I do not quite understand how Smiley deduces that Witchcraft and Merlin are fakes which actually supply false information to the Circus.
Towards the end of episode 4, Smiley suggests that Merlin informed the Circus that Tarr would sell "fictitious material" about a mole inside the Circus. Merlin is "totally believed" and that should be enough to discredit Tarr. That apparently is enough to persuade Lacon that Merlin is a "fraud" and that he will have to inform his minister, who is "devoted to Merlin", and this will cause problems with the Americans.
Given that Witchcraft is supposed to be the best material that the Circus has received "in living memory", I think that Smiley would have to come up with more that a loose link between Merlin, Tarr and Gerald the mole.
This won't answer your question, but there's one I have of my own, that the novel doesn't seem to really answer, and it poses what, IMO, is a bit of a plot hole.
Why does Irina refuse to reveal to Tarr the name of the mole? (Apart from his code name of 'Gerald', of course.) Does she not know? Is she simply refusing to give Tarr the name in an attempt to persuade him to take her back to England with him? It seems to make no sense--if she knows who the mole is, why wait to be taken to Alleline (who would probably turn away her information anyway)? If she doesn't know, what more could she tell Alleline than what she's already told Tarr?
I suspect I'm missing something here, but I've never quite been able to figure this particular plot point out satisfactorily.
Is she simply refusing to give Tarr the name in an attempt to persuade him to take her back to England with him?
I think that that is about it: she will only reveal the mole's real name once she is safely in England, away from the thugs of the KGB - who do find out about her relationship with Tarr and force her back to Russia and death! Who can blame her? If she had told Tarr that the traitor's name was "Bill Haydon" then he could simply have dumped her and left for England without her. Just because they were lovers did not mean she could trust him. Spies are by nature untrustworthy and cautious.
Saying that she would only reveal the name to Alleline was her way of getting to England. She had no reason to think that he wouldn't believe her and even if he didn't a defector would still be welcome anyway.
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Thanks. I'd figured that was the reason, but a friend of mine disagreed. Of course, the irony is, had she gotten to England and revealed Haydon's name as the mole to Alleline, what then? Under the circumstances it's unlikely he'd have accepted this, and what might have happened to both her and Tarr if this unwelcome fact had been revealed to him in this manner?
It’s important to remember that Irina never told Tarr about the mole directly. He learned about it from her diary which he recovered after she’d been taken back to Moscow. When she wrote about the mole in her diary, it was with the knowledge that she was blown and that she would be dead soon, so there was no reason to further conceal anything from Tarr. Prior to this, she had saved the existence of a mole for a future meeting with Alleline, not mentioning it to Tarr except in the vaguest terms (“Claims to have further information crucial to the well-being of the Circus”).
Irina learned of the mole from Ivlov/Lapin, who had been Polyakov’s legman. While Lapin knew of the existence of the mole, he did not know his identity. Or possibly he was prepared to tell Irina about Gerald to impress her, but he believed that the identity of Gerald was a security breach too far. In either case, it is reasonable to assume that, while she knew of the existence of a high-level mole at the Circus, she did not know his identity.
It’s important to remember that Irina never told Tarr about the mole directly. He learned about it from her diary which he recovered after she’d been taken back to Moscow. When she wrote about the mole in her diary, it was with the knowledge that she was blown and that she would be dead soon, so there was no reason to further conceal anything from Tarr.
I think it was that specific plot point which confused me the most. It would have seemed that, knowing this, she'd have named Haydon directly in the journal if she had, in fact, known his actual identity. By then she'd have had nothing to lose by simply revealing his name. It struck me that, without knowing this, she'd have had nothing to give Alleline that she hadn't already given Tarr.
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It struck me that, without knowing this, she'd have had nothing to give Alleline that she hadn't already given Tarr.
Before the diary, Irina had given Tarr next to nothing. The sum of what she had told him amounted to “The Circus is in trouble and if you get me to Alleline I’ll tell him why.”
Whether Alleline would have found the revelation of the existence of a mole compelling is an entirely different matter.
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Perhaps I should have amended that to say 'nothing she hadn't already given Tarr in her diary'.
It would have made for an interesting alternative version to have Irina get to England and take her information to Alleline. All things considered, it seems not likely he would have cared to give much credence to her story, and of course Haydon would have been tipped off that his cover was in danger of being blown. Irina's life might have been just as endangered being in England as in remaining where she was.
As a side note, Irina’s story is quite similar to that of Konstantin Volkov, an NKVD spy in Istanbul who, in 1945, wanted to defect to Britain and had the names of 250 Soviet agents in Britain, including two in the foreign office and one senior member of SIS. His case was handed to the head of the SIS Russian Section, Kim Philby, who duly informed his NKVD contact. Volkov disappeared from Istanbul, but a suspiciously Volkov-shaped figure covered in bandages was taken aboard a Soviet transport plane headed for Moscow.
Operation Witchcraft also has a real life correspondent in Operation Trust from the 1920s, in effect if not in the mechanics of its operation. In it, the OGPU (later the NKVD and then the KGB) set up a false anti-Bolshevik organization which eventually supplanted nearly all of Western sources inside the Soviet Union.
Considering how closely Le Carre modeled the character of Bill Haydon on Kim Philby, I'd not be at all surprised if he drew on the Volkov and Operation Trust incidents for the inspiration of these other aspects of his story. This attention to historical veracity is one very telling reason as to why his novels stand the test of time so well in this genre.
Thank you. I'll take a look at those chapters and see if it makes sense - though, knowing Le Carre, I'll probably have to read them a number of times before it does.
I doubt that she did. Everything she had about Gerald she got from Ivlov/Lapin, and probably he didn’t know Gerald’s true identity.
She was presumably counting on knowledge of Polyakov and details of the tradecraft to make her story credible. But considering how Haydon and Karla had “turned the Circus inside out,” Alleline might have wanted her to disappear just as much as Haydon did.
It’s important to remember that Irina never told Tarr about the mole directly. He learned about it from her diary which he recovered after she’d been taken back to Moscow.
In the interests of clarity, given the complexity of the plot, I have to point out that this is not accurate.
Irina DID tell Tarr directly about the mole when they met in the cemetery.
After telling him of the existence of Karla, she mentions "one of Karla's greatest conspiracies. And it is happening in England."
She then asks Tarr, "Do you know what is meant by the word 'mole'?" And after pointing out how they "burrow very deep into the fabric of western imperialism", she reveals that Gregor Victorov (aka Polyakov) was the agent who briefed & debriefed the mole.
Tarr attempts to get her to reveal the name of the mole, but instead Irina tells him that, in London, Victorov is known by the name Polyakov.
It was after this encounter that Tarr attempts to communicate with the Circus about Irina's revelation, inadvertently sealing her fate and putting his own life at risk.
When he returns to the cemetery and retrieves Irina's communication to him, then he learns that the mole in London is known by the code name "Gerald" and that "Gerald" supplies information directly to Karla in Moscow. She states that "Gerald" is "a high functionary in British intelligence, very close to the head of the Circus."
This all would still lead to the conclusion that Irina did not know who "Gerald" was, but would explain why Tarr viewed what he got from Irina as "gold".
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Good catch--I'd forgotten that it wasn't through the diary itself that Tarr got her story. And your clarification does help to explain a bit better how Irina might have known many details about 'Gerald' (including, obviously, his code name) without knowing directly his actual identity. Thanks for posting this.
The business with Tarr and Merlin is complicated, and it’s easy to miss its significance.
• After Tarr flees Lisbon and hides out in Marseilles, Karla is desperate to shut him up. After using Witchcraft to discredit him at the Circus, Karla sends people to look for Tarr.
• Tarr, realizing that he’s being looked for, decides it’s time to come in from the cold. In order to protect his daughter and his daughter’s mother, he sets up a diversion: He secures travel bookings to London for them in the name of “Poole,” to match his own false identity, which he knows is blown. He then gives them the false Swiss papers that he had on him when he went to Lisbon and sends them to an entirely different destination. At this point, the only people in the world who associate the “Poole” travel bookings with Tarr are the Russians.
• In Guillam’s meeting with Alleline et al, he learns that Merlin is relating the “Poole/Tarr family to London” story to the Circus as a way of further discrediting him before he gets to anyone at the Circus. This draws a direct line between Merlin and Karla.
The rest of it is a result of Smiley’s reading of the history of Witchcraft, and his realization from that of how Witchcraft serves the needs of Moscow Centre. While this is the subject of an entire chapter of the novel, the whole thing is explained in a single brief scene in the TV series, and not at all in the recent film. It’s not really surprising that it wasn’t really clear.
Thanks for posting this--it does clarify some confusion I'd had about the issue the OP mentions. It is easy to miss out on the significance of Tarr and his movements regarding his family, and how the 'Poole' identity relates directly to linking Moscow Center/Karla/Witchcraft/Merlin. Even in reading the novel, I'd somewhat missed this, and am going to go back and re-read the chapters in question.
I suppose, for reasons of time, Tarr's story (outside of Irina) is somewhat short-shrifted, but this does indeed make that particular point in the story more difficult to understand.
Actually, the novel gives several reasons for George Smiley's suspicions, and the story is the journey to determine the identity of the mole Gerald and the reasons for his (George's) retirement, which are rooted in Control's final days, Percy Alleline's schemes to reach the "high table", the inner workings of the Department (aka "the Circus") and of course, the inter-relationships of a small group of fellow warrior/spies fighting the Cold War.
Smiley knows, or thinks he knows, but he was kept away from these interactions by Control himself, sent off and overseas on various small missions during those final days before his own forced retirement and before Control's death. Now he must revisit his past. He is not surprised by any of his discoveries, not even the betrayal of his wife, Ann.
LeCarre/Cornwall writes an introduction sixteen years after publication of the novel about the novel, the original setting, the theme of betrayal, of Philby, Blake and Angleston, and the art of the double-cross system. He identifies with Blake, dislikes Philby, and recognizes the effect Angleston had on CIA; he uses these prejudices in the novel and incorporates them into various character
As LeCarre writes, "the balancing act of the double agent ... doing more harm to the country that employs it than good, or as Smiley has it, where it has been turned inside out". The final act of betrayal isn't just against Smiley's English service, the last knot is the betrayal of allies and friends.
Further, in this introduction, he also reveals his use and creation of jargon terms: 'mole (frequently credited to LeCarre, but in use by Francis Beacon in 1641 centuries before this writing), lamplighters, scalphunter, babysitter, honey-trap, shoemaker, neighbours, pianists', et. el. As he states, "other bits of jargon ... were all invented, but they too, I am told, have at least in part since been adopted by the professionals".
How does Smiley know: in part, through Connie Sack's research, partly because Smiley knows that Karla (his life-long opponent) has dozens of penetration agents (deep cover moles) and at least one of these 'has' to be in England, just as one was previously caught in Japan and one known to be alive and active in New York. Also, partly, because in his final days at the Circus, Smiley was caught in the struggle between Control and Alleline, who is now Control's replacement. Because, the case of Jim Prideaux (Ellis) was never really finalized. Finally, as the novel brings out, because "George was the best of all those lovely (pre-war) boys", smarter too, and better than Haydon, the latter-day Lawrence of Arabia and constant star of the Circus, who now acts as Alleline's cup-bearer.
While I prefer this movie version to the newer one, the book is beautifully written, rich in character and plot, and makes generous use of the flashback technique to follow Smiley's journey into his past.
It is a beautifully written book, the first of Le Carre's novels I'd read. I'd been under the impression he was a bit of the more technical, 'cold' sort of spy thriller writer (as many of his latter-day followers are), and was surprised at the levels of humanity and feeling observation that are present in his narratives.
I've since gone on to read Smiley's People, and this novel can be said likewise of, in terms of the writing and craft. And there is something quite touching and real in the occasional phrases of almost elegy strongly tinged with bitterness that Smiley experiences towards the late Bill Haydon, most particularly in regard to the triangular relationship the two men have had with Ann.
The flashback scene where Control shows the first Witchcraft material to Smiley is important in this sense. True or not, we see that the material itself is very important to the Admiralty, is very detailed and of high quality. So "why would Merlin pick Percy", in Control's words? Why would any Russian source trust such vital material to a man who's "a striver" (Roddy Martindale), a man "who can flirt" (Smiley), a man "who would sell his mother for a knighthood" (Control)?
Out of nowhere Merlin appears, with reports on the exact topics that the Admiralty was yearning for. After the various failures of the Circus, it's suddenly sunshine and roses.
So the Withcraft material was extremely suspicious in its sudden appearance, topicality and quality, which seems unparallelled in the history of the Circus. And what effect does it have? In a short time the top names are replaced by Alleline and his crew. The whole structure of the Circus changes. All because of some Russian source who's too secret to be known by anyone other than Alleline, Haydon, Bland and Esterhase.
Smiley certainly must have seen that something was obviously very wrong with this whole scheme to replace Control. Such an obvious plot would not have worked unless there was a mole inside, running the works (like years of sabotaging the operations to discredit Control, or maybe even producing the Witchcraft material himself).
On the other hand, Control saw it as simply another move by Percy to take his seat, probably that's why he kept making jokes about it. But in the meeting scene, when he sees that the Witchcraft thing is actually working and taken seriously by Oliver Lacon, his mood changes. He perhaps realizes that the others are not as suspicious of Withcraft as himself, and Alleline has the upper hand now.
Thanks for that post. It's a good, concise and very clarifying one.
It's a little like what I thought was the case with the Merlin/Witchcraft scenario, but I wasn't able to parse my thoughts out into words as you did...it explains both Smiley's suspicions and Control's seeming lack of perceptivity at the beginning of the whole thing.
Thank you. Another detail in that meeting scene which escaped me the first time, is that when Alleline starts to light his pipe, Roy Bland pushes the ash tray across the table toward him. This unnecessary act of politeness can be interpreted as a sign that he's now supporting, or at least in favor of, Alleline now.
It's one of the things I really like about this series: the fact that the actors were able to take the leisure and care to show so many small and unspoken aspects of the story through gestures and little behavioral tics. Much more satisfying than the film, where everything had, of course, to be rushed for time; and the '79 series also benefited from a cast who was talented enough to work all of this in very subtly and unobtrusively. You really have to pay attention to pick up on many of the small details and implications of what they're doing.
....Alleline. All things considered, it seems not likely he would have cared to give much credence to her story, and of course Haydon would have been tipped off that his cover was in danger of being blown.
True, because it seemed that one of the reasons Control became a laughing stock to "Alleline and the three" was his rooting around for a "mole." Well, that and Alleline's efforts at pumping up his Witchcraft nonsense in order to get Control ousted.
Anything at that point contrary to Alleline's plan that Witchcraft was his baby and all else was a lie would have sent the shutters down on Irina.
So, in the eyes of the three and Alleline, to suggest a mole suddenly was tantamount in that mob to going off your nut.
So, even if Irina had arrived to tell her tale to Alleline, he'd have shared it immediately with Haydon and, well, as an above poster pointed out, Irina's life would have been on a short timeframe at that point.
Pushed in front of a Tube train at the first opportunity, no doubt.
Ironically, the diary was the true and better way and it got to the right people after Ricky absconded--Lacon and Smiley.
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Firstly I will say about the subject was there any evidence that Merlin's material was fake? If it was fake it might have been "found out", it was of course information that was not deemed that important.
Now the last post - I think you are throwing Alleline under the train, an ambitious man, an Empire builder too be sure but no evidence to say he would have killed to cover up his mistakes.
It would more likely have been Haydon who'd have had the girl killed to protect his cover. Alleline would have pompously dismissed her, but there's no way that Alleline could hear her story without Haydon's knowing about it. Once that happened both she and Tarr's lives wouldn't have been worth much.
I had that question too. After having watched this for the third time, it seems that Smiley is operating on Controls suspicions of "the magic circle". The whole case against the mole started with Control's suspicions and his digging into past cases to investigate missions blown. That suspicion of a mole transfers to the too-good-to-be-true Merlin source. Control intuits that the mole would want to discredit him and take over his job by producing better results.
In one sense, the tip-off is one of those 'so obvious that no one sees it' things: the information being supplied is simply too good; so consistently high-quality and abundant that it can't help but finally tip off an old hand like Control that there's something fishy about the source of it.
It's very ironic, in a way. Control's major suspicion about Witchcraft is that it's "too good to be true." Yet he himself swallows another "too good to be true" bait: An offer of help from a Czech general named Stevcek about the identity of a Russian mole in the Circus, just when Control was searching for that identity.
In the opening scenes of the first episode, when he's briefing Jim Prideaux about Stevcek, Prideaux asks him "How sure are you?" Control tries to smile confidently, but then averts his eyes. So perhaps he's not 100 % sure after all, but he has no other options at that point.
The real underlying message in all this is just how large a part vanity, ego and the desire for wordly glory plays a significant role: men who should know better, whose native common sense should be alerting them to the traps they're walking into, allow themselves to be snared because those forces truly blind them to the obvious. I've heard some refer to Le Carre as something of a 'Christian' writer; while I don't necessarily completely agree with this assessment of his work, I can see some aspects of it that could legitimately prompt such an observation.