"C" is "Control," the murky and mysterious man atop MI6. A typical "oscar-movie" would be a movie about an alcoholic Holocaust survivor and his kitten in the 9/11 attacks. I was a bit confused by the end and didn't really understand what happened. The book flopped, but its background provides a codex to the masterpiece that followed -- 1974’s "Tinker, Tailor, Soldier, Spy," an altogether tidier and more designed piece of work, featuring tight love triangles, patterns of deception that, like illicit affairs, require fantastic concentration, and betrayals made all the more heinous by virtue of their intimacy. It's incredibly good. Anyway, I was a little disappointed when the movie ended and thought I would never watch it again. In one scene, Smiley recalls meeting his eventual Soviet adversary, Karla, by talking to an empty chair. In the scene prior Smiley and Guillam are picking up a retired spy, who's now a bee-keeper, to join their investigation. The dictator from V for Vendetta is the head of MI6. It's a real spy movie (i.e.

However, the information from Polyakov wasn't gold, it was shit. Trust no one Jim; especially not in the main stream. Oldman's take on Smiley is a brilliant reimagining of that: almost Zenlike in its utter self-containment, a monumental feat of character expression through restraint. I thought that was meant to show they were good friends, setting up the sniper shot at the end to show at least someone was genuinely pissed at the treachery. Press question mark to learn the rest of the keyboard shortcuts. Before this, he directed Let the Right One In (also great), and though these films seemingly have nothing in common, I think they both do an excellent job at striking a unique tone of eery intrigue. He contacts a russian 'mole', gets russian info, then trades that with the US for US info. Prideaux and Haydon were friends and probably lovers. There is a spy at the highest level of MI6 and it is up to George Smiley (Oldman) to find out who it is. In the movie they showed a photo of the two a couple times. I believe they used a 2000mm lens to capture that shot! Perhaps simply demoted well below Smiley. Except of course the ending was atrocious, utterly meaningless, and lacked any sort of impact at all. It seems the others were simply fired. By the way, the book was fantastic. Close. Maybe they can Grand Moff Tarkin him. It's slow and low-key, it's a typical "oscar-movie" imo. Both of those terms have been used against it, which is complete nonsense. Britain, America’s most special ally (or so the Brits still care to think), is desperate to show it still has a role to play. Cookies help us deliver our Services. Yes, I remember reading an interview, with perhaps a producer, who thought it had to be a foreigner to properly capture the special faded tone of Britain. Rewatched it as a seventeen-year-old, and to my surprise I really appreciated it. If the story seems oblique, and the two-hour theatrical version is inevitably more elliptical than the seven hours of television that were made by the BBC in 1979, then remember that what happens and happened to Jim Prideaux is the clue. The dark tone I think matches well Le Carre's idea of moral ambiguity for the spy services on all sides in this book and others... that in the cold war, our actions and choices aren't more moral than theirs in the end.
So Smiley sent intel through Tom Hardy's character stating that he knew everything, they all panicked because it would compromise their golden source and thus met. What's interesting is that in the books, Smiley is described as this grubby, awkward, pudgy little man, always stumbling around, his overcoat stained.

The ensemble dream cast is extraordinary. Richard Rayner's books include "Los Angeles Without A Map," "The Blue Suit," "The Cloud Sketcher" and "A Bright and Guilty Place: Murder, Corruption and L.A.'s Scandalous Coming of Age."

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