I was eager to see Tinker Tailor Soldier Spy (the lack of commas appears deliberate) simply because of my admiration for Tomas Alfredson’s previous film Let the Right One In. I wasn’t disappointed in his direction. I enjoyed the film very much and I think it is one of the best designed films (by Maria Djurkovic who has a long line of credits in UK film and television) I have seen in a long time. If I’m not overly excited by its success, it is simply because it is an adaptation that follows the earlier lengthy TV series from 1979 rather than being something new. Still, there are several interesting aspects to the production and to this release.
The first is that despite the (middle-class and public school) Englishness of the property, this is very much a European film. It marks the first official release for the re-branded StudioCanal – a French company which has autonomous British and German subsidiaries that are both involved in this production, alongside StudioCanal’s long-time UK partner, Working Title. The film shot in Budapest and Istanbul as well as London. It was directed by a Swede, photographed by a Swiss-Dutchman (Hoyte Van Hoytema), edited by a Sweded and much of the effects work and design work was carried out in Sweden. The excellent music is by the Spanish composer Alberto Iglesias. (There is some excellent use of songs in the film with George Formby’s Mr Wu and a great rendition of Charles Trenier’s ‘La mer’ by Julio Iglesias.)
The acting is, as expected, exemplary and I’ll leave it to others to work out whether Gary Oldman achieves as much or more – or less than Alec Guinness in his portrayal of George Smiley. Otherwise it is splendid ensemble work all round.
I’ve enjoyed some Le Carré’s later novels but I haven’t read the Smiley titles. I’m a little concerned that the success of this film will start off a series of further adaptations, possibly with Alfredson attached. Not that he wouldn’t do a good job, but I’d like to see him try something else. For the moment though, Alfredson’s spy story stands up well against two other sober spy dramas, Sidney J. Furie’s Len Deighton adaptation The Ipcress File (UK 1965) and my admittedly hazy memories of The Spy Who Came In From the Cold (UK 1965). The latter directed by Martin Ritt was another Le Carré adaptation with (I see now) George Smiley as a minor character played by one-time Maigret star Rupert Davies. Richard Burton was in the lead. Perhaps because I saw this as a teenager not that many years after the Berlin Wall went up, it made much more of an impression on me. Tinker Tailor now appears as more of a good yarn than a commentary on the times.
Interesting official website.