
Tinker, Tailor, Soldier, Spy (1979)

Tinker, Tailor, Soldier, Spy stars Alec Guinness as George Smiley, John Le Carré's familiar, ageing British Intelligence agent, called out of retirement to discover the identity of the high-ranking Russian mole who has burrowed deep into "The Circus"-- codename for the British secret service. This slow-burning, complicated and ultimately rewarding BBC adaptation, dramatised by Arthur Hopcroft and directed by John Irvin, perfectly captures Le Carré's own insight into the shady underworld of spies and the political climate during the Cold War.
Le Carré's style is the antithesis of his contemporary Ian Fleming's -- far from the glamorous lifestyle of Bond, with his fast cars and faster women, these agents ride around in Skodas, and Beryl Reid is the closest thing to a femme fatale, save for Smiley's elusive wife, Anne. An extraordinary cast (including Ian Bannen, Hywel Bennett and Ian Richardson), gritty realism and close attention to detail make Tinker, Tailor, Soldier, Spy an outstanding piece of television drama.
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Subtitulos en español: http://titles.box.sk/index.php?pid=subt2&p=i&rid=182927
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Smiley's People (1982) (Mini-Series)

The second of the BBC's well-regarded serialisations of John Le Carré's espionage bestsellers, Smiley's People is slightly less compulsively watchable than Tinker, Tailor, Soldier, Spy if only because Tinker, Tailor had a much stronger plot premise (who is the mole in British Intelligence?) than Smiley's People, which takes a very long time to come into focus. Retired spymaster George Smiley (Alec Guinness) wanders around Europe and visits a succession of desperate or eccentric characters as he plays a game which finally leads to another confrontation with and a possible victory over his Moriarty-like Soviet arch-nemesis Karla (an expressive but silent Patrick Stewart).
Directed by Simon Langton and coscripted by John Hopkins and Le Carré this is a leisurely mystery. It offers a cannily generous central performance from Guinness, who never takes off his scarf and does his best to fade into the background while a succession of striking character players hold centre screen; but slowly and by sheer presence he begins to dominate the panoramic view of European treachery, deception, and disappointment. Among the terrific supporting cast are Michel Lonsdale, Mario Adorf, Vladek Sheybal, Michael Gough, Alan Rickman (a tiny, early role as a hotel clerk), Beryl Reid, Ingrid Pitt, Bernard Hepton, Michael Elphick, Rosalie Crutchley, Michael Byrne, Bill Paterson, and Maureen Lipman. Smiley's People is more interested in character than thrills, with each cameo contributing another view of the human cost of the cold war: most of the old friends Smiley seeks out react to his reappearance by saying they never wanted to see him again, and victory is only possible because Smiley discovers that his opposite number has a weakness that makes him almost sympathetic. It was originally broadcast in six hour-long episodes, and its intelligent approach works better if you watch episode-length chunks, letting one sink in before going on.
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http://personales.ya.com/jpce/smiley's. ... d.xvid.zip
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A Perfect Spy

It's been a long time since I saw this mini-series and I am happy to say its remembered merits have withstood the test of time.
Most of the components of 'A Perfect Spy', the adaptation of LeCarré's finest novel, in my opinion, are top-drawer. Outstanding aspects of it are the musical score and the masterful screenplay, the latter written by Arthur Hopcraft who was also, I believe, the screenwriter for 'Tinker Tailor Soldier Spy' with Alec Guinness a few years before.
The actors are mostly very good, some superb, like Alan Howard's Jack Brotherhood and Ray McAnally's Ricky Pym. Peter Egan is fascinating to watch because his face changes with every camera angle. The passage of time and the effects upon the physical appearances of the characters is very believably done. So much so that I wondered exactly how old Peter Egan was at the time of filming. The only jolt comes after the character of Magnus Pym is transferred from the very able hands of a young actor named Benedict Taylor to those of a noticeably too-old Peter Egan, just fresh out of Oxford. But this is a minor and unimportant seam in the whole.
Egan has trouble being convincing only when the text becomes melodramatic and he needs to be "upset" emotionally, i.e. cry. None of the actors have a very easy time with these moments, aside from the wonderful Frances Tomelty who plays Peggy Wentworth for all she's worth and steals the episode with ease.
Jane Booker is annoying as Mary Pym. She has part of the character under her skin but often displays an amateurish petulance that diminishes her as a tough cookie diplomatic housewife, which Mary Pym is. Rüdiger Weigang is splendid as Axel, amusing, ironic and brilliant. I also enjoyed Sarah Badel's camp turn as the Baroness.
The British view of Americans is vividly rendered in some dryly hilarious scenes. When the Yanks have come abroad to confab with Bo Brammell (head of MI6) the American contingent are portrayed as empty-headed buffoons who appear to have memorized a lot of long words out of the Dictionary and spiced them liberally with American jargon and psycho babble, much to the bemused scorn of the English.
The humor and sadness are subtly blended. LeCarré has a knack for mixing disparate elements in his stories and Hopcraft has brilliantly captured the melancholy, yet wistful, atmosphere of the original.
Not a perfect production (what is?) and yet the best of the LeCarré adaptations to reach film or television to date.
Highly recommended to all spy-thriller lovers and especially LeCarré fans.
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Subtitulos en castellano: ¿Algun voluntario?
