Directed by Tomas Alfredson and based on the novel by John le Carré, “Tinker, Tailor, Soldier, Spy” is a beautifully crafted film that thrills and captivates.

“There’s a mole, right at the top of the Circus. And he’s been there for years,” explains John Hurt as the aging British Intelligence Director, known only as Control. Set in early 1970s London, “Tinker, Tailor, Soldier, Spy” is about a recently discharged spy named George Smiley. The spy, played by Gary Oldman, is brought back secretly to investigate a possible Russian undercover agent who has situated themself at the very top of the British Intelligence Agency, codenamed “the Circus.”

The four suspects are known throughout most of the film by their super-secret spy codenames, which of course are “Tinker,” “Tailor,” “Soldier,” and “Poorman.”

It seems that every aspect of this film is unique and superb, save for one very poorly done computer-generated owl that’s tough to miss. The production design is such that it immediately transports viewers to England in a time wrought with Communist mumblings and Cold War anxieties. The color palette chosen is drab and dull, but its execution is more mood-enhancing than monotonous.

The direction was also so well done that it is quite surprising Alfredson did not receive an Oscar nod for his masterful work. “Tinker” is actually the Swedish director’s first English language film in his 21-year career as a director. Alfredson’s most notable previous work is the film “Let The Right One In,” a dark, yet highly-acclaimed, Swedish original of the vampire film “Let Me In.”

Alfredson’s European roots may be his biggest mark on the film and are, unfortunately, cause for the most concern from critics. Some will argue that the pacing of “Tinker” is slow, which may be true to moviegoers accustomed to the super-fast, million-cuts-per-minute editing of such cinema “masters” as Michael Bay. But “Tinker,” on the other hand, is cut with a very European-style pacing which allows for characters to develop and marinate, and yes, that does mean there is less stuff blowing up.

However, if there is only one reason to see “Tinker, Tailor, Soldier, Spy,” it should be to see Oldman in his most breathtaking role yet. Earning him his first Oscar nomination, his performance as Smiley is simply unforgettable. Of course Colin Firth as “Tailor” does a fantastic job as well, and, as per usual, Hurt can do no wrong in his role as “Control” – but neither come close to delivering a performance anywhere near Oldman’s portrayal of Smiley.

In one scene in particular, Smiley is recalling a memory of a meeting with a Russian adversary many years ago. Instead of cutting to a flashback or just telling the story, Smiley relives the moment before his colleague Peter Guillam, played by Benedict Cumberbatch. It was perhaps one of the most daring moves in film to surface in quite some time. To attempt something so theatrical on film was a big risk which had to be handled with the utmost care and subtlety on Oldman’s part, which he does gloriously.

“Tinker, Tailor, Soldier, Spy” is a film worth seeing again and again. However, unlike its Hollywood-conceived explosion-a-minute counterparts, it is not a film that can be half-watched with hope to have any semblance of an idea of what is going on by the time it’s over. “Tinker” not only requires the viewer’s full and undivided attention, but it deserves it as well.

The film is nominated for three Academy Awards, including Best Actor in a Leading Role for Oldman, Best Achievement in Music for composer Alberto Iglesias, and Best Writing of an Adapted Screenplay for Bridget O’Connor and Peter Straughan. “Tinker, Tailor, Soldier, Spy” is currently playing at Amherst Cinema for a limited time.

Geoff King can be reached at [email protected].