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Tinker Taylor Soldier
Spy
(2011)
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Director:
Tomas
Alfredson |
COUNTRY
UK/France |
GENRE
Drama/Spy |
NORWEGIAN TITLE
Muldvarpen |
RUNNING
TIME
127
minutes |
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Producer:
Tim Bevan
Eric Fellner
Robyn Slovo |
Screenwriter:
Bridget
O'Connor
Peter Straughan |
Review
Cold War espionage has always been a movie favourite, and especially
during the pinnacle of such activities in the 1970s. There were
high-profile agents exposed as Soviet spies in most western countries,
including my own. And few were better equipped to write espionage
fiction than former British intelligence officer John Le Carré. His
novel "Tinker, Taylor, Soldier, Spy" from 1974 chronicles the denouement
of a Soviet mole inside the heart of the British Intelligence, and in
1979 this novel was successfully adapted into a seven-part mini-series
for the BBC.
When Swedish director Tomas Alfredsson meticulously tries to cram this
complex and talkative story into a two-hour contemporary film, it
doesn't feel all that significant any more, despite the fact that it's
all done with a great deal of perspective and with a stellar cast. As
with his previous film, the masterstroke
Låt
den rätte komma in, Alfredsson is out to bring us vividly
back to the 1970s, and the London in Tinker Taylor Soldier Spy is
a London full of nostalgia, from the grey colour palette and right down
to the beige Citroën DS the agents drive around in. Unfortunately, it
seems that style has been of more importance to the filmmakers than has
substance, because the story is not told with any kind of urgency, not
given the revitalization it sorely needs. In a time of instant exposure,
Internet and WikiLeaks, phone tapping, attaché cases and filing cabinets
seem outlandish and bleak, especially when the film doesn't find it
necessary to provide much in terms of background and context. I believe
that this, along with the film's thick forest of characters, will
alienate viewers who have not read the book, not to speak of younger
viewers who weren't even around during the Cold War.
Gary Oldman has been hailed for his performance as George Smiley, even
receiving a much overdue Academy Award nomination. I've been advocating
him for such an award for almost two decades now, but although his
performance here is interesting, canny and aptly convoluted, it is
nothing compared to Oldman's best work. His George Smiley works more as
a symbol for the insignificance he represents, his dying race, than as
an engaging protagonist. And when the mole is finally revealed and taken
care of, the inanity he and those who revealed him embody creates an
anticlimax befitting the irrelevance of Tinker Taylor Soldier Spy.
The intrigues, tragic fates and political chess games are there, but
Alfredsson has hidden them well underneath his 70s nostalgia and dense
narrative style.
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