User reviews

I'm baffled by some of the low ratings on this series. It's an outstanding story brought to life with great acting and directing. It's the quintessential spy movie that contains intrigue, fear, and psychological espionage. I was glad to see that the violence was placed strategically through the series rather than the typical gratuitous and monotonous onslaught of "action" movies. I'd highly recommend it if you like a more complex and subtle spy thriller.

I read the favorable reviews along with the not so stellar " watching paint dry" reviews, and I think the difference is this: It is a tad slow at times, but it has to be to give you all the background on everyone and tell the story of why Khalil became how he is. Some people aren't cut out for the story unfolding slowly, with bits of backstory mixed in to fill in the pieces. It's a good story with lots of moving parts and background information that doesn't deserve the bad reviews from people too lazy to get involved in a good plot. If you like espionage type movies with mystery and some romance, and don't mind using your brain while watching, then this is for you. If you don't like involved, deep multifaceted plots then this isn't the show for you.

This series is not for a general audience who are not prepared to pay attention and appreciate nuance as the critical reception compared to general audience response shows. One example is of people not understanding Charlie's motivation in going with Becker and agreeing to her first mission even though her very first audtion scene in episode 1 shows that she is a fantasist who craves danger and excitement with her story being undercut with scenes showing the reality, people not getting this shows that most people do not want to put any effort into watching television and expect to be spoon fed at every point.

This show uses editing and cinematography to create atmosphere and to highlight the artifice of the spy world and of cinema, there are many points that are beautifully meta. For instance the scene at the Acropolis is artifice not only for the characters but also for us the audience playfully directed by Chan-Wook and elevated by the score. This show will be divisive but great art usually is, also the costumes are to die for!

This six part adaptation of John Le Carré's novel of the same title opens in late 1970s West Germany as a bomb explodes in the home of an Israeli diplomat. The Israeli secret service are determined to put a stop to the attacks, which they believe are being orchestrated by a particular Palestinian terrorist. To this end a small team works to identify somebody they can put undercover in the terrorist's organisation. They select Charlie Ross, an English actress with radical left-wing associations. She is approached and ultimately recruited but can they trust her not to side with the terrorists she is meant to be infiltrating when even she doesn't know which side she will back in the end.

People expecting the style of the recent BBC adaption of 'The Night Manager' might be a little disappointed but anybody wanting a gripping drama that really captures the feel of the era should love this. South Korean Director Park Chan-wook, best known fairly extreme films like 'Oldboy' and 'Sympathy for Mister Vengeance', shows he can do restraint as we are gradually introduced to the protagonists and watch Charlie being recruited; this is not a rapid procedure. The deeper she gets the more the tension rises; approaching the final episode I had no idea how it would end for Charlie. The cast is good; especially Florence Pugh who excels as Charlie. Overall I'd say this series is well worth the effort; I really enjoyed it.

There are some sublime moments in this six part series, an adaptation of the John le Carré novel directed by Park Chan-wook. None are finer than the scene with the shadows on the ancient buildings at the top of the Acropolis in Athens, but I have to say, Florence Pugh getting rubbed down on the beach or playing acoustic guitar and singing the folk song "Murder of Maria Marten" come pretty damn close. My goodness, she's fantastic here. Watching her act as someone acting as a Palestinian sympathizer to infiltrate their ranks is mesmerizing, and she fully inhabits her character.

There is real tension as this story plays out, with the Israeli Mossad agents (led by Michael Shannon and Alexander Skarsgård) trying to track down a smart bomber (Charif Ghattas) and the organization which also includes his siblings (Lubna Azabal and Amir Khoury). As the Palestinians use young women who have been groomed to plant the bombs, the Israelis try to use the same playbook and implant a young woman (Pugh) amongst them.

The series is a little slow moving and it was probably guilty of being elongated, exacerbated by a couple of the early episodes feeling too talky. It's biggest issue, however, is in how improbable the story is, and its central premise was one I could never truly buy into. As early as episode two we can see why the Israelis have chosen the young woman, but it's certainly not clear why she would choose to go along with it, especially considering her progressive, pro-Palestinian views. To accept incredible danger and put up with a creepy backstory in the process did not at all seem plausible. By episode four we finally see her questioning it all, something that should have happened much earlier, but to have the reason be an attraction to the Israeli agent was unconvincing. It was also a little annoying when she later developed feelings for one of the Palestinians, which felt like tawdry melodrama by the author. There are other elements which didn't ring true, such as why the youngest Palestinian brother would have given up the information as he did, but the whopper is the entire arc of Pugh's character.

I also wondered if the film had a balanced view of the two sides in this struggle, seeing as how the Israeli protagonists are cleverly hunting down Palestinian terrorists, even if the latter are humanized and some of the Israeli atrocities are expressed through anecdotes. It's a mixed bag on that front, and let's just say, felt awfully tidy at the end. There were some really nice bits though, including the noxious anti-Semitism in the British Intelligence officer, and a fantastic dream sequence of the Israeli agent shaking hands with the Palestinian and the latter bursting into flames, saying 'Al Nakba' ("The Catastrophe," referring to what happened in 1948). Overall, worth watching for the production value, and Florence Pugh.

This adaptation of one of John le Carre's long espionage novels is fantastic. It unravels several stores very slowly and in great detail, which you can only appreciate if a.) you've read the novel, or b.) you are watching the film for the second time. It is subtle and convoluted, but some of us love subtle and convoluted.

Beautiful cinematography, great script, top-notch acting, super story-telling. But you REALLY have to be patient and work for this one. In other words, just like the novels of Le Carre. Or the symphonies of Mahler.

So read the book first, or at least a summary of the extremely twisty plot, and then binge watch the whole thing over a snowy weekend when you weren't going anywhere anyway.

One needs to pay very careful attention from line one of this show to prevent getting lost. Once you get it, watching it play out is easier. You can't allow for distraction. Although some claim it's laboriously slow, it adds to the suspense. Characters are droll and lack animation, but it works. This series makes you use your imagination & tenacity. I enjoy the character interplay & putting the puzzle pieces together only to find they are in the wrong place. NO Hollywood bang-bang, shooting up buildings & wrecking dozens of cars. I love (so far) the lack of romantic interplay, that's a bonus. I wouldn't Charlie to be a hottie. She's a naive small time actress going nowhere fast, throwing in rebellion for attention. She's fascinated & intrigued by (the older) Gadi, a very believable situation in the 70s. I love her performance. This series is truly worth the try. Some things don't ring true, such as describing distance in miles rather than kilometers. Also a runner in the background in (I believe) Munich who is wearing modern day running clothes.

I am not Le Carre reader, but for me the show is very well done. It keeps me entertained, the acting is good and although political aspect is not easy to discuss, it doesn't side specifically on either side. It is just really good spies/agents historically related action drama. Very enjoyable.

I read the book and saw the Diane Keaton film about100 years ago, so I can't vouch for the fidelity of this TV series to the novel. And, while I don't remember much about the film, I did look at its trailer on Amazon.com. Keaton's done some fine work, but, based on the trailer, her performance in the movie was over-the-top-and-down-the-other-side.

Some reviewers on this site have complained that this production was boring - like watching paint dry. Well, that's LeCarre. I'm not talking film adaptations, since a two hour adaptation has to compress a lot of activity into a short time. "The Little Drummer Girl," in six parts, every bit the equal of the Alec Guinness/Ian Richardson production of "Tinker, Tailor, Soldier, Spy." Nuanced, thoughtful, well acted.

I recently saw Florence Pugh in "Outlaw King," about Robert the Bruce. It was a small part, and she did not have much of a chance to shine. But as Charly, she proved herself a fine actress. And, while all of the rest of the cast was good, Michael Shannon gave a wonderfully shaded performance, quite unlike in "The Shape of Water."

LeCarre rarely writes any character as a hero. These are complex characters who deserve a viewer's patience, which will be rewarded throughout.

This drama was overly long in asking for the viewers attention for almost six hours. The acting was good as was the styling and cinematography.

If there was a problem it lay in the relationship between Gade and Charlie. The former had the personality of a dead ant and the sex appeal of an empty baked bean can and yet Charlie was captivated by this menace. As for the latter she was fickle, volatile and a serial liar without reason whose justification lay in the fact she was an actress.

There was a lack of redemption in this drama that reflected real life, the Middle East is an intractable problem that remains unresolvable over areas of worthless land that cannot sustain human life.

I loved this show so much that I immediately bought Le Carre's book to try to enter Charlie's psyche even farther.

The show is very well done especially in the music, art direction and editing departments. I was a child in the 70's and this show just takes me back in those times. My mom even had one of those brown corduroy shirt dresses, my dad's studio some of that furniture, etc...

Florence Pugh is a revelation and I feel that I'm going to watch everything she does from now on. She succeeds in showing the perfect balance between youth arrogance, ignorance, sincerity and infatuation and I understood her reasons perfectly without knowing a thing about the plot. I don't think Skarsgard is that good; I'm afraid his supposed "quiet intensity" looks more like "wooden stare" but he's enough eye candy to understand one of the Charlie's reasons to become so involved with his cause. He's better when showing his personal hero struggles than when he plays the love interest. The man he impersonates, Michel, is much better in the glimpses of the invented affair.

Shannon is one of my favorite actors and I like him here;many reviews I read say that he doesn't pass an Israeli/too young for the part, etc... I'll read the book and see what it's the truth or I'll make one of my own.

Bref: I wholeheartedly recommend

The show was visually astonish, the cinematography and directing were really ton point trought the series but now for the most important and vital part of the show the writting was lacking. Is just that I waited patiently for it to get better. It never did. I did like all the actors but the writing was not good.

It's a convoluted John le Carré spy drama set in 1979 in England, Germany, Lebanon, and Israel. It follows a Mossad supervisor, Martin Kurtz (Michael Shannon), and his agents who are trying to catch a Palestinian master bomb-maker, Khalil (Charif Ghattas). Other team members are Gadi Becker/Joseph (Alexander Skarsgard), Shimon Litvak (Michael Moshonov), Rachel (Simona Brown), and Rose (Kate Sumpter). They co-opt a radical young English actress, Charlie Ross (Florence Pugh), into their plot.

First, the Israeli team pursues Khalil's younger brother, Michel/Salim (Amir Khoury). They set up a complex ruse after capturing Michel, having Charlie pose as Michel's lover in hopes of infiltrating the terrorist organization. In true John le Carré fashion, the story includes considerable ethical ambiguity and questions about everyone's motives and ultimate loyalties.

This mini-series is far superior to the 1984 movie that stars Diane Keaton. The mini-series is much more nuanced, and Florence Pugh is more age-appropriate for Charlie's role. Michael Shannon is also a superior Martin Kurtz character. The mini-series also allowed the development of some key characters like Khalil's sister, Fatmeh (Lubna Azabal). The mini-series does take some liberties that deviate from the book, including a sanitized ending. The 1984 film was more accurate on that score.

I think John le Carré would have approved this series.

Sunday nights on British terrestrial television tend to be a mixed bag; you get a mix of period dramas, softly delivered murder mysteries, exotically-located dramas, and celebrity-driven drama miniseries. Little Drummer Girl is one of the last of these, and is looking to repeat the success of The Night Manager. It doesn't quite have the zing early on though, although it does have the class from the start. The first hour or so is slowly delivered, and not always clear where it is heading. The quality of the production and cast help carry it through, and it does get easier to enjoy after this.

Once Charlie's involvement is clear, and dovetails in with the other threads, the story improves. It has an urgency and relevance to it then, and more connected with me as a viewer. The story picked up a lot as a result, although it did still have that slightly "important" feel to it that I'm not sure it totally deserved, or that it committed to. The final half of the episodes are strong though, and make for balanced and engaging television. The cast have quality in depth, although I confess I was not a massive fan of Pugh - which is not ideal for the lead role, but she was better as the episodes settled in.

It has its tonal and pacing problems, but it picks up, and the quality of the production carries it in the meantime.

I love John Le Carre's novels, or should I say I love the BBC radio and tv versions of his work. However, this production is very disappointing for being so muddled it's impossible to follow the plot. At first I thought it was my fault for not paying enough attention, but by episode 3 I realised that it was just poorly adapted. I remember the terrorist events of the 70's and 80's, but even so I just couldn't get a hold of the storyline here. Finally, I've given up trying, as it was not entertaining me at all!

I'm sorry but anyone that watches this and doesn't see it for the expert filmmaking that it is, is just daft. Park is working at the top of his game here, handling a subject as tricky as the Israeli/Palestinian conflict with dignity and intelligence.

The performances are all top notch, the story is intricate and compelling, and it honestly feels like you're watching a movie made decades ago... in a way that doesn't feel overly nostalgic or spread too thin. It just feels like a really good 6-hour spy movie, and Florence Pugh absolutely shines as the Little Drummer Girl.

AMC is doing a good job of imitating HBO, with all that Walking Dead cash.

I'm at the end of the second episode. It's entertaining but not totally believable. And what's with eating all the ice pops & ice cream? Does that mean something?

Based on the 1983 John le Carré novel of the same name, The Little Drummer Girl presents an astounding performance, with a solid plot diving into the world of espionage, love and betrayal.

Le Carré's best book, The Little Drummer Girl was a brilliant story that was botched in the film version by terrible casting. Diane Keaton, besides being a lousy actress, was too old for the part and the male lead was played by some Rock Hudson lookalike. I always felt this needed a do-over. I had high hopes this series could do the story justice. It doesn't.

In this series the main Israeli guy is played by Alexander Skarsgård who certainly looks the part although they have him so wooden that he barely can move in the role.

The female lead is all wrong and it dooms the series much like Keaton was the iceberg that sank the film. Jesus, can't they find a hot woman in England? If she's ever been to the gym in her life I'd be surprised...and she's not a very good actress. She's all baby fat and bad hair. Nothing wrong with that unless you're an actress and playing the role of a hot young actress.

No one else is very good in the cast. Micheal Shannon as Kurtz misses the mark entirely. Klaus Kinski in this role was the best thing about the movie version and he was the only really good member of that cast. Diane Keaton was embarrassingly horrible and no one else really shone.

It's way too slow. Very slow. I don't know if this warrants six episodes. They do some rewrites that were totally unnecessary because the book got it right the first time, like when the car is dropped off at the train station. Then the supposedly top-notch Mossad team almost botches capturing the woman, which wasn't in the book.

The series just looks bad at almost every scene change. Every set is in some dour, funky 1970s architecture which I really don't understand. Once again, I blame amateurish British direction.

I haven't read the novel, which is possibly my problem. I'm struggling with this series. Alexander Skarsgård is totally unprepossessing. Florence Pugh's character seems to be living in a different universe to everyone else. I find it impossible to take either of them seriously.

There is a level of depth, and complexity in this drama, that I found utterly irresistible, it's definitely not a drama for everyone, anyone wanting instant action will be disappointed, everything here is measured, almost drip fed, and as such the story was allowed to build up towards its fabulous conclusion, and the characters also developed incredibly well.

The character development was so good, that you were left wondering which way they were going to turn, and only at the last minute were you let in to Le Carre's secret.

I find it wonderful that The BBC still sees Le Carre's work, nice also, to see it on BBC1, it was certainly well advertised.

The production values were incredible, the camerawork, filming, location etc all first rate. The acting was superb, Florence Pugh and Alexander Skarsgård both terrific in particular.

As I say, some may find it slow, but it's deliberately slow, the conclusion is worth the slightly slower middle episodes.

Loved it, 9/10

I am a big fan of both Le Carré and Park and was looking forward to this. I was so pleased to find it as good as I had hoped.

The cast is excellent - Michael Shannon in partilcular. The pacing of the story is slow, deliberate and intelligent. Cinematography and art direction is beautiful.

It´s been a very long time since I enjoyed a series this much.