Tinker, Tailor, Soldier, Spy.

Tinker Tailor is a masterpiece. A visceral, beautiful, cinematic masterpiece. A celluloid work of art that oozes class like a Stella Artois advert shot through a dreary grey veneer. But this is to be expected. When working with the smooth prose and character-driven reconnaissance plot of a LeCarre novel you have a license to be as dark and moody as you like. The trailer alone has more grandeur than Madonna’s entourage, but the cinematography in the film itself is just, well, gorgeous.

Alfredson’s sleek shots; never ostentatious, are simple and expressive. Much like LeCarre’s prose itself, the key to the underlying plot is often not voiced in dialogue but shown through subtle nuances like a shrug of the shoulders or nervous glance. And the lack of a score in many scenes is not only noticeable, but it’s startling. The audience is invited to read between the lines, to piece together the puzzle, following Smiley’s journey into an unfolding subterfuge.

Oldman was born to play Smiley. I am a keen advocate that all fine actors are born to play a certain role. Del Toro’s Che, DiCaprio’s Hoover and Oldman’s Smiley, all perfect dramatic doppelganger’s of their real life counterparts. Oldman’s enrapturing Mona Lisa smile, the knowing glow in his eyes, the subtle probing words; he really was perfect as Smiley. In one poignant scene Oldman merely talks, soliloquises, extreme close up, into the camera and it feels like you are peering, through his eyes, into Smiley’s soul. A grand concept, I’m sure you’ll agree, but the hyperbole is necessary.

The rest  of the smorgasbord of British talent on display didn’t put a foot wrong either. Tom Hardy, my favourite actor of the moment, was excellent as ever. Firth’s performance was solid, as was Mark Strong’s (no pun intended), but the surprising performance came from Benedict Cumberbatch. Ridiculous name, brilliant posh bloke, certainly one to watch.

The minor criticism would only come down to the sometimes confusing plot line. The story itself is relatively simple; Smiley is asked to come out of retirement to find a mole in the ‘Circus’, aka British Intelligence during the Cold War. A few sub plots and some digging around and hey presto, denouement. But like all novel adaptations, films often find it difficult to tie the relevant plot lines into a narrative and allow the audience to get to grips with all of the characters without being too obvious. Easy in a novel, not so easy in a film. Tinker Tailor achieves it but it is disorienting at times and I feel a second watch (definitely forthcoming) would perhaps be more enjoyable. Unless you’re a film snob and you say that you understood the entire film immediately without any reflection. Like most men.

I have no need to drag this review on any longer, you need to go and see this film. Go in with an open mind, prepare yourself for Daniel Day-Lewis acting and Coen cinematography. Prepare yourself for, arguably, Oldman’s finest role to date. Prepare yourself for a niggling sense that you want to know more but you’re never quite going to get a straight answer. Tinker, Tailor, Soldier, Spy is undoubtedly the British film of the year and it would be unpatriotic not to enjoy it.

Spielberg.