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Wed, Jun 19 2013
Tinker Tailor Soldier Spy review
Photo: Sofia Echo
A film labeled "cerebral" rarely inspires one to rush to the nearest cinema and buy a ticket. Such films are usually relegated to the art-house circuit. There are exceptions, of course (2010's multidimensional puzzle-within-a-dream, Inception, succeeded at the box office because it was aggressively marketed as a film by the Batman director and featured some gorgeously staged set pieces), but they tend to be few and far between.
Tinker Tailor Soldier Spy, based on the (almost) eponymous novel by John le Carré, save the commas in the title, is directed by Tomas Alfredson, a master of subtlety, whose previous film, Let The Right One In, put on screen a surprisingly touching depiction of the relationship between a vampire and a human, infinitely superior to the other big-name productions of that or any other year.
Alfredson's latest film is as subdued as it is oblique, and yet despite the eternally grey skies of its settings - London, Istanbul, Budapest - and the oppressiveness of its silences, it features performances that dazzle and seem to fit the secrecy and the indecipherability of the world of 1970s British intelligence like a glove.
Read the full story in The Prague Post.
Tinker Tailor Soldier Spy, based on the (almost) eponymous novel by John le Carré, save the commas in the title, is directed by Tomas Alfredson, a master of subtlety, whose previous film, Let The Right One In, put on screen a surprisingly touching depiction of the relationship between a vampire and a human, infinitely superior to the other big-name productions of that or any other year.
Alfredson's latest film is as subdued as it is oblique, and yet despite the eternally grey skies of its settings - London, Istanbul, Budapest - and the oppressiveness of its silences, it features performances that dazzle and seem to fit the secrecy and the indecipherability of the world of 1970s British intelligence like a glove.
Read the full story in The Prague Post.
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