Tag: Tinker Tailor Soldier Spy

Tomas Alfredson’s Tinker Tailor Soldier Spy

by natewatchescoolmovies, posted in Film Review

The first time I saw Tomas Alfredson’s Tinker Tailor Soldier Spy (when it first came out) it was lost on me, I felt detached from it, unable to connect and, dare I say, bored. That’s what revisits are for though and the second time I found rich psychological detail, achingly beautiful character relationships, beautifully burnished cinematography and one tantalizing Rubik’s cube of a narrative that, yes, is still tough for me to comprehensively understand but is rich in treasures of emotional depth, poetic tragedy and minuscule splashes of darkest humour amongst the sardonic helpings of dry espionage. Gary Oldman is sly and terrific in a study of low key tenacity as George Smiley, a veteran MI6 bigwig tasked by twitchy Mission Control (John Hurt, brilliant as ever) to find a decades long Soviet mole amidst their ranks. It could be one of a few higher ups, played by the prolific likes of Ciaran Hinds, Colin Firth, Toby Jones, David Dencik and others. It proves to be quite the hurdle as this traitor has burrowed himself so deeply within their ranks that he himself is perhaps confused what side he belongs to anymore. Smiley uses a rookie field operative (Benedict Cumberbatch, excellent) to sniff around and is carefully watched by a regional honcho played by Simon McBurney, a very unsettling little fellow who can turn the simple act of buttering dry toast into a devilish interrogation tactic and is the last dude you want to be ‘carefully watched’ by. The great Mark Strong has a wonderful extended bit as a long burned out former operative with deep ties to MI6 and a haunted past, his arc is very special here. My favourite aspect of the film has to be Tom Hardy as a double agent who falls hard for a mysterious Russian girl (Svetlana Khodvhenkova) he’s surveilling. He’s the perfectly tragic example of a hopeless romantic who discovers he’s gravely in the wrong line of work and wants out before it’s too late. All of these characters move about greyest London and other parts of Europe like chess pieces, and indeed the metaphor becomes literal when Hurt’s Control uses an actual chessboard to illustrate to Smiley just who he’s dealing with and how formidable each potential opponent might just be. The film is grey, drab, washed out, lived in and wearily opaque to evoke a paranoid, sad postwar setting but despite the inherent gloom drenching everything I found the aesthetic to be quite strikingly beautiful. Same goes for the themes and emotional content: these opaque characters hold their emotions close to the chest and as such appear icy, ambiguous and heartless yet it’s beneath that the we see their humanity, not in dialogue or direct action but in glances, quiet moments, slow revelations and half noticed interactions between words. Oldman, Strong, Firth and Hardy are the four standouts in an impossibly well tailored cast of deep cut talents, they’re the four legs of the table to watch for in order to ascertain the strange elixir of this film’s essence and get the most of it. Just don’t expect to absorb everything the first time round, this is a deeply layered, multifaceted, strange beast of a film that likely takes many viewings (this was only my second) to fully settle in. See if you can catch references to everything from John Carpenter’s The Thing to 007 to the Coen Brothers to even the bible while also soaking up the pure class and originality it possesses all its own. Great film.

-Nate Hill

Actor’s Spotlight: Nate’s Top Ten Gary Oldman Performances

by natewatchescoolmovies, posted in Film Review

Gary Oldman is both one of my personal favourite actors and an absolute champion of the craft, an adaptable master of any role thrown at him who can take words on a page and lift them to magnificent heights in his work. Intense, implosive, focused, hard working and super dynamic in front of a camera, he’s always an actor to watch and an undisputed master of his craft. I love each and every performance this man has given us so far in a brilliantly diverse career, but here are the ten characters that stand out the most for me:

10. Charlie Strom in Sin

Bear with me on this one. Like any actor, Gary has appeared in a few duds, and overall this happens to be one of them *but* his performance in it is fantastic. Ving Rhames plays a tough ex cop whose sister (Kerry Washington) is raped and brutalized on Oldman’s orders as some kind of underworld porn king. A deadly game of cat and mouse ensues in which Rhames seeks revenge for the atrocity but discovers that Oldman targeted him for reasons of his own going back into both their pasts. It’s a decent script given the scrappy low budget treatment but Oldman’s tormented villain is worth sitting through for. He has a conversation with Rhames midway through the film that gets philosophical in nature and overall he just nails the haunted persona of this role.

9. O.W. Grant in Bob Gale’s Interstate 60

This is a playful role in one heinously overlooked hidden gem. Essentially an existential road trip movie with supernatural elements and enough cameos to launch a pilot, Gary plays a mysterious genie like deity who grants everyone he sees one wish by blowing green smoke from his monkey shaped pipe. He also has no reproductive organs, as a hitchhiking nymphomaniac chick hilariously discovers. It’s light, easygoing work from the actor who isn’t doing any heavy lifting with the performance yet still makes a terrific comedic impact and seems like he’s having a lot of fun.

8. George Smiley in Tomas Alfredson’s Tinker Tailor Soldier Spy

John Le Carré’s chilly Cold War thriller sees Oldman take on the role of an MI6 lieutenant embroiled in the treacherous search for a soviet spy amongst his own ranks. Restrained and opaque, one begins to see the keen scrutiny hiding behind the character’s initially withdrawn nature. When an event causes him to almost lose that composure, he expertly shows the emotions bursting forth and the efforts to keep them within, reaching a pitch perfect note of performance that gets better and more detailed every time you revisit the film.

7. Jackie Flannery in Phil Joanou’s State Of Grace

One of the great crime dramas he has taken on, this one sees him play a volatile, unstable Irish gangster in NYC’s brutal Hell’s Kitchen, stick between his mob boss older brother (Ed Harris) and childhood friend (Sean Penn) who is now an undercover cop infiltrating their ranks. With a mop of greasy hair and the mannerisms of an untrained dog let off the leash, this is a ballistic tornado of a characterization with childlike notes, a good dose of rambunctious restlessness and primal violent nature uncaged.

6. Sirius Black in Alfonso Cuaron’s Harry Potter & The Prisoner Of Azkaban

From the moment we see gaunt, haunted eyed convict Black onscreen Gary makes him a magnetic, spooky presence to be reckoned with. Even before that we see him howling out of moving wanted posters in Diagon Alley and off the front page of the Daily Prophet. Oldman makes juxtaposed genius out of his work here and the shift from scary fugitive to compassionate friend and mentor to Harry is handled beautifully. It’s also nice to see him and fellow British thespian David Thewlis collectively chewing scenery, they have palpable chemistry and I’d love to see a buddy cop thing with them one day, or something like that.

5. Jack Grimaldi in Peter Medak’s Romeo Is Bleeding

The ultimate corrupt cop, Oldman’s Jack is a loose cannon dirtbag who discovers that his ways have consequences when his life is made into a living hell by terrifying femme fatale Mona Demarkhov (Lena Olin) and ruthless mafia don Falcone (Roy Schneider). He inhabits the sweaty, desperate neo-noir palette of this great film very well, especially in sly, mournful voiceover as he literally narrates his own story as if it didn’t happen to him.

4. Dracula In Bram Stoker’s Dracula

Francis Ford Coppola outdoes himself with this lavish, baroque piece of eye candy that for me is the best film version of Dracula ever made, likewise for Gary’s knockout performance as the titular vampire king. He has several incarnations here from armoured Transylvanian knight to skeletal senior citizen to dashing foreign prince to full on nine foot gorilla werewolf hell-beast thing and he rocks each one with full blooded embodiment and spectacular verve. Surrounded by solid players like Anthony Hopkins, Winona Ryder, Sadie Frost, Keanu Reeves, Cary Elwes, Richard E. Grant and Tom Waits in an encore as the lunatic Renfield, this is a magnificent dark jewel of a film and a horror masterpiece.

3. James Gordon in Christopher Nolan’s Batman Begins, The Dark Knight and The Dark Knight Rises

The actor goes inward here for a fierce, gritty turn as the legendary police commissioner, giving the character all the salt of the earth integrity and brooding charisma we could hope to get. In a career full of extravagant portrayals and amidst a trilogy riddled with flamboyant villains and people who dress up in costumes, ironically he gets to play the most down to earth and level headed guy, comparatively. His Gordon is a straight arrow cop who is fallible, tactical and compassionate.

2. Drexl Spivey in Tony Scott’s True Romance

A white pimp who thinks he’s black, this has to be the single most impactful performance ever filmed that only takes up one five minute scene and another brief thirty second one. Dreadlocks, gnarly scars, a dead eye, leopard print housecoat, this guy couldn’t be more visually ridiculous but for all the flourish and swagger, it’s Gary’s mannerisms that shine through and win the day. The goal of his scene is essentially to circle and intimidate Christian Slater before pouncing on him like a pissed off coyote, and he succeeds in freaking him out plus the rest of the world watching on their screens. This film is filled with memorable moments scene after scene but his mad dog portrayal of this reprehensibly hilarious Detroit gutter-rat piece of shit stands out.

1. Norman Stansfield in Luc Besson’s Leon The Professional

I’m not sure what Besson’s direction to Oldman was in playing this spectacularly corrupt DEA agent but he kind of just runs off and does his own thing to the point where other actors in the scene look scared of him for real. Casually homicidal, easily distracted, highly unstable and so intense he frequently goes red in the face, this is a villain that would frighten most others into submission. Contrasted with Jean Reno’s and Natalie Portman’s more contemplative performances he’s the wild card of this tale and fills it to the brim with madness, firepower, dark humour and that trademark white suit that you better not get blood on or he’ll shoot you after he’s already killed you in a crazed tantrum of scenery chewing that only Gary Oldman is capable of.

Thanks for reading ! Please share you favourite Gary Oldman performances as well!

-Nate Hill

SBIFF Maltin Modern Master Awards Gary Oldman

by Frank Mengarelli, posted in Film Review, Santa Barbara International Film Festival

Gary Oldman is charming. He’s effortless and he’s incredibly affable, which is a stark contrast to many of the prickly characters he’s most well known for playing. He spoke with Leonard Maltin for a little under two hours before the dapper and coarse Ben Mendelsohn presented him with the Maltin Modern Master Award.

Oldman said it was seeing Malcom McDowell in THE RAGING MOON that lit the burning desire for him to pursue a career in acting, which led to Oldman being turned down by a premiere drama school in England where a lot of the greats had studied, including Peter O’Toole.

Oldman spoke about how he fanboy gushed over John Hurt while working with him on TINKER TAILOR SOLDIER SPY, Anthony Hopkins during the filming of DRACULA, and over Denzel Washington while working with him on the set of THE BOOK OF ELI.

A very charming moment in the show was when Maltin showed a clip from a Harry Potter film, and Oldman went on to speak about his fondness for the young co-stars he worked with and how they were like a family, and he watched them grow up over the course of ten years. It was a very special period of his career for him, stating that his fanbase went from forty year olds to ten year olds overnight.

During the filming of BATMAN BEGINS, Oldman attributed James Gordon’s world weariness to jetlag, due to the fact that he was flying from LA to England a day or two at a time to film his scenes, not staying on set due to the fact of being a single dad and raising his two young sons.

Maltin asked Oldman about his character of George Smiley, and asked if he would be playing him again. He responded with an almost certain yes, telling Maltin that he really loved playing Smiley, and missed that character dearly. Asked about his preparation for Smiley, Oldman said that he was overly particular on the glasses his character would be wearing, and that he tried on at least one hundred pairs before settling on the pair that was used in the film.

When asked about his many accents he’s used, from Dracula to Churchill, Oldman said he uses not a voice coach, but an opera singer to condition his voice to drop or gain octivs, and once he is done filming said character he essentially unlearns how to speak that way, saying it’s like a muscle and that he can no longer recreate the Dracula voice or his Churchill voice on command.

Ben Mendelsohn was there to present Oldman with the Maltin Modern Master Award once the Q&A was finished. Mendelsohn gave a speech only he could give with his token outback roughness and lewd wit, speaking of Oldman’s many masterpiece performances and how he is one of his idols.

Gary Oldman is a cinematic treasure. He has crisscrossed many aspect of film from hard independent pictures, genre films, as well megabudget franchises. His latest turn as Winston Churchill in Joe Wright’s DARKEST HOUR will surely award him the Best Actor Oscar, which for a performer like Oldman an Academy Award is long overdue.