Tinker Tailor Soldier Spy (15) 127 minutes-2011

Another week, another revamp. Director Tomas Alfredson, who first came to prominence with the vampire movie, "Let the Right One In", brings us his adaptation of John Le Carre’s famous novel. The book was a classic if complex and slow. The TV series, with Alec Guiness, was both timely and relevant and even quite chilling, for its time. But what of this remake, all spies, smoke and bad hair. Does the Cold War really resonate with the audiences of today?

The story itself is simple enough. MI5 has been breached right up to the top. But in a world of deception where paranoia is the norm, how can you tell and where do you start. Its leader, Control, (John Hurt) feels personally betrayed and drags a reluctant George Smiley (Gary Oldman) out of his comfortable retirement to sort out the mess. Systematic, meticulous and bereft of emotion, just who is the mole? Alleline (Toby Jones), Haydon (Colin Firth), Bland (Ciaran Hinds) or Esterhase (David Dencik).

Despite the strong line-up, the cast disappoints, one dimensional in range and too lacking in colour. Oldman's restraint is over the top, unmoved by his wife or by the loss of his colleagues. Firth is the same, all half-smiles and frowns and even Mark Strong seems off-colour at best, the shooting in Hungary laboured and false, the bead of sweat on the table too obvious and heavy. While Hurt has his moments, now angry now lost, but at least at ease in his role, it is Peter Guillam (Benedict Cumberbatch) who impresses as he gradually unravels, unable to cope. But if the acting is lightweight, Cameraman Hoyte van Hoytema and designer Maria Djurkovic build an atmosphere that is good and settings that are better. This is a world where the colours are grey where the sun never shines and where no-one cares if you die. Tall faceless men pace down long, smoke filled rooms, a waiting room for death, a relief when it comes. This is a world far removed from James Bond where the heroes are revered and the good guy gets the girl.

Ultimately the movie misses because information can’t be shown and, despite the best efforts of husband and wife writing team - Peter Straughan and the late Bridget O'Connor – who give us anecdote after anecdote - Guillam raiding the files or the surreal office party - and expect us to connect the dots, we are left floundering on our own finding connections where none were intended. A key image for me were the points on the railway; they shift, they connect and the train goes on by. A metaphor for Smiley’s mind or points on a rail track.

Disappointing and long. 2/10
Richard Smith-Morgan
September 2011