Can someone explain the obsession that Smiley displays, with regards to his pursuit of the information that Vladimir gave him? Sol Enderby told him (via Ferguson) "that's it..no more!". Toby Esterhase pleaded "George, you've got to give this up!! The crowds have all gone home". Connie Sachs advised him to "give it up, George".
Yet he doggedly keeps on pursuing leads, talking to people, trying to find out more. It seems that his antagonistic feelings towards Karla are not merely professional, or even politcal, but personal.
I suppose it must be something from the first series, which I haven't wathced yet (?)
George knows and trusts Vladimir and realises there must be more to it. When he twists Mostyn's tail and discovers that Vladimir had proofs and it concerned the Sandman (Karla) he was never going to let it drop.
In the first series we learn that literally hundreds of agents died directly or indirectly because of Karla. Hundreds of others were rendered useless to the Circus. In a comment from Lacon it was pointed out that the Circus could still "die of the common cold."
George finally saw a way to put a stop to Karla's activities. It was a mixture of personal and professional reasons which led Smiley to end Karla for good. There was revenge for the personal damage done to him and a desire to complete his life's work.
In the le Carre books Karla has always been George’s nemeses. I would think that if asked George would definitely say that it was not personal, that Karla posed the greatest risk to England and the Circus. The reason that he kept pursuing the issue is that he alone knew the whole Karla history and could put the bits of information he was getting into context. I think that if he’d read about the General’s death in the paper as an ordinary punter, George would have mourned his death but no more. He would have continued his literary pursuits in quite retirement. But since he was asked by Oliver Lacon to “tidy up the bits” and his subsequent discovery of the whole conspiracy he was compelled by his nature to see it through to its logical conclusion.
It seems to go back much further - Karla was (IIRC) one of Smiley's first attempts to 'turn' an agent, whilst Smiley was suffering from 'flu and (apparently) went against all his training for such occasions - this is when he lost his 'with love from Anne' lighter to Karla.
I think it's a great moment...early in the show...when the young clerk repeats to Smiley what the General told him to pass along: "...tell Max, it's about The Sandman." Upon hearing those words, Smiley's face goes grave and ominous.
George Smiley's obsession goes back many years from when he tried to turn Karla who was being held in an Indian Jail on some trumped up pretext by British Intelligence. Mostyn's furtive conversation with Smiley, brings back memories that have been haunting him for half a lifetime. Later on in the Smiley's People story, he gives vent to his frustration as Peter Guillaum is driving him to the French coast on his way to meet Saul Enderby who, incidentally, does not believe a word of Smiley's tale. Hence, the importance of the photographic "collateral." Smiley's homily goes something like this: "In my day, young Peter Guillaum, I have seen Whitehall skirts go up and come down again. I have seen good men go to the wall, and the mediocre promoted with monotonous regularity. However, should a rogue elephant from the thickets of my past, decide to charge at me (to use Saul Enderby's happy phrase), I intend to shoot it dead, but with the very minimum of force." Whereupon, he closes his eyes and dozes before his critical meeting with Enderby at the Circus that evening.....
Some of these scenes are especially visibly memorable, due to Alec Guinness' brilliant interpretation of the part of Smiley.
finnegansword: Yes, the two mini-series are a triumph. Like a good wine, I "uncork" them every 12 months or so and watch.
Do you think Smiley was thinking, in part, of Alec Leamas and the innocent Nan Perry (The Spy That Came In From The Cold) when he spoke in that piece of exposition you mentioned, "...I have seen good men go to the wall (or, perhaps... the Wall.) ?
Barkeep, a wee dram for our eloquent friend, finnegansword.
Cheers Cmdr - a man after my own heart! Now, let's give some serious thought to your suggestion. Going to the wall is a common enough expression in England. It had not occurred to me that there was any connection with the Berlin Wall which features so prominently in the final scenes of the film, "The Spy who came in from the Cold." In my copies of "Tinker, Taylor, Soldier Spy", and "Smiley's People," there is an interview with John le Carre who explains how he came to write that novel, after serving as an Intelligence Officer in West Germany. The thread is undoubtedly there, but on this side of the Atlantic the expression of "going to the wall" is in common parlance.
What does concern me is how comatose this site has become in recent weeks - well, I suppose it has been running for a long time. But just recently I decided to take a close look at the Tin Pavilion, courtesy of Google's Earth Satellite and the valuable assistance of Stefan Dunbar, and eventually succeeded in locating it, heavily concealed under overhanging trees on Hampstead Heath.
Now, I have set another hare running for you all to chase. Have none of you set foot in the GeizHaus yet? Follow that link I quoted - see "Strictly in the Interests of Research" and tell me what you found there. Call yourselves agents? I've met bolder Girl Guides!
finnegansword nailed it: "In my day, young Peter Guillaum, I have seen Whitehall skirts go up and come down again. I have seen good men go to the wall, and the mediocre promoted with monotonous regularity. However, should a rogue elephant from the thickets of my past, decide to charge at me (to use Saul Enderby's happy phrase), I intend to shoot it dead, but with the very minimum of force.""