I never thought I’d say this, but I was glad of some Welsh rain this afternoon, as it gave me and Mr. Peabody the perfect opportunity to go to the cinema. There, we treated ourselves to the 1970s espionage fest that is Tomas Alfredson’s Tinker Tailor Soldier Spy, adapted from the John le Carré classic of 1974.
The film has received rave reviews, including a rare 5 stars from The Guardian’s Peter Bradshaw, and I can understand why: this is film-making of the highest quality, which is beautifully acted and styled, and recreates a tense Cold War atmosphere to perfection.
Although the plot is fiendishly complex in places, with some mind-boggling twists and turns, the fundamentals of the story are always clear. There is a Soviet mole in the highest echelons of the British Secret Service, working for ‘Karla’, the enigmatic head of the KGB. It falls to George Smiley, a forcibly ‘retired’ senior intelligence officer, to flush the mole out. The spy has to be one of four people, all of whom Smiley has worked with for years, and so he is dealing not just with a political betrayal, but with a long-running personal betrayal as well.
The film allows Smiley’s investigation to unfold at a leisurely pace, as he tracks down the key players whose recollections will allow him to identify the mole. We are also shown Smiley’s own memories of past events (including a Christmas office party with Le Carré as an extra), which he is forced to view with new eyes – a painful process that reveals how one person’s betrayal has undermined all their supposed achievements down the years. Seeing things clearly is a dominant theme: early in the film, Smiley visits an optician’s and emerges with a new pair of glasses – the big, rectangular type worn by Alec Guinness’s Smiley in the 1970s TV adaptation. But this is much more than simple homage to the famous earlier series: the new glasses have a deeply symbolic function, showing how Smiley has sharpened his vision, in order to see the truth properly for the first time.
The acting is excellent throughout. Gary Oldman is a wonderfully controlled Smiley, whose close-ups reveal, through the minutest of facial movements, the tensions that lie beneath. There are also wonderful performances by John Hurt, Benedict Cumberbatch, Toby Jones, Colin Firth and Kathy Burke (who has possibly the best line of the whole film). Hats off, as well, to the film’s cinematographers, stylists, and lighting crew, who evoke a gloomy 70s Britain so perfectly: there’s no James Bond glitz or glamour here, just a succession of dark, windowless secret-service offices and hideouts, in a 1970s palette made up almost exclusively of browns (from beige to fawn to mud and a thousand shades in-between). The humdrum office life of the secret service is beautifully depicted (Trebor Mint, anyone?) and in some ways the whole story can be read as just mundane office-room politics, with various divisional heads pitted against one another for supremacy over the years … albeit with more geo-political issues and human lives at stake than your average workplace.
So how does a review of this seemingly ultra-British film end up on a transnational crime blog? Well, the film was co-funded by France’s StudioCanal, and the director, Tomas Alfredson, is Swedish. Best known for his 2008 vampire film Let the Right One In, Alfredson has done a tremendous job of adapting le Carré’s depiction of the classic Cold War crimes of treachery and betrayal. And in its understated style and underlying melancholia, I see this film connecting back to Swedish crime writers such as Sjowall & Wahloo and Henning Mankell, whose investigative figures, like Smiley, plod their way in a dogged and melancholy fashion towards the truth.
In Tinker Tailor Soldier Spy, the quintessential British espionage thriller meets the best of Swedish crime writing. It’s a winning combination and I can only hope that the other two novels in the Karla Trilogy will make it to the big screen via the same film-making team.
There’s also a lovely A-Z of TTSS from The Guardian available here.