The film ends with the mole being revealed to Bill Haydon, who dies at the hand of Prideaux. Smiley finally returns to the Circus as its new chief. Chronologically, it should be The Honourable Schoolboy , however in interviews it has been suggested that the team is interested in making an adaptation based on the third and final book. His investigation eventually leads him to his old nemesis, Karla, the Soviet spymaster.
He has, in fact, confirmed that the sequel is in development and that he is completely on board. Going by the characters in the third part of the trilogy, we can also expect Cumberbatch reprise his role as Guillam, along with Dencik as Esterhase. In interviews previously, Fellner has spoken about the sequel being in development, and that Alfredson and Straughan were putting it together. In , Oldman too revealed that the film was in its early stage of development, and that the script is ready.
But talks and speculations about the follow-up have been going on ever since its release in With the script ready, and the film in development, we can certainly say the sequel is definitely going to happen one of these days. User reviews Review. Top review. A Genuine Achievement. Boldly announcing himself upon the stage of international cinema with 's Let the Right One In, the significant critical and commercial acclaim accorded director Thomas Alfredson clearly proved him a filmmaker capable of pulling off high quality adaptations of complex and dark literary sources.
Called back into service to uncover the identity of a Soviet mole at the height of the Cold War, retired British intelligence operative George Smiley is tasked with unwinding a vastly convoluted web of conspiracy, codenames, double agents, and deceit. The movement from relatively low-budget foreign language filmmaking to helming star casts in comparably costly productions is one that, historically, holds significant risk for directorial careers.
Add to the mix the danger of bringing a much-loved novel to life on screen, and Alfredson is certainly faced with a substantial task. Concerning an approximate dozen key characters—most of whom go by at least two names—the film contains a considerable quantity of raw information to be processed, particularly considering its reserved pace; the camera scrolls slowly across the screen in step with the story's measured progression, constantly moving along yet never losing the integral tension of its hastelessness.
Alfredson and screenwriters Bridget O' Connor and Peter Straughan demonstrate a keenness for the more tensely-oriented end of the genre, delving into an atmosphere of unease rather than one of brisk spy action.
There is almost an air of claustrophobia to much of the film, the caliginous cinematography and mysterious score combining to evoke an aura of noir paranoia. Much like Let the Right One In, Tinker Tailor Soldier Spy boasts a thrilling visual panache; indeed, Hoyte van Hoytema's cinematography is oftentimes so remarkably involving that entire scenes may pass by without any absorption of the dialogical details disclosed therein—the brain is simply too overcome by the aesthetic bombardment of visual pleasure to decipher the explicit aural signals.
One particular shot—an extreme close-up of Smiley's wearied face draped in shadow— affords the audience the time to study the furrowed ridges of his forehead and the weighted bags of his eyelids, giving us an entitled sense of knowledge of, and familiarity with, this character. It seems almost redundant to offer praise to the film's extraordinary cast; a brief glance at the list of exemplary names will disclose the sheer calibre of talent on display: a veritable dream team of the finest names of modern British cinema.
From Firth to Hurt, Hardy to Cumberbatch, Oldman to Dencik, the phenomenal cast plays beautifully together, each actor inhabiting their character with award-courting flair.
Where Tinker Tailor Soldier Spy really shines is in its characterisation—an all-too often underutilised aspect in this genre—each of them distinctly human rather than simply mouths through which the plot developments are channelled. Their primary concern may be with their espionage, but ours is with them: exploring their motivations; their private lives; their loyalties; and just how a career like theirs affects an existence. A recurring Christmas party scene revisited a number of times throughout the film reminds us regularly that these intelligence agents are not solely extensions of the government's facilities, but rather human beings with emotions, afflicted by the agonies of their toils, burying themselves in vodka-laced punch to just get away from it all.
Hitting all the right notes in its performances, script, and direction, Tinker Tailor Soldier Spy triumphantly infuses a challengingly multifarious narrative with a deeper humanity, questioning by proxy the way in which devotion to duty affects all aspects of our lives.
Shot with unforgettable effulgence—committing to memory eternal every last contour of Oldman's storied brow—it is a genuine achievement in cinematic storytelling. FAQ 3. Do I need to read the book first to understand the plot of the movie? What is the music in the trailers? What is the song when Peter Guillam attempts to steal the files? Details Edit. Release date January 6, United States. United Kingdom France Germany. Focus Features Official site.
English Russian Hungarian French Turkish. El topo. His understanding of what the story required, he says, was filtered through values born of empire.
The aspect that I latched on to, I think, the one I felt personally, was the idea of service. Christian service and service to country. How that sense of Christian service could be corrupted into the most mendacious and reckless behaviour was something I was preoccupied with throughout the telling of the story. While we are still living in a Britain ruled by public school elites, this aristocratic concept of service would appear long gone. Tinker Tailor may be a story about betrayal, the hunt for a mole at the heart of MI6, but it occurs in a world defined by rules and procedures.
In the modern era, with all its disruption and executive action, that seems odd. It depicts a country wearing its decline on its sleeve. Our contemporary age would never admit to as much and indeed it did not in the film version, where everything was carefully stylised and in the colour scheme of a 70s sitcom.
You also get to watch something that is slow and often silent, and all the more powerful for that. A spy story is a succession of masks.
0コメント