Powerful and thought provoking, yet scary

Rating: 8/10 (16 January 2012)

Let's get one thing clear right from the start- This is neither a James Bond movie nor a Jason Bourne movie. There are no fancy cars or high-tech gadgets, no cheesy introductions or unstirred martinis. In essence, this is a true espionage thriller and feels very authentic right from the plot down to very minute details.
Adapted from the book by John le Carré, a fictional novel that spawned a seven part mini-series in 1979, this 2011 theatrical release chronicles the hunt for a Soviet mole within the highest ranks of MI6, a division of British Intelligence. Set during the cold-war era, the head of the British Secret Service, Control (John Hurt), sends agent Jim Prideaux (Mark Strong) to Budapest to buy information on a sleeper agent implanted in MI6 by the KGB (Russian Intelligence). The mission is a disaster and repercussions forces Control into retirement. When allegations of the existence of a mole persist, George Smiley (Gary Oldman) is brought back from retirement. Smiley has always been suspicious of standing chief Percy Alleline (Toby Jones) peddling bogus Soviet intelligence files to the Americans in exchange for important US intelligence; or project 'Witchcraft' as it is called. Now onboard with three high ranking agents, Bill Haydon (Colin Firth), Roy Bland (Ciarán Hinds) and Toby Esterhase (David Dencik), Smiley can trust no one and must follow the trail when he learns that Witchcraft is also being sold to a Soviet diplomat.
Watching this movie, cinema goers will be split into two very distinct groups ― one section of the audience will love this movie in its entirety. The other will see the movie in bits and pieces of a fragmented plot, and may walk away before the story begins to unfold. Yes, the story here is complex and may require a second viewing for some. However, watching it unfold is a reward in itself. With a little attention to detail (and there is a lot of detail), a vast majority of the audience should have no difficulty in following its narration.
This is the first English film by Swedish director Tomas Alfredson but one that is soon to be his golden ticket into mainstream Hollywood. There are so many ways in which this film excels that I don't know where to begin. What I find most compelling is for a dialogue dependent movie, there are very few scenes of character interaction that are extensive in verbal exchange. All other scenes with dialogue are short and sweet while giving away vital information in bits and pieces. This brings me to Alfredson's best moments in the film ― the use of silence. You learn more about what's happening when characters don't speak; their eyes do a lot of the talking as does their body language. These scenes are so perfect that you can almost read their thoughts or hear the phantom conversation between two intentionally mute characters or tells you something is about to happen without anyone actually saying anything. Another technical aspect is the camera work, which I find an uncanny aid to the plot. There is a lot of zooming and panning, and stationary close-ups of certain objects like the still of a drop of sweat when everyone is wearing warm clothing. It is scenes like these that put you in perspective of what it must be like to be a spy ― to put your finger on something odd, to trust your instinct and sometimes why it is important to trust no one. Characterization is another area of excellence with solid portrayals from everyone. Oldman does not have many lines in the movie but his eyes do a lot of the talking. From judging and probing to emotions of fear and sadness, he conveys a lot without actually saying anything at all. Except for Bram Stoker's "Dracula", Oldman has hardly ever played a leading role; neither has he ever been nominated for an Oscar. If seeing is believing, then I think he has a good chance for at least a nomination, come Oscar season 2012. Supporting roles are also flawless from a huge lineup including John Hurt, Mark Strong, Tom Hardy and of course Colin Firth― 2011 Oscar winner for Best Actor.
I have not read any of John le Carré's novels, but in comparison to Ian Fleming's super spy, Alfredson's rendition of Le Carré's world is very convincing. I always assumed that a spy would have to be a lonely person living a desolate life. This is so true in the movie with many characters looking over their shoulder while living in vast emptiness. Even so, it brings to light that these individuals have chosen to give up a 'normal' way of life so that you and I don't have to.