. On the acting front this is Oldman’s film by a long way, completely inhabiting the role of Smiley to the extent that you forget its Oldman under the make-up and glasses. He gives Smiley the cold and calm manner that le Carré has in the novel and the one time in the film where he actually raises his voice above his usual monotone is a great moment of Smiley revealing some inner emotions for a few seconds. Everyone else does their best but too many performances get lost in the mix, but nods should go out to Toby Jones as a snide rival agent, but even better is Kathy Burke in a short but memorable role as a retired employee of the service who has seen better days. To sum up, this is a feast on the eyes, but the film just goes to show that even with outrageous talent both behind and in front of the camera, some stories just cannot be told in 120 minutes.

The OC Film Sting Final Verdict

Oldman is great, visually it’s a triumph, but this a thriller without any thrills. Rating: 6/10.