Szpieg

The direction is precise, with attention to details, even the unimportant ones when Alfredson is just playing around (a wasp in a car, a killed owl in a classroom), but otherwise the narrative is too distant and not very immersive. Gary Oldman displays an excruciating ease with silent glances and considered speeches, and is the brightest point of the entire film. Of course, there have been better spy plots. (27.01.2012)

I felt like a redneck in a posh restaurant who orders some incredibly expensive chef’s special and a thousand Euro bottle of wine and then, when they bring it, I lovingly reminisce of a pork schnitzel with a beer at the local pub. An incredibly well made spy drama whose potential to become an immediate modern genre classic is similar to, for instance, last year’s western True Grit, or Tomas Alfredson’s previous film, Let the Right One in. For me, however, it was too slow, with too much dialogue, too one dimensional and too long, which, together with the fact that spy dramas are not my favourite genre, resulted in my being unable to properly appreciate it. I’m sorry, but that’s the fact. (13.01.2012)

It’s actually an absolutely brilliant espionage drama, but you have to watch it second by second, detail by detail. Only at that point that it stands out, and it’s hard to enjoy it when you’re tired from the day’s work and you look forward to sinking into your armchair in the evening, when this movie starts playing. That’s actually what I did and it wasn’t quite right. At times I was passing out from the fatigue while watching and despite the perfect acting performances, I was aware of the fact that it was boring and that the movie dragged. But what drags cannot run away, so there finally came the end which absolutely uplifted the whole movie, because like a proper espionage movie, it managed to surprise me several times. (03.04.2013)

Alfredson is a precise watchmaker who can find surprising emotions under an ice sheet of formally perfect and fetishistic-style directing. A film in which he essentially only thinks and remembers... and yet he managed to wind me up like a string. If, in the case of the recent spy retro The Debt, I highlighted the precisely composed "kidnapping over the line" as the climactic scene, I have to highlight the whole in this piece - because timing, correct vibration and the purest conservatism intertwine with small drawings of the characters and extremely fun updating of the period backdrops. It should not be overlooked that Tinker Tailor Soldier Spy is, with regard to its stylization, sometimes absurdly consistent and looks (intentionally) like a backdrop spectacle. The backdrop is, paradoxically, what we traditionally consider the core of the narrative (a thrilling story, an ideological context) - the seductiveness of Alfredson's film is precisely in the details that would be only for the "real effect" elsewhere. A delicacy that I want to see again... (01.02.2012)

The most sophisticated spy picture of all time. But beneath all the distant sleekness, it is seething. By focusing on "irrelevant" details, Alfredson is able to create a complex storyline that in other films would require long minutes of dialog and an explanatory voice-over monolog. Here, a stubborn silence is maintained, and only rarely a cursory sentence is uttered, seemingly about nothing. And that's the biggest positive (and for many, the biggest negative). If you're on the same page with the film, in the silent scenes where the two Englishmen look at each other over a cup of tea, you'll be on the edge of your seat, covered in sweat, because "you know he knows that him over there knows" and there's no need for it to be mentioned through dialog. If you don’t catch this movie train or if leaves without you then you'll have long minutes waiting for you, watching two Englishmen looking at each other with cups of tea in their hands, and you’ll get nothing out of it. The borderline is thin, but it separates one of the most powerful experiences of recent years from one of the most boring experiences of recent years. So, it is hardly a film for everyone, but at least because of the unusually confident and stylish “70s" directing, it’s worth seeing. Also because it is a prime example of how to adapt a complex and extensive book; it is not a slavish copy nor a mere illustration, but a real adaptation fully transformed into cinematic language. (16.08.2014)

Those who have Gary Oldman fixed as a demonic expressive representative of the most abhorrent villains will probably be surprised by the gray inconspicuous clerk, who shows no traces of charisma, yet enlightens us about the complex espionage game, which seems to me like a very realistic portrayal of the real world of intelligence games. I say about a certain category of films that they are excellent, but only for some people. That's exactly the case with this drama. It is a precise film with a well-thought-out story and sophisticated details, which, however, with its pace and deliberate avoidance of proven genre clichés and attractiveness for the viewer, rather discourages the average film consumer. I would say that it has the potential to become a classic of its genre, whose name will be pronounced with respect by film connoisseurs and genre specialists, but it certainly won't become a box office hit in the true sense of the word. Gary Oldman's performance impressed me, as well as the screenplay, which includes several real elements from the famous scandal surrounding the legendary spy and double agent Kim Philby, who, as a high-ranking officer of the British secret service, even aspired to the position of its chief while being controlled as a mole from Moscow for many years. The technical aspects of the film and the direction are precise, and those who are not deterred by the slow pace and lack of action will be rewarded with a great cinematic experience. Overall impression: 95%. (06.02.2012)

A great spy film, very strong in the details. Top actors who have something to work with and above all an unobtrusive way of telling the story. One of those films that improves after repeated viewings. (18.02.2012)

Fantastic direction, production design, and a 70s vibe reminiscent of films like The French Connection and other similar classics. Unfortunately, the plot is quite viewer unfriendly with lots of names, dozens of flashbacks, plenty and of twists and evasive maneuvers. On top of that, there are static shots, glances, a British touch, and I had a hard time finishing this film. Someone might argue that it is for connoisseurs. Maybe, but I was damn bored, and that's not good no matter what the film is like. And I sincerely hope that I'm not inexperienced and unaware enough as a film viewer to not understand all of this. (08.04.2012)

I like films that keep me on my toes from start to finish, that don't explain everything and make me figure a lot of things out on my own (or at least think I did for a while), films that just ooze coldness, and films that talk a lot but don't push. And that's exactly what Tinker Tailor Soldier Spy is. What’s that you say? That it’s boring? That's the last word that comes to my mind right now. I have a soft spot for spy stories, especially spy stories that have to do with Britain's MI6 and the Cold War, so I'm glad we finally got this gem. Stylishly old-fashioned direction, a hauntingly simple score, a top-notch cast and a script that handles Le Carré's premise admirably (though it's still quite a rewrite in places). The film can boldly take its place alongside the best such as Funeral in Berlin, The Spy Who Came In from the Cold, The Quiller Memorandum... And others. (20.09.2012)

I never really liked spy movies, but some are worth watching. The recent Bond films really impressed me, but "Tinker Tailor Soldier Spy" is definitely not something like James Bond. It is a completely different film, with a very depressing atmosphere. I haven't read any novels by John le Carré, but if they have the same atmosphere as the film, they must be excellent to read. The film was directed by Tomas Alfredson, who shone with the film "Let the Right One In". Neither vampire horror nor spy thriller are completely enjoyable to watch, but they can leave a big impression. In both cases, you have a feeling that something bad will happen. The atmosphere and visual aspect are presented in such a way that it weighs on you. You might feel at times that the film suffocates you, that it doesn't illuminate the sun and if it does, it's only in a strange, hazy way. The director had great actors to work with. The list of male performers is almost overwhelming: Gary Oldman, Mark Strong, John Hurt, Colin Firth, Toby Jones, Ciarán Hinds, and Tom Hardy. None of them is an unknown actor, you might at least know some of them by face. It's interesting that there isn't a more famous actress here. Women seem to be pushed into the background in this film. At times, it reminded me a little of "Munich", but without the pathos, without unnecessary fluff. The scene from the celebration party is like a phantom, as if it took place in a different world. I'm quite curious whether the character of George Smiley will return, because there are more books written about him and Gary Oldman gave him incredible charisma. A plain appearance hiding definitely an interesting person. And a dangerous person. I'm also quite interested to see if Mark Strong will ever play a positive character. More: http://www.filmovy-denik.cz/2012/12/motocyklove-deniky-proposition-v-zajeti.html (02.03.2013)