Tinker, Tailor, Soldier, Spy feels both old-fashioned and modern at once. Even though it lives squarely in the moment, it could have been made in the ’70s, for the way it so wholly trusts its audience to keep up with every minute, nearly imperceptible plot turn. It’s like an action movie constructed from glances, suggestions and suppressed sighs rather than gunplay. The picture’s lovely, understated score (by Alberto Iglesias), with its whispering strings and muted trumpets, perfectly suits the movie’s palette of soft mauves and grays. Even the cinematography and production design, by Hoyte Van Hoytema and Maria Djurkovic respectively, speak in a secretive whisper: The movie is rendered in the colors of smoke, though its contours are solid and shapely, a universe of pedestrian office desks, ugly telephones and overflowing ashtrays — aesthetically, this 1970s England probably isn’t as dismal as the Eastern Bloc, but it might be pretty close.