Juan Barquin/Columnist
Based on John le Carre’s 1974 novel of the same name, the film stars Gary Oldman as George Smiley, a recently retired intelligence officer. Smiley is enlisted to investigate and expose a mole in the Circus, the highest rank of the Secret Intelligence Service.
Along with the help of Peter Guillan (Benedict Cumberbatch), Smiley must look into the lives of all four members of the Circus, each nicknamed by the previous chief control (John Hurt) before his passing. These code names, used in order to relay information about the identity of the spy, are Tinker, Tailor, Soldier, Poorman, and Beggarman.
Having previously directed the stunning film “Let the Right One in,” Alfredson reminds audiences that he still knows how to make something absolutely gorgeous. Working with Hoyte van Hoytema, director of photography, he creates an entrancing image of England in the 1970s that fits perfectly with the film’s dark mystique.
Art direction, especially set design, is particularly notable, especially when contained in smaller locations such as the brilliant orange, smoke-filled room where the Circus congregates for many discussions.
The music for the film, composed by Alberto Iglesias, is used ever so subtly throughout. It is never distracting and adds to the mood that has been set, filling those moments where silence just does not feel right.
With a large cast like the one featured in this film, it is often hard to recognize the best players. Practically everyone — including Colin Firth, John Hurt, Tom Hardy, Tom Jones and Mark Strong — did a fine job playing their characters, each giving believable performances and fitting right into the events taking place around them. However, the two most notable performances are those of Oldman and Cumberbatch.
Oldman, who never ceases to amaze regardless of the role, dives into the character of Smiley without hesitation. His clever and soft-spoken performance as Smiley manages to be commanding without taking away from anyone else.
Cumberbatch, who is best known for his work in “Sherlock,” stands out due to his ability to take on any role he is given. He portrays the character’s naivete without compromising his intelligence and ability to hold his own against his superiors.
Unfortunately, looks and performances — while extremely beneficial — do not make a great film on their own. One of this production’s biggest problems is pacing, which is quite uneven within the film’s span of two hours. “Tinker, Tailor” is a slow burner, lingering on silent glances or stares fairly often and taking its time to build up to anything substantial.
The chronology of the film bounces around plenty, and with an immense set of characters, it is hard to keep track of what is going on at times without previously knowing the material.
On a first viewing, one might find that it gets exhausting after a certain point, but this does not mean that it is not worth watching. In fact, the complex plot is well-deserving of multiple viewings, slowly piecing together the film with each consecutive watch.
However, it is more than likely that the lucky individuals who have read the novel or watched the BBC miniseries based on it will have a better chance of enjoying this film the first time around.
With any luck, anyone who found “Tinker, Tailor, Soldier, Spy” interesting but felt they needed more information (like myself) will choose to heed my suggestions and explore the film further, allowing themselves a broader perspective on what is quite the well-made espionage that just needed to offer a little more substance for its audience.
Reel to Reel is a weekly film review column. Juan Barquin is an intern for the Miami International Film Festival. Email: life@fiusm.com
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