REVIEW: Gary Oldman Sneaks Off with One of the Year?s Great Performances in Tinker, Tailor, Soldier, Spy

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Some movies come directly to you, begging for your attention if not demanding it outright. And other movies sit still and quiet even as they hold out a hand, beckoning you closer until you’ve been drawn in almost in spite of yourself. Tomas Alfredson’s Tinker Tailor, Soldier, Spy, an adaptation of John Le Carr�’s 1974 novel, is the latter type.

The picture is so meticulously constructed — like an elaborate mechanical watchwork — that details can slip past you if you’re not paying careful attention. I’ve seen the movie twice now, and at the second screening I attended, the guy next to me groused that it was certain to flop — there’s no way, he said, that modern audiences would be able to follow it. But the movie’s intricacy, and the way it finds its way into the emotional lives of its characters via (and not in spite of) that intricacy, is what makes it extraordinary. Tinker, Tailor, Soldier, Spy challenges audiences to believe in craftsmanship again.

The film opens with a directive, and a botched mission. The story is set in 1973, largely in a dismal and businesslike-looking England that’s doing its damnedest to fight off the chill of the Cold War. John Hurt, as Control, the head of the Circus — a.k.a. MI6 — sends an operative, Jim Prideaux (Mark Strong), to Budapest as part of an attempt to uncover a mole who, Control is convinced, has burrowed deep into the organization. The mission…

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