George Smiley has been retired for about a year when he finds a friend from the circus, his old outfit in British Intelligence sitting in his living room. He is taken to the home of an advisor to the Prime Minister on intelligence matters where he finds evidence that one of the men in the senior ranks of his old agency is a Russian spy. Smiley is asked to find him, without official access to any of the files in the Circus or letting on that anyone is under suspicion. With only a few old friends, his own powers of deduction, and secrecy as weapons, Smiley must unearth the spy who turned him out of the Circus. –IMDb
John Irvin (born May 7, 1940) is an English film director. Born in Newcastle upon Tyne, he began his career by directing a number of documentaries and television works, including the BBC adaptation of John le Carré’s Tinker, Tailor, Soldier, Spy. Also, he made several action films in the 1980s including The Dogs of War (1980), Raw Deal (1986), Hamburger Hill (1987) and Next of Kin (1989). In the 1990s and 2000s, Irvin directed films such as Robin Hood (1991), When Trumpets Fade (1998), Shiner (2000) and The Moon and the Stars (2007).
Irvin directed his first films in the 1960s, such as Gala Day (1963), “Carousella” 1965, the made-for-TV movie East of Howerd (1966), Bedtime (1967), and Mafia No! (1967). In the 1970s, Irvin directed exclusively for television, including drama episodes and made-for-TV movies. In the mid-1970s, he made Possessions (1974) and Haunted: The Ferryman (1974), and the pilot for The Nearly Man (1974) and seven episodes over… read more
The new film is incredible, but the late Sir Alec Guinness' portrayal of George Smiley is more accessible and emotive. This series maintains sharp witty dialogue and a dark atmosphere that grabs the viewer from the very start. Pure brilliance.
a "must watch" addition to the most recent fim - Alec Guiness is just great
"I'll become an oak of my own generation." Occasionally there are just lovely little deliveries.
“For Alfredson the moral is contained in the aesthetic.”
A very strong first round of reviews for Alfredson’s adaptation of John Le Carré’s classic novel.