Tell us what you thought of 'Tinker, Tailor, Soldier, Spy'
The film hits theaters this weekend
Gary Oldman (left) and John Hurt in "Tinker, Tailor, Soldier, Spy"
Credit: Focus Features
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I meant to have this post up on Friday, but Tomas Alfredson's "Tinker, Tailor, Soldier, Spy" opened on Friday and it's time to get reactions. I'd say it's been thoroughly covered around these parts. Guy was a fan at Venice fest. I dug it as well. We also spoke to Gary Oldman and listed his best performances to date. But now it's time to hear what you have to say. If you get around to the film this weekend, come on back here and give us your perspective.
Kristopher Tapley has covered the film awards landscape for over a decade. He founded In Contention in 2005. His work has also appeared in The New York Times, The Times of London and Variety. He begs you not to take any of this too seriously.
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2012-2013 OSCAR PREDICTIONS
UPDATED: FEB 25, 2013
Best Picture
Best Director
Best Actor
Best Actress
Best Supporting Actor
Best Supporting Actress
Best Adapted Screenplay
Best Original Screenplay
Best Cinematography
Best Costume Design
Best Film Editing
Best Makeup And Hairstyling
Best Original Score
Best Original Song
Best Production Design
Best Sound Editing
Best Sound Mixing
Best Visual Effects
Best Animated Feature Film
Best Documentary Feature
Best Foreign Language Film
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December 11, 2011 at 12:47PM EST Reply to CommentBeautifully constructed and meticulously executed, Tomas Alfredson’s Tinker Tailor Soldier Spy is a showcase in pitch perfect pacing, acting and storytelling. Centred around a series of flashbacks utilised as a way in which to pin down the mole at the top of the circus, the race to find the culprit is as sadistically frustrating as it is chokingly tense.
Tomas Alfredson was an absolutely inspired choice as director. With Let The Right One In one of the very best cinematic offerings of recent years, nobody else could have given us such genuinely stunning shots as looking in on Peter Guillam walking through reams of files (possibly my favourite shot of the entire film) and muted speech behind closed windows, contrasted with the whole of George Smiley’s face. What Alfredson has brought to this film is ultimately paranoia. Every character is followed from a distance at some point, with the grey, dated glaze to the screen keeping anything from being colourful and clean-cut akin to the plot. His choice to bring Alberto Iglesias’ orchestrations to the piece adds to this sense of paranoia and builds an all too tangible suspense throughout. At times you can barely hear the layers of the score, a testament to how well it is filtered into the action, all the while adding unbelievable depth to the ever-deepening situation.
Bespectacled and stoic, Gary Oldman is utterly mesmerising as George Smiley. His Smiley is so still, but every single fibre of Oldman’s being, every single drop of blood that courses through his veins belongs to this quiet yet remarkable character. Demonstrating how anger does not need to be shown purely through shouting, Oldman’s rare moments of anger are incredibly genuine, but altogether very startling. For a man who appears very introverted, as we learn more about his friendships and home life, we see a very fragile and lonely human being. A far cry from the big, brassy roles Oldman is so adept at adopting, it is practically impossible to argue that Oldman is the most versatile living British actor. A moniker that may once have been heralded towards fellow cast member John Hurt, it is interesting to see that many of the younger members of the cast are fitting to vie for this title in future years.
Benedict Cumberbatch and Tom Hardy, being two of the most in demand character actors (as well as working in major blockbusters) of the moment will definitely be battling it out for Oldman’s crown when the time comes and Tinker Tailor unquestionably shows why. Cumberbatch oozes incredible charm and intelligence as Peter Guillam, a man whose home life is never indulged in, but the moment it is gives Cumberbatch a chance to remind us why he is quite so desirable.
Hardy is an absolute joy to watch, especially seeing him act opposite his idol, Gary Oldman. Not the tour de force performance we’re used to, in Ricki we are able to marvel at Hardy’s mannerisms, versatility and his ability to hold the audience. Smiley and Tarr appear to form an off kilter father son relationship, emphasising that even though Tarr is seemingly dealing with his situation very well, he is completely out of his depth. He is very alone, just like Smiley, but not willing to accept it.
There are too many wonderful performances to delve too far into, but it must be said that I never thought I’d see the day when I found it fun to hate Colin Firth. Alongside his Bill Haydon, Mark Strong adds another very misunderstood character to his already impressive workload in Jim Prideaux. Toby Jones, David Dencik and Ciaran Hinds join Firth as the four suspects – a brilliant quartet of spite, squabbles and personal glory – all under the ever-watchful eye of John Hurt’s Control. Kathy Burke, Stephen Graham, Simon McBurney and Roger Lloyd-Pack pepper the film with fascinating bit parts and it truly is a shame their service isn’t required a little longer.
The true joy of Tinker Tailor is in its pacing. It is slow, cautious and sets exactly the right tone for a thriller of such magnitude. But for its stillness it involves a great amount of surprise. Gunshots will make you jump and the dismembered bodies may leave you feeling a little giddy, but this violence never feels out of place. The film speeds up significantly when we discover who the mole is, but the actual reveal is a little underwhelming. However, we were given reason to doubt the innocence of all four parties and so the realisation had no cause to be a massive shock. But it’s that key moment when Smiley works it out, when he puts all the pieces together, that is truly triumphant. Listening to Tarr’s voice recordings on constant repeat, the look on Smiley’s face has you begging to understand what has just come to light.
The revelations that come after the identity of the mole hit harder, but the interesting decision to end the film on a surprisingly up-tempo song during such questionable circumstances somehow really does manage to tie everything together perfectly. This once again begs the question of whether anybody else could have been allowed to touch this sacred script. Yes, the cast are phenomenal and there’s no denying their work is close to perfection, but Alfredson’s Swedish touch, his European influence is what makes it work. He has given us a truly unique patchwork of betrayal, guilt, paranoia and friendship that showcases some of the countries best actors at the absolute top of their game.
The rousing applause that ends the film is not arrogance from the director. It is the only plausible way this film could finish.
VERDICT: 5/5
jim
December 11, 2011 at 12:49PM EST Reply to CommentBest film of the year.
Gary Oldman. Best performance of the year.
Kevin Ketchum
December 11, 2011 at 2:01PM EST Reply to CommentI think it's dangerously close to being a masterpiece. Alfredson pays homage to Melville in such a nuanced, dense piece of work. I think a second viewing is essential, and preferably very soon after the first viewing. The first viewing it's hard to keep up with all the jargon & intricacies of the plot, but only because you're so in awe of the craftsmanship on display & so mesmerizing by the performances, especially Gary Oldman's. In fact, it's one of the few films this year I would rewatch more than just once, just to find something new to appreciate every time.
wisconsinkel
December 11, 2011 at 4:36PM EST Reply to CommentI'm interested in hearing everyone's take on Benedict Cumberbatch vs. Tom Hardy. Who's better? Yah, we know Tom Hardy is the easy choice for drooling fanboys, but really...who was better?
Kristopher Tapley I say Benedict.
December 11, 2011 at 6:48PM ESTinresponse Cumberbatch easily. Hardy misjudges his final scenes in the film. Cumberbatch crafts a far more believable character.
December 11, 2011 at 7:38PM ESTCSnow Very hard choice. I really loved them both quite equally. They have very different material to work with. If I have to pick one, I'd say Benedict.
December 12, 2011 at 4:55AM ESTGuy Lodge Hardy's my favourite, but there's no weak link in that ensemble. Mark Strong deserves consideration, too.
December 12, 2011 at 8:18AM ESTJJ1 Just saw this. After Oldman, I'd say mark Strong.
December 24, 2011 at 8:03PM ESTDylanS Hardy over Cumberbatch for me, both are 2 and 3 if I had to rank the supporting performers, but my number one is Firth.
January 6, 2012 at 3:17AM ESTChris138
December 11, 2011 at 5:53PM EST Reply to CommentEasily one of my favorites of the year and I can't wait to see it again next weekend when it opens in my area. I really hope Oldman starts to pick up some acting nods.
goodmanhousehold
December 11, 2011 at 7:36PM EST Reply to CommentBenedict Cumberbatch steals the film for me. Even out acting Gary which surprised me.
may Maybe it was reading the immense praise before the film but I ended being less impressed than I expected. Strong performance no doubt but Gary Oldman had a lot more to work with and gave a masterclass.
December 12, 2011 at 12:19AM ESTmay
December 12, 2011 at 12:17AM EST Reply to CommentReally loved it. Is the fact that it is a Brit film hurting its chances since one just won last year? Brilliantly composed and affecting. Thought the pace was perfect to create the tension.
Gary Oldman was brilliant. And I know more people are singling out Cumberbatch and Hardy but I was most affected by Strong and Firth. Both had slightly lesser screen time than the former two I think but their shared moment in the Christmas party scene and the following scene broke my heart. Communicated a lot with very little.
The Christmas party scenes and La Mer were inspired too.
Chad Hartigan
December 12, 2011 at 2:04AM EST Reply to CommentWalked out after an hour. I know. I know.
CSnow
December 12, 2011 at 4:53AM EST Reply to CommentSaw this at a special screening. LOVED IT. I'm bummed that the limited release doesn't open in any theater close to me, yet. I would've love to see it again. Not that it was confusing to watch or anything. But I found the layers and details so intriguing, it'd be purely entertainment just to see it again and savor everything. There are so many details that I still go through in my head even after weeks of seeing it.
The pacing was both perfect. For me personally, it was gripping. I couldn't take my eyes of the screen, which has a lot to do with all the great performances in the film. I don't think there was a weak or bad performance by anyone.
Gary Oldman is simply mesmerizing. I've been a long time fan. And to see him taking on a lead role like this is just....heaven. I can go on for pages about how terrific I think this performance is. If he doesn't get some award recognition for this, I'm going to be sick.
Kathy Burke's cameo was superb. Her scene with Oldman ranks one of the best in the film.
Like many others, I really enjoyed Benedict Cumberbatch and Tom Hardy in the film too. Both of them have these moments that really touched me. Yes, they are not huge emotional moments that are "designed" to elicit some sob reaction from the audience. But that's precisely why they are so well done. They don't seem forced or contrived. (I personally can't stand those fabricated "emotional" scenes with the big crescendo music behind it just begging you to please cry.)
I agree that the film can be distancing emotionally at times. I can see why some might dislike that trait. Thought it doesn't bother me at all. It fits the entire tone and theme (distance) of the film. And when it's time to get the glimpse into the characters' emotional state, I completely felt the pain and loneliness that the film wanted to portray.
It ranks as one of the best films of the year on my list.
rentrobuff
December 20, 2011 at 3:49AM EST Reply to CommentI really hated this movie. Easily the worst film I've seen all year. I'm a smart guy; I'm in grad school... but I honestly did not understand a thing that was going on in this film. I blame the atrocious, arbitrary editing and the failure of a screenplay. Also, there were about 20 too many characters, none of whom were developed enough to be distinguishable from each other. And the climax is totally anti-climactic. Such a failure of a film.
That said, yes, the production design, costumes, cinematography, score, etc. were exquisite. These elements are what help the film get a D+ grade from me instead of F.
DylanS
January 7, 2012 at 2:34AM EST Reply to CommentThis is very high up on my top 10 list of this year. Alfredson did such an impeccable job with "Let the Right One In", and "Tinker, Tailor" demonstrates his capabilities as a director in the english language and one of the most finely tuned and distinctive aesthetic styles of any working director, this man is the real deal. I had read Le Carre's novel, and this adaptation from Straughan and O'Connor is not aiming to make the comprehension of this material any easier. There's no subtitles to indicate time and place as the narrative leaps around, nor any obvious exposition to explain the spy lingo. This is an extremely challenging film to comprehend, especially in its first half, but somewhere towards the middle things begin to come more coherently together.
We often assume that the impact of a great performance is felt immediately, but that is not the case with Gary Oldman's subtle tour-de-force, which is the best performance of the year. He has the seemingly insurmountable challenge of guiding the audience through the maze of the narrative and is given very little emotional range by the nature of his character to do so. The tone in his voice is raised only once in the entire film, but Oldman makes so much out of so little here, and it is a testament to his range and his unmatched sense of control (often demonstrated in more eccentric performances) as an actor that this character works. That he isn't a lock for a Best Actor Oscar (given his overdue factor), let alone a potential snub for what would be his first nomination, has me losing my faith in actor's ability to judge what qualifies as challenging acting. I think the Focus campaign for this performance would be smart to mail screeners that play the scene he has toward the end of the film where he's drinking with Cumberbatch (a masterful display of understatement) and then play the scene of him as Drexl in "True Romance". I mean, seriously, is there anything this guy can't do.
The supporting cast around him is the year's best, and with a collection of thesp's this good, how could it not be? This is a film where you could ask 5 different people who their favorite supporting performance was and they could all say someone different without being unjustified. My personal favorite was Colin Firth, who brings a suave charisma to the otherwise chilly proceedings and keeps us guessing the entire time. Tom Hardy is a close second, getting center stage in the best section in the entire movie. He also provides more charm in his performance than others, but just watching him go toe-to-toe with Oldman in their conversation is like watching the crown being passed down, Hardy is an exceptional screen presence. Cumberbatch is third and no less impressive, getting the most substantial amount of screen time of all the supporting players. I'd rank the rest of the line-up as follows: Denick (terrific in the airstrip scene), Jones, Strong and then Hurt.
The all around craftsmanship is the best of the year. The production design is stunning in the least obvious and most organic of ways, best of the year and I am glad to see others saying so, not the least of which the people who hand out awards. Also best of the year, but getting less recognition, is Hoyte van Hoytema's superb cinematography. It's also not on the pretty side, but it has such atmosphere, with the smokey air in every room. The things he does with depth-of-field as a part of the storytelling (carried over from "Let the Right One In") are stunning. Iglesias' jazzy score fits the film like a glove and Durran's costumes help define the period setting and help to define the characters. Also, the use of the Julio Iglesias song "Le Mar" at the end was so excellent.
5 out of 5