This past weekend, two films opened that allowed views to choose between their amygdala and prefrontal cortex. Those who wanted to react could watch Mission Impossible: Ghost Protocol and relish the ceaseless action and those who wished to reflect could screen Tinker Tailor Soldier Spy and revisit the intrigue of the Cold War. There is nothing wrong with explosions and fisticuffs but I wanted conspiracies and mysteries so I chose the latter. I was happy with my choice but others in the theatre were not, believing that there was not sufficient violence for their liking.
Based on the 1974 novel by John LeCarré, Tinker Tailor Soldier Spy tells a tale of infiltration within the British Secret Service and the attempts of the protagonist George Smiley to uncover the truth. Smiley had been forced to retire in disgrace after an operation in Budapest went sour and now he is investigating his former colleagues. Given the level of intrigue which permeates “The Circus,” Smiley does not have to confront any friends, only rivals.
Discoveries occur because of thoughtful reflection. Although there are some revelations which are not adequately explained (perhaps due to editing or a poor screenplay), most of the film makes sense. The mindful viewer can assemble many of the pieces together, a characteristic of a good mystery and a welcome difference from films which aim surprise with a nonsensical twist at the end. Tinker Tailor Soldier Spy is not threatened by the possibility of spoilers and remains true to the original work.
The cast proves tremendous. The performances are subtle but superb. Gary Oldman has long toiled in Hollywood, balancing well-received feature roles with well-known supporting ones and this may be his best chance for a coveted Oscar nomination. Smiley is a tortured soul: his career is ruined, his marriage in shambles and his mentor dead. He wants to find the Russian mole near the top of the Service not only to clear Control’s name and spite the man who had an affair with his wife but more importantly for the sake of solving a challenging problem. Oldman creates a perspicacious and meticulous professional who cannot replicate the same qualities at home.
Colin Firth, Tom Hardy and Mark Strong also play intelligence officers who have been consumed by their jobs. The dangers of being a spy are not related to assassinations and kidnapping but the necessity of living with the consequences of their duties. It is easy to be consumed by the work of creating deception and fighting it at every turn. In this film, none of the actors seem like a stereotypical leading man; they play parts much closer to the average person. Aside from Smiley, it seems as if everyone desperately wishes to leave their jobs, if they could only find a way.
Director Tomas Alfredson patiently recreates a period in history that no longer exists. Long shots – some from behind, some from a distance – create the impression that someone is watching. The characters are often viewed through a glass door, placing the audience in the role of a passer-by, or from the perspective of another. Symbolism of looking at one’s self or looking at others pervades the film. In many scenes, the answer lies in the details. Although the action moves slowly, there is always the impression that something is afoot and the next development could occur at any moment. ***½