Tinker, Tailor, Treachery & Treason.....

"A desk is a dangerous place from which to view the world" (John Le Carré)

The mysterious machinations of the invisible entity known as the intelligence service has had an avalanche of interpretations in literature and pop culture since the denouement of the Second World War. From early genre pieces such as Hitchcock's The 39 Steps to Ian Fleming's never-ending Bond saga, the spy-game has certainly never wained in the eyes of Hollywood. One of the greatest writers of this generation and a former intelligence officer, John Le Carré, however, sought to demonstrate just how far from the truth these commentaries on espionage really were. Somewhat ironically his stories proved to be much more fascinating and absorbing,  displaying with tactile ease how a bottle of Bollinger and a DB5 were no match for backroom betrayals and a stack of manilla folders.

In particular, Le Carré's much-beloved Karla Trilogy played upon people's natural distrust towards their fellow companions, whilst also commenting on the detritus that was MI6 in the wake of the Cambridge Five scandal. The first title within the trilogy, Tinker Tailor Soldier Spy, introduced the literary world to the reserved and private character that was George Smiley: A beacon of obstinate conservatism who never wavered from his course of action, yet was as flawed and fractured as the decaying walls he was confined to. His character traits certainly marked a departure from the bravado and indestructibility of one 007, as did the narrative. 

Set against the backdrop of a London on the precipice of austerity and disillusionment, Tinker transported us into a world of corridors and archives. After a botched snatch job in former Communist Czechoslavkia, there is a shift in power at the top of the 'Circus' (codename for MI6). 'Control', the usurped former leader, is left to rot in a hospital ward and his closest advisor, George Smiley, entertains himself by visiting the local opticians to receive a new pair of austere spectacles. However, after a Government minister receives a tip-off that there is a Russian mole in the highest echelon of the secret service, Smiley is called out of his forced retirement to uncover a world of treachery, heartache and warped morality.

Tobacco smoke seems to pervade every sequence in 'Tinker'.

It makes for a compelling read and it relieves me to say it makes for an incredible film also. From the outset, it's quite obvious the ensemble within this film is probably one of the greatest parades of British talent ever to grace the silver screen. Oldman performs in a stunning turn of character as a man who's solemnity and grace betray his despise for the deluded individuals around him, as well as the people who could be considered a part of his tortuous and lonely private life. The modern-day Sherlock Holmes, Benedict Cumberbatch, pulls in a fantastic performance as Smiley's most-trusted aide and Tom Hardy displays effortlessly, yet again, why he is Britain's answer to the late Marlon Brando.

I could parrot on endlessly as to why these heavyweight actors are utterly faultless during the running time but ultimately this film relies on atmospheric tension to drive the narrative forward. To some extent, you don't even need to follow the story in order to realise you are watching a director who is fast-becoming one of the world's finest auteurs. Tomas Alfredsen's previous work, Let the Right One In, was a stunning achievement in cinematic atmosphere and Tinker is no different in that respect. Blending the drab monotone palet of early 70s interior design, with the pervading hues of perpetually swirling cigarette smoke and you have an atmosphere which reflects the mood of the period. The backdrop also acts as a visual metaphor for many of the complex facets conveyed by these despondent and isolated individuals. It could be argued that this atmosphere reflects Britain's role during the Cold War period: A country isolated from the world stage, whose only call to perform was to act as the dispensable middle man. 

"Bloody call centres!!!...."

Aside from atmosphere, Alfredsen brings nuance, grace and, above all, patience in his camerawork. Rather than delve into self-indulgent sweeping shots and ferocious editing, which seems to be a common denominator within every modern-day thriller, he keeps the camera fixed and gives his ensemble time to breathe. Camerawork can be a key tool in a director's arsenal to develop themes. For instance, by  introducing multiple angles, accompanied by frenetic editing, an audience can potentially "get caught up in the action". However, by maintaining simple shots, Alfredsen clearly wanted to generate a different kind of effect: Tension through expression. As an audience we are forced to evaluate each glance and detail in the characters' facial expressions. At multiple points, you're attempting to deconstruct each fleeting look and question a character's motive, which generates this organic sense of suspicion and uncertainty. In essence, you form part of the atmospheric tension through your own imagination, which only adds to the sense of uncertainty surrounding the mole's identity. It is, by far, this film's greatest achievement and is a textbook lesson in direction and action.

As you no doubt have guessed I love this film. The late Harry Potter series may have been testament to the dedication and logistical talent within the British film industry, but Tinker Tailor Soldier Spy is a measure of pure British thespian talent. Ironically, a film about treachery and deceit within Britain, is one which makes me proud to be living in this country. However, lest we not forget the source of this fantastic film: David John Moore Cornwell (a.k.a. John Le Carré). A fine author who once said "A desk is a dangerous place from which to view the world." It's just a shame he failed to mention that a desk is also a marvellous place from which to create a thoroughly captivating one.